<abstract xmlns="http://www.w3.org/1999/xhtml">

The aim of the paper is to situate the most important open-air venues where music was performed on the map of interwar Warsaw. This includes venues in city parks, restaurant tea gardens, streets and squares where mass celebrations and demonstrations took place, as well as the courtyards of tenement houses frequented by street players and singers. In addition to live music, that coming from the radio, gramophone records, as well as megaphones installed in parks and streets has been taken into account. On the basis of press reports, taken mainly from the <italic>Kurier Warszawski</italic> (Warsaw's largest daily newspaper), as well as works of fiction and diaries, the repertoire of works performed in the open air has been reconstructed. The organisers and performers of concerts, open-air shows, and street marches during which music was performed have also been listed. The material is divided into contexts connected with the everyday life of Warsaw's bourgeoisie and working class (during which music, functioning independently or as part of theatrical, cabaret and film performances, functioned as entertainment) and those belonging to the official-public or ceremonial sphere (celebrations of religious and national holidays, military parades, spontaneous demonstrations of supporters of various political groups). Special emphasis has been placed on recreating the social and political context of the latter type of events, which highlight the role of interwar Warsaw as the capital of the state.
</abstract>

<italic>Open-Air Music in Warsaw</italic>

The Urban Music Scene

<abstract xmlns="http://www.w3.org/1999/xhtml">

The paper focuses on a comprehensive dance collection compiled by two Wrocław/Breslau town musicians (<italic>Stadtpfeifer</italic>), the brothers Bartholomäus and Paul Hess. The anthology, partly preserved at Wrocław University Library, was published in 1555 at the Wrocław printing house of Crispin Scharffenberg and documents the transition of dance repertoire from the courtly realm to the private and public spheres, which was typical of the mid-sixteenth century. The Wrocław collection, scored for wind ensemble, contains 477 four- and five-part dances of German, Polish, French, and Italian provenance. The paper offers some new views on the repertoire from the collection. Particular attention has been given to the so-called Polish dances.
</abstract>

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context<xref ref-type="fn" rid="j_muso-2023-0002_fn_001a">*</xref>

<abstract xmlns="http://www.w3.org/1999/xhtml">

The paper discusses Georg Philipp Telemann’s presence in Sorau (now Żary in Poland) in 1704–1708, inspirations from Polish folk music in Telemann’s works, as well as projects undertaken by and in the present-day city of Żary with a view to incorporating and commemorating Telemann’s figure and oeuvre in the city’s contemporary culture.
</abstract>

<italic>Żary – The City</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">

Eminent Polish composer Karol Rathaus (1895–1954) left behind an essay dedicated to his uncle Chune Wolfsthal (1851–1924). In this text, Rathaus recalls his childhood and adolescent years in (Austria-Hungary’s crown land of ) Galicia. His memories of Wolfsthal, a famous klezmer and operetta composer active in the late nineteenth and early twentieth centuries, provide an opportunity to recollect the now non-existent world of Jewish amateur musicians working in Tarnopol and Lwów before World War II. Those musicians performed in synagogues, at family events and social functions, in cafés and tea gardens. Some of them, including Chune, became involved in the activity of the then emerging Jewish theatre, which was a part-vulgar, part-artistic phenomenon.
</abstract>

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

<abstract xmlns="http://www.w3.org/1999/xhtml">

The paper characterises music-involving cultural practices in Cracow’s urban parks, squares, streets, and ice rinks in the period of the so-called Galician Autonomy (1866–1918). Typologies of the spaces where music was performed and of open-air events involving music have been proposed. Music repertoires and performers have been discussed. The main sources for this text are press materials, memoirs, regulations, sheet music, and iconography.
</abstract>

Everyday Outdoor Music Life in Galician Cracow

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Musicology Today

AHEAD OF PRINT

Open-Air Music in Warsaw

The Urban Music Scene

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context^*

Żary – The City

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

Everyday Outdoor Music Life in Galician Cracow

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All Volumes and Issues in this Journal

Musicology Today

AHEAD OF PRINT

Open-Air Music in Warsaw

The Urban Music Scene

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context*

Żary – The City

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

Everyday Outdoor Music Life in Galician Cracow

Search

All Volumes and Issues in this Journal

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context^*