Kwartalnik Młodych Muzykologów UJ
no. 46 (3/2020), 39–50
DOI 10.4467/23537094KMMUJ.20.036.13909
www.ejournals.eu/kmmuj
Agnieszka Nowok-Zych
The K arol Szymanowski Academy of Music in K atowice
Mieczysław Weinberg and the Category of
Borderland
Abstract
Polish musicologist and author Danuta Gwizdalanka titled her publication
Mieczysław Wajnberg: kompozytor z trzech światów [Mieczysław Weinberg:
Composer from Three Worlds] (Poznań, 2013). Weinberg (1919–1996) was
a Polish composer with Jewish roots who spent most of his life in the
USSR. Without any doubt, he can be called ‘a composer from the border-
land’ due to his ‘hybrid identity’, which was one of the most important
reasons that affected the appreciation of Weinberg’s output both during
his lifetime and after death. The main ideas of this paper centre on the
category of ‘borderland’ and its representations in Weinberg’s biogra-
phy and oeuvre. According to the typology proposed by Krzysztof Zajas,
Weinberg’s life and works can be considered in terms of the following
types of borderland: interdisciplinary, spatial, psychological, existential,
sociological, and mythological. Through the prism of the category of ‘bor-
derland’, Weinberg’s creative work manifests itself as a highly individual
and invaluable testimony of his times, Far from eclectic and epigonic in
39
Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020)
relation to the music of Dmitri Shostakovich, his oeuvre is unique in the
world’s music literature.
Keywords
Mieczysław Weinberg,1 borderland, identity, Krzysztof Zajas
Mieczysław Wajnberg: kompozytor z trzech światów [Mieczysław Wein-
berg: Composer from Three Worlds] is how Danuta Gwizdalanka2 titled
the only biography of the composer available in Polish musicological
literature so far. A Polish artist of Jewish descent, he lived and worked
in the USSR for over five decades… That the task of defining Wein-
berg’s cultural identity presents some difficulties is evident even from
such a brief description,. Intuition suggests that the term ‘borderland
composer’ may prove appropriate. It was the composer’s ‘hybrid iden-
tity’ that constituted the main obstacle to appreciating his artistic work,
both in his lifetime and after death. The closeness of the three cultural
circles undoubtedly had a significant impact on the artistic choices
that Weinberg made. How does the category of borderland fit into the
composer’s biography and works? Is it possible to interpret Weinberg’s
musical legacy through this prism, and if so, how can it be interpreted?
In this paper, I will make an attempt to answer these questions.
The word ‘borderland’ invariably refers us to the concept of the
border. In his article ‘Pogranicza bez granic’ [‘Borderlands without
Borders’] Włodzimierz Próchnicki points out, however, that a border
is a line, while a borderland is an area. Though inextricably connected
with the border, that area cannot be fully defined, and remains, in
a sense, open.3 Borderlands are always heterogeneous; their character-
1
The composer’s name and surname have been spelled variously as Mieczysław
Wajnberg (the Polish-language version also preferred by the composer himself,
who signed his scores in this way), Mieczysław Weinberg (the spelling found in
most English-language publications and music releases), Moisey or Moishe Vain-
berg (Vaynberg). In the English-language version of this paper, I will consistently
refer to the artist as Mieczysław Weinberg (the internationally preferred spelling
of his surname), so as to facilitate tagging and searching the text.
2
D. Gwizdalanka, Mieczysław Wajnberg: kompozytor z trzech światów (2013).
3
W. Próchnicki, ‘Pogranicza bez granic’, in J. Fazan, K. Zajas, eds, Na pograniczach
literatury, 21 (2012), 35.
40
Agnieszka Nowok-Zych, Mieczysław Weinberg and the Category of Borderland
istic features are ‘separateness’ and ‘interpenetration’,4 which generates
tense oