|Polish Music Center|
(5 Sept. 1924, Lwów [now L'viv, Ukraine] - 27 Sept. 2009, Kraków)
Krystyna Moszumańska-Nazar was born in Lwów (now Lviv, Ukraine) on 5 September 1924. After the Second World War she settled in Kraków, where she studied composition with Stanisław Wiechowicz and piano with Jan Hoffman at the city's State Higher School of Music (now Music Academy). She is a prize-winner of numerous competitions, including the Young Composers' Competition of the Polish Composers' Union (1954, for Oberek from the Suite of Polish Dances), the International Competition for Women Composers in Mannheim (1961 for Hexaedre and 1966 for Exodus), the International Competition for Women Composers in Buenos Aires (1962 - First Prize and Gold Medal for Music for Strings), and Karol Szymanowski Composers' Competition (1974 - Second Prize for Polish Madonnas. She is a Professor at the Music Academy in Kraków, where she served as Rector in 1987-93. Her honours include the Award
of the Polish Composers' Union, the Award of the Minister of Culture and Art (five times), the Award of Merit for National Culture, the Prime Minister's Award, an Honoris Causa doctorate from the Music Academy in Kraków, and the City of Kraków Award.
On Saturday, 27 September 2009, Ms. Moszumańska-Nazar passed away after a long illness. She was writing music until the last moments of her life.
There are two types of chords that I have favored in all of my music: one of them is a juxtaposition of two minor thirds, the second is built from two superimposed fourths, a perfect fourth and a tritone. I like shifting these harmonies around, but do not write them out in tables or pre-compositional systems. [...] In creating one has to be an egoist, one has to express oneself. [Moszumańska-Nazar, unpublished interview with Trochimczyk, 1995]
I cannot name and define one concrete emotion which is experienced while composing music. Composing is a sum of various experiences: imagination, knowledge, it all comes into play while a piece is being formed, created. There are formal schemas that might be used or rejected, there is the emotional flow and the structuring of the tensions following the outline of a sinusoid, with greater or smaller peaks at certain points in the piece. In order for the form to be proper, the dramatic climax should be located at the point of the golden division (that is about two thirds into the course of the work) - then the form is properly structured in time. Composing requires relying on experiences, searching for best results, listening to the music. [...] In the process of composing, the most important role is played by the creative imagination. Music is different because different people, different composers have different compositional talents. Everyone has a different sense of beauty and every composer creates his or her own sound world, reflecting their own experiences, thoughts and emotions. One could almost say that the character of a person "shines through" the music: one person is emotional, another one is rational, etc. [Moszumańska-Nazar, unpublished interview with Trochimczyk, 1995]
Based on materials from the program book of the Warsaw