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contained in Marcin Gmys’s book on the ‘Young Poland’ generation of composers (which discusses, among others, Ryta Gnus’s song Cień Chopina [ Chopin’s Shadow ] and Anna Maria Klechniowska’s symphonic poem Wawel M. Gmys, Harmonie i dysonanse. Muzyka Młodej Polski wobec innych sztuk [ Harmonies and Dissonances. The Music of Young Poland in the Context of Other Artistic Disciplines ], Poznań, Wydawnictwo Polskiego Towarzystwa Przyjaciół Nauk, 2012, esp. at pp. 265–266 (Gnus) and pp. 427–429 (Klechniowska). ), as well as publications by Magdalena Dziadek M. Dziadek

foundations for a positivist philosophy, which claimed that the mission of art, including music, was to propagate the idea of national revival and to uphold patriotic sentiments. Music was essentially viewed, as Karol Szymanowski sarcastically observed, as patriotic Polishness immersed in the cloud of a glorious past and directed toward “the dead spectres” of that past. One of the apologists of that past greatness was Zygmunt Noskowski, a Polish composer, conductor and educator living in the 2nd half of the 19th century. His symphonic poem The Steppe, written in

sections; dispersed bundles of brass sound; contrasts between technique and emotion, that is, between modernity and tradition (Aria I e chorale and Aria II); the dialectic of diatonic and sonoristic writing; free but well-defined and perceivable form (as listed by the composer herself). . It is made up of an Epilogue (dying away), Arie e chorale I and Aria II (which form the central sections of this symphonic poem), preceded by a dynamic and stormy introduction and separated by a link of the same character. The composer’s fascination with the paintings of Zdzisław