Sir Andrzej Panufnik: music and migration.

Abstract

This dissertation, submitted for the degree of Master of Philosophy at the Elder Conservatorium of Music, University of Adelaide, has as its primary focus the effect migration had on the life and music of the Polish – British composer, Sir Andrzej Panufnik (1914-1991). Many composers have been forced, or have chosen to leave, their homeland due to political pressures, and begin a new life in a foreign country. This kind of migration was particularly prevalent during times of crisis. In Europe’s case, the 20th century saw a large number of artists migrate, due principally to the effects of World War I, the Great Depression, World War II and the Cold War. While, composers are often included in studies concerning migration, little attention is given to what effect this migration had on their musical output. Sometimes as a result of migration, composers who were acclaimed in their homeland found themselves outsiders in their new country and their music ignored. This thesis will examine the effect which migration from Poland had on the life and music of Sir Andrzej Panufnik, who is still an under-rated, under-performed, and under-recognised composer of the modern era. This study consists of two sections, which explore respectively the life and music of Sir Andrzej Panufnik. Part A focuses on an overview of migration and its effect on artists (particularly composers), especially during the Cold War period. This is followed by an exploration of the effect migration had on Panufnik’s life; including a detailed examination of Panufnik’s reasons for leaving Poland and seeking political asylum in England. Moreover, Part A also elaborates on key concepts present throughout this study, such as defection, belonging, and Polskośd (‘Polishness’). Part B is a critical discussion of four pivotal works by Panufnik, which ascertains the presence of change of his musical style due to migration. The following works are the subject of discussion: Tragic Overture (1942), Old Polish Suite (1950), Sinfonia Sacra (1963-1964), and Universal Prayer (1968-1969). Each of these works represents a stylistic shift in Panufnik’s compositional output.