Wiechowicz Stanisław, *27 November 1893 Kroczyce, †12 May 1963 Kraków, Polish composer, teacher, conductor, publicist and music activist. In 1908–11, he studied at the Conservatory of the Music Society in Kraków and in 1912–13, at the E. Jaques-Dalcroze Institute in Hellerau (near Dresden). In 1913–14, he taught solfège and rhythmics at the private school of J. Mieczyńska in Warsaw. In 1914–16, he studied at the music conservatory in Petrograd (now St. Petersburg). In 1916–18, he served in the Russian army and after demobilization, he lived in Kharkov where until 1920, he taught solfège and rhythmics at the private school of W. Szaposznikow-Wiechowicz. In the spring of 1920, he left the Soviet Union, returned to Poland in March 1921, settled in Poznań and from September 1921 to July 1926 was a teacher of theoretical subjects at the State Conservatory of Music (now the Academy of Music) in Poznań. From October 1926 to June 1927, he studied as a scholarship holder at the Schola Cantorum in Paris; in December 1926, he was one of the founders, then vice-president of the Association of Young Polish Musicians in Paris. He returned to the Poznań Conservatory in September 1930 and taught theoretical subjects there until 1939. In 1931, he passed the external examination in composition at the Higher School of Music (now the University of Music) in Warsaw and took over the composition class in Poznań; his students included W. Gniot, R. Maciejewski, R. Padlewski and A. Świerzyński. In 1932, Wiechowicz became chairman of the State Examination Commission for teachers of singing and music in general schools, and in 1935 head of the pedagogical department at the Poznań Conservatory. On 1 December 1939, he was displaced from Poznań, spending the war years in Jeleniec in the Kielce region on the estate of T. Halpert. In correspondence with A. Chybiński, Wiechowicz prepared far-reaching plans to create textbook literature for music schools, and after the war, some of his ideas were implemented. In April 1945, he returned to Poznań, but was transferred to Kraków on official business from September 1945, and remained a professor and dean of the Pedagogical Department of the local State Higher School of Music (currently the Academy of Music) until the end of his life; he was also vice-rector of this university until 1947. In 1954, he received the title of deputy professor and in 1956, the title of full professor. From 1945, he taught a composition class, which was attended by, among others, Z. Bujarski, J. Fotek, J. Garścia, J. Kaszycki, L. Kaszycki, J. Łuciuk, K. Meyer, K. Moszumańska-Nazar, K. Mrowiec, K. Penderecki and H. Schiller. In October 1957, Wiechowicz became the head of the Department of Group Composition at the Faculty of Composition, Theory and Conducting.
Teaching was not, however, Wiechowicz’s only field of professional activity. From December 1921, he became involved with the amateur singing movement as the head of the Koło Śpiewackie Polskie [Polish Singing Circle], with which he had several dozen stage performances and for winning competitions, he was awarded the Golden Chain of the City of Poznań three times. On Wiechowicz’s initiative, the Koło was transformed in 1931 into the Poznańskie Towarzystwo Oratoryjne [Poznań Oratorio Society] and in 1934 into the Poznańskie Towarzystwo Muzyczne [Poznań Music Society]. In 1935, Wiechowicz parted ways with the society and became the head of the S. Moniuszko Choir, with which he also achieved artistic successes. In 1927–30, he was also the head of the F. Chopin Choir and in 1928–30, the head of the Echo male choir in Poznań. Despite a clear predilection for the bandmaster’s baton and significant psychotechnical predispositions, Wiechowicz rarely performed as a conductor of symphony orchestras. In 1924–37, he conducted several symphonic concerts in Poznań and Warsaw, including the Polish premiere of the oratorio King David by A. Honegger in Warsaw in 1926, and Requiem by W. Maliszewski in Poznań in 1933. Wiechowicz began his organisational activity in the amateur singing movement in 1924 as co-organiser of the 2nd All-Polish Singing Congress in Poznań. In 1925–32, he was a councillor of the main board of the Wielkopolska Association of Singing Circles. In 1929, as artistic director of the Poznań district, he co-organised the All-Slavic Singing Congress. Until 1938, he sat on the jury of amateur choir competitions many times. In 1947, he became artistic director and in 1951 honorary artistic director of the Association of Polish Singing and Instrumental Ensembles.
