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Polish houses of music. Approaching Europe

2022; American Institute of Physics; Volume: 2709; Linguagem: Inglês

10.1063/5.0105570

1935-0465

Tomasz Konior, Jakub Świerzawski,

Historical and Cultural Studies of Poland

Music has always accompanied man – in a city, it has been present on the streets, squares, and in selected salons, for the greater glory of God, it was played in churches. It is no coincidence that one of the first buildings rebuilt in post-war Poland was the building of the National Philharmonic in Warsaw. Also important is the age-old need to meet, accompanied by the phenomenon of identity and ennoblement, combining the cultural and center-making dimensions of architecture and music. Used in a competitive urban space, it gives the city a new image. This is testified to by examples of "architecture for music" which sometimes in the formal layer are far removed from the iconic works of historical significance, but at the same time, their supralocal significance cannot be undervalued, often possessing an almost phenomenal dimension. After Poland's entry into the European Union, many Polish cities began the long road to "catch up" with their Western European counterparts with the construction of cultural facilities, of which numerous were devoted to music. To name but a few, the last years have seen the creation of notable examples: the Stanisław Moniuszko Podlasie Opera and Philharmonic-European Art Centre in Białystok, the Krzysztof Penderecki European Centre For Music in Lusławice, the Karłowicz Philharmonic in Szczecin, the National Forum of Music in Wrocław. the Polish Radio National Symphonic Orchestra (NOSPR) in Katowice, the Centre for the Meeting of Cultures in Lublin. Buildings designed by foreign architects were also erected in Poland, an example being the aforementioned Philharmonic in Szczecin (designed by Fabrizio Barozzi and Alberto Veiga) awarded the highest European architectural prize, as well as the Cultural and Congress Centre Jordanki designed by Fernando Menis in Toruń. In addition, world-renowned musicians and composers are involved in the creation of exceptional concert halls in Poland. The famous pianist Krystian Zimmermann influenced the search for optimal acoustics of the NOSPR hall. Krzysztof Penderecki (1933 - 2020) was the founder of the European Music Centre in the small town of Lusławice. He created a unique place where musicians can educate themselves and give concerts. olish buildings for music have won important European prizes and awards. They serve for the experience of music and influence the urban tissue changing its character and even changing the identity of the city. For our presentation, we have selected four facilities: The Philharmonic in Szczecin, Krzysztof Penderecki European Centre For Music in Lusławice, The NOSPR in Katowice, and the Symphony building of the Academy of Music in Katowice.