Wiechowicz’s artistic endeavours were accompanied by journalistic activity. As a music critic, he wrote for “Śpiewak” (1922–24), “Orędownik Wielkopolski” (1925–26), “Przegląd Muzyczny” (1925–31, editor-in-chief from 1927), “Kurier Poznański” (1929–34) and “Muzyka Polska” (1934–39). His music journalism is an important contribution to the scientific research of the interwar period, as in 400 reviews, Wiechowicz discussed over 500 concerts and opera performances, and 80 articles contained statements on the most important issues of musical life in Poland at that time. After the war, Wiechowicz’s journalism was replaced by music editing. In November 1945, he became vice-chairman of the State Publishing Council, and from February 1953, he was a member of the Program Council of the Polish Musical Publishing House. From 1946, he was editor of the series “Polska Literatura Chóralna” and in 1955–57, an editor of the series “Polska Pieśń Ludowa.” Wiechowicz was a member of the Section of Contemporary Polish Composers at the WTM (from 1925), the Club of the Professional Music Press (from 1929, later the Association of Music Writers and Critics), the Polish Composers’ Union [ZKP] (from 1945) and the Polish Society of Contemporary Music (from 1946). Awards and decorations: 1933 Golden Badge of Honor of the Association of Polish Singing Ensembles, 1936 Silver Cross of Merit, 1937 Golden Medal of the Paris Exhibition for Chmiel, 1939 State Music Award, 1950 State Artistic Award, 2nd degree, 1952 Officer’s Cross of the Order of Polonia Restituta, 1953 ZKP Award, 1955 Medal of the 10th Anniversary of the Polish People’s Republic, 1955 Music Award of the City of Kraków, 1959 Commander’s Cross of the Order of Polonia Restituta, 1959 Golden Badge of Honor with Laurel Wreath of the Association of Polish Singing and Instrumental Ensembles, 1962 Music Award of the Polish Radio and Society of Artists and Composers, 1962 State Award, 1st degree for Letter to Marc Chagall.
Wiechowicz’s greatest contribution to the creation of Polish contemporary musical culture is his choral work, which grew out of the tonal foundation of Polish folk music. Wiechowicz brought new values to vocal music, transferring features typical of instrumental texture to the choral texture, such as dialogue and variability of voice arrangements. Wiechowicz began composing at a time when he was already a valued teacher, conductor, activist and music journalist. As a composer, he considered himself self-taught and began composing with simple arrangements of original folk songs, which he sometimes stylised; over time, he began to create his own melodic structures, built on folk prototypes. They testify to his outstanding creative individuality, which caused composing to transform from a purely utilitarian activity into a need for artistic expression.
Wiechowicz wrote 165 choral pieces, including 151 for a cappella choir. A phenomenon in the history of Polish choral music is the multi-version nature of his choral songs. The most important pieces from the pre-war period include: Słowo o Jakubie Szeli, Oj, ty wolo, Mruczkowe bajki and Na glinianym wazoniku. Wiechowicz’s choral songs, mostly published and reworked after 1945, were highly rated by performers and reviewers, and were often included on the lists of required pieces for competitions. Wiechowicz’s position as the most outstanding Polish composer of choral music in the 20th century was secured by: Kujawiak-ballada, Kantata żniwna and Passacaglia i fuga. The first significant symphonic work in Wiechowicz’s creative output was the wedding dance Chmiel. Played on stages all over the world in a new, post-war version, it is the composer’s most frequently performed piece. The Romantic Cantata to words by A. Mickiewicz was also received with great acclaim, both in its pre-war version and in its new arrangement prepared for the Mickiewicz Year (1955), while the Old Town Concerto is one of the outstanding works of the neoclassical trend in Polish contemporary music.
Wiechowicz’s compositional output is closed by Letter to Marc Chagall, his only cantata piece that does not contain folkloric elements, and the monumental Gołębica, composed for many years. Wiechowicz was not an avant-garde artist, but he did not shy away from classicising tendencies, at a time when they were an attribute of modernity in Poland. His unpretentious style, full of temperament and humour, not devoid of discreet lyricism and contemplation, is one of the interesting varieties of the national style in contemporary Polish music. After World War II, Wiechowicz placed the main emphasis in his compositional activity on creating new versions of previously written pieces. Wiechowicz’s compositional legacy is kept in the University Library in Warsaw.
Literature: J.M. Chomiński „Kujawiak-ballada” Stanisława Wiechowicza, “Studia Muzykologiczne” V 1956; J.M. Chomiński and K. Wilkowska-Chomińska „Passacaglia i fuga” Stanisława Wiechowicza, in: Formy muzyczne, vol. 3, Kraków 1974; B. Cisowska „List do Marc Chagalla” Stanisława Wiechowicza, in: Muzyka instrumentalno-wokalna kompozytorów krakowskich, Kraków 1979; A. Mrygoń Stanisław Wiechowicz, 2 volumes: vol. 1: Działalność, Kraków 1982, vol. 2: Twórczość, Kraków 1989 (includes a full list of compositions); Stanisław Wiechowicz in memoriam, materials from a materials from a symposium on the 100th anniversary of the birth and 30th anniversary of the death of Stanisław Wiechowicz, ed. J. Kurcz, Kraków 1996; Stanisław Wiechowicz – by czas nie zaćmił i niepamięć, ed. E. Mizerska-Golonek, Kraków 2005.
Compositions:
Instrumental:
A siadajże na wóz for string orchestra, 1924, used in the 4th part of the suite Kasia
Nie chcę cię Kasiuniu for small orchestra, 1924, used in the 1st part of the suite Kasia Chmiel for orchestra, 1927, performed in Poznań 1929, published in Kraków 1949
Chmiel. Taniec weselny for symphonic orchestra, 1927, published in Kraków 2018 PWM
String Quartet No. 1 in E-flat major [before 1939]
2 mazurkas for violin and piano, 1942, no. 2 published in Kraków 1950
String Quartet No. 2 “Jeleniecki” [1943], also version for string orchestra entitled Old Town Concerto [Koncert staromiejski] [after 1945]
Ulęgałki, suite for small orchestra [1944?]
Andante in D minor, string quartet [before 1945], used in the 2nd part of the suite Kasia
Andante in D major, string quartet [before 1945]
Kasia, suite for a string orchestra and 2 clarinets, 1946, performed in Warsaw 1951, published in Kraków 1953
Old Town Concerto [Koncert staromiejski] for string orchestra, 1954, performed in Zabrze 1956, published in Kraków 1957
Szyszki, rondo for orchestra, 1954, performed in Kraków 1954
Zawołanie (Millenium) for wind instruments and percussion [ca. 1960]
Nokturn for symphonic orchestra, 1960
Vocal:
Gdzie mi się podziały tulipany for mixed choir, folk words 1922, published in the collection Melodie ludowe, Poznań 1922
Kiedy będzie słońce i pogoda for female choir, folk words, 1922, published in the collection 3 pieśni, Poznań 1922
Z tamtej strony rzeki for mixed choir, folk words, 1922, published in the collection Melodie ludowe, Poznań 1922
Matulu moja for mixed choir, folk words, 1923, published in the collection Pieśń ludowa, Poznań 1924
Nie chcę cię Kasiuniu for mixed choir, folk words, 1923, published in the collection Pieśń ludowa, Poznań 1924, also version for voice and piano, 1935, published in the collection Koło mego ogródeczka, Poznań 1936
W dzikim boru for mixed choir, folk words, 1923, published in the collection Pieśni ludowe, Poznań 1923
Pragną ocki for mixed choir, folk words, 1923, published in the collection Pieśni ludowe, Poznań 1923 also version entitled Pragną oczki for choir and 2 pianos, 1943, performed in Kraków 1946, published in Kraków 1950
Ach biada mnie for male choir, folk words, 1924, published in the collection 12 pieśni górnośląskich, Poznań 1925
A te rudzkie dziewki for mixed choir, 1924, published in Kraków 1952
Chodziłem ja. Śląska pieśń ludowa for male choir, 1924, published in Krakow 1952 PWM
Chodziłem po grobelce for male choir, folk words, 1924, published in the collection 12 pieśni górnośląskich, Poznań 1925
Deszcz idzie for mixed choir a cappella, 1924, published in Kraków 1952 PWM
Jakech ja konie pasł for male choir, folk words, 1924, published in the collection 12 pieśni górnośląskich, Poznań 1925
Jestem ja dzieweczka for mixed choir, folk words, 1924, published in the collection 20 pieśni górnośląskich, Poznań 1925
Kiedym ja szedł for male choir, folk words, 1924, published in the collection 12 pieśni górnośląskich, Poznań 1925
Leciały gęsi for male choir, folk words, 1924, published in the collection 12 pieśni górnośląskich, Poznań 1925
Matulko moja for male choir, folk words, 1924, published in the collection 12 pieśni górnośląskich, Poznań 1925
Stoi lipka for mixed choir, folk words, 1924, published in the collection 20 pieśni górnośląskich, Poznań 1925
Krakowski mosteczek for mixed choir, folk words, 1924, published in the collection 20 pieśni górnośląskich, Poznań 1925
Wdycki, wdycki for mixed choir, 1924, published in Krakow 1952 PWM
Jak się będę wydawała for mixed choir, folk words, 1925 published in the collection 20 pieśni górnośląskich, Poznań 1925
Kolędziołki beskidzkie for female choir, words by E. Zegadłowicz, 1925, published in the collection 3 pieśni, Poznań 1926
Kołysanka for female choir, words by J. Porazińska, 1925, published in the collection 3 pieśni, Poznań 1926
Jechało pacholę for mixed choir, folk words, 1926, published in the collection 7 pieśni, Poznań 1926
Już się lasy zielenią for mixed choir, folk words, 1926, published in the collection 7 pieśni, Poznań 1926
Matka mię tu posłała for mixed choir, folk words, 1926, published in the collection 7 pieśni, Poznań 1926
Pieśni wielkanocne for mixed choir, religious words, 1926
Pod kominem for mixed choir, words by J. Porazińska, 1926, published in Poznań 1927
Wedle tego Jędrzejeczka for mixed choir, folk words, 1926, published in the collection 7 pieśni, Poznań 1926
Za ujazdem czarna rola for mixed choir, folk words, 1926, published in the collection 7 pieśni, Poznań 1926
Kaczor for mixed choir, folk words, 1927, published in the collection 7 pieśni, Poznań 1926
Kolędy for mixed choir, religious words, 1927
Kołysanka bez słów wg Rapsodii litewskiej M. Karłowicza for mixed choir, 1927, published in the collection: 7 pieśni, Poznań 1927
Pieśni wielkopostne for mixed choir, religious words, 1927
Słowo o Jakubie Szeli for mixed choir, words by B. Jasieński, 1927, performed and published in Poznań 1927
Trzy utwory religijne for mixed choir, religious words, 1927
Chodziła po sieni for 4-voice mixed choir, 1928, published in Krakow 1948 PWM
Oj ty, wolo for mixed choir, words by B. Jasieński, 1928, performed and published in Poznań 1929
Veni Creator for mixed choir, religious words, 1928
Kukułecka for mixed choir, 1934, folk words, published in the collection 2 pieśni, Poznań 1936
Mruczkowe bajki for mixed choir, 1934, words by J. Porazińska, published in Warsaw 1934
Oj siadaj, siadaj for mixed choir, folk words, 1937, published in Poznań 1937
Powiewaj wiatreńku for female choir, words by J. Porazińska,1938, published in Poznań 1939
Na glinianym wazoniku for mixed choir, words by J. Porazińska, 1939, published in Poznań 1939, also versions: for male choir, 1941, for 8-voice choir and 2 pianos, 1946, performed in Kraków 1946, for choir and orchestra, 1947, performed in Kraków 1947, published in Kraków 1953, piano reduction Kraków 1954
Stuku, puku for female choir, words by J. Porazińska, 1939, published in Poznań 1939
Pastorałka for female choir, religious words, 1942
Kujawiak-ballada for mixed choir, folk words, 1944, performed in Warsaw 1951, published in Kraków 1949
Hosa, hosa for mixed choir, folk words, 1945, published in the collection 5 pieśni ludowych ze Śląska, published in Kraków 1946
Ma miła dzieweczko for female choir, 1945, folk words, published in the collection 5 pieśni ludowych ze Śląska, Kraków 1946
Od buczku do buczku for female choir, 1945, folk words, published in the collection 5 pieśni ludowych ze Śląska, Kraków 1946
Zarżyjże mi mój koniczku for female choir, 1945, folk words, published in the collection 5 pieśni ludowych ze Śląska, Kraków 1946
Krakowiak C for male choir, 1945, folk words, published in Kraków 1947
Krakowiak Es for mixed choir, 1945, folk words, published in Kraków 1947
Kantata żniwna for mixed choir, 1947, folk words, performed in 1951, published in Kraków 1948
Leluje for mixed choir, 1949, folk words, published in the collection Pieśni polskie, published in Warsaw 1950
W gaiku for mixed choir, words by A.E. Odyniec, 1949, published in the collection Pieśni polskie, Warsaw 1950
Tam na górze jawor stoi for mixed choir, words by J. Czeczot, 1953, published in Kraków 1953
10 pieśni śląskich. Melodie ludowe for mixed choir, published in Krakow 1953 PWM
Pieśni Mickiewiczowskie for mixed choir, 1954, published in Kraków 1955
Proso for mixed choir, 1954, folk words, published in Kraków 1954
Passacaglia i fuga na temat „Na polu wiśnia” for mixed choir, 1960, folk words, performed in Warsaw 1960, published in Kraków 1962
Po nocnej rosie for female choir, words by W. Syrokomla, 1961
Vocal-instrumental:
Widmo for voice and piano, words by L. Staff, 1918
A że zapomnieć ciebie muszę for voice and piano, words by L. Staff [ca. 1920]
Pocałunek for voice and piano, words by L. Staff [ok. 1920], published in the collection 4 pieśni, Warsaw 1936
Czego ty bledniesz for voice and piano, words by M. Konopnicka, 1921, published in the collection 8 pieśni, Kraków 1950
Dzień słowiański for choir and orchestra, words by E. Zegadłowicz, 1928, performed in Poznań PR 1937, piano reduction published in Poznań 1929
Veni creator for male choir and organ, 1928, published in Poznań 1928
Suita pastoralna for reciter, choir and orchestra, words by T. Czyżewski et al., 1929, performed as Muzyka symfoniczna (without vocal parts) Warsaw 1935, performed as Pastorałki PR 1937
Kantata romantyczna for soprano, choir and orchestra, words by A. Mickiewicz, 1934, performed in Poznań 1936, published in Poznań 1935, revised 1955, performed in Kraków 1955, piano reduction published in Kraków 1955
A kto ciebie for voice and piano, words by M. Konopnicka, 1935, published in the collection 4 pieśni, Warsaw 1936
Hej żeglajże żeglarze [sic!] for voice and piano, folk words, 1935, published in Poznań 1936
Hejże ino fijołeczku leśny for voice and piano, folk words, 1935, published in Poznań 1936
Koło mego ogródeczka for voice and piano, folk words, 1935, published in Poznań 1936
Kołysanka lalek, words by K. Iłłakowiczówna, 1935, published in the collection 4 pieśni, Warsaw 1936
Liście w ogrodzie for voice and piano, folk words, 1935, published in Poznań 1936
Miała Kasieńka for voice and piano, folk words, 1935, published in Poznań 1936
Pod borem sosna for voice and piano, folk words, 1935, published in Poznań 1936
Są na boru szyszki for voice and piano, folk words, 1935, published in Poznań 1936
Som w stawie rybecki for voice and piano, folk words, 1935, published in Poznań 1936, also versions: for 3-voice female choir, 1938, for choir and orchestra entitled Rybeczki, 1956, performed in Kraków 1956
Ta kolebka for voice and piano, words by words by J. Porazińska, 1935, published in the collection 4 pieśni, Warsaw 1936
Uśnijże mi moje dziecię for voice and piano, folk words, 1935, published in Poznań 1936
Na krosnach for voice and piano, words by words by J. Porazińska, [before 1939], published in Kraków 1950
Powadziły się bieguny for voice and piano, words by words by J. Porazińska [before 1939], published in the collection 8 pieśni, Kraków 1950
W Betleem sławnem for female choir and piano/organ, 1942
Kolęda w olbrzymim mieście for choir and orchestra, words by T. Czyżewski, [po 1945], performed in Kraków 1947
Pochód czasów, rhythmic onomatopoeia for choir and orchestra, words by P. Waręż, 1947
A czemużeś nie przyjechał for choir and orchestra, folk words, 1948, published in Kraków 1951
Tren (Wokaliza) for voice and piano, 1949, published in the collection 8 pieśni, Kraków 1950
Kujawiak G for choir and orchestra, 1952
Pado dysc for choir and orchestra, 1953
Jesień for voice and piano, words by M. Miszewski, 1955, published in Kraków 1959
Polskie kolędy i pastorałki for voice and piano, words by J. Porazińska, 1957, published in Kraków 1958
List do Marc Chagalla for 2 voices solo, 2 reciters, choir and orchestra, words by J. Ficowski, 1961, performed in Warsaw 1961, published in Kraków 1966
Gołębica for soprano, choir and orchestra, words by S. Wyspiański, 1963, performed in Wrocław 1969
Scenic:
theatre music (staged at the J. Słowacki Theatre in Krakow):
Polacy nie gęsi by L.H. Morstin after M. Rej, 1953
Popas króla jegomości by A. Grzymała-Siedlecki, 1958
Editorials and arrangements:
Antologia muzyki chóralnej Renesansu na chór mieszany a cappella, Kraków 1965, 3rd ed. 1980
Antologia pieśni chóralnej romantyków niemieckich na chór mieszany a cappella, Kraków 1961
Work:
Podstawowe uwagi dla dyrygentów chórowych, Kraków 1951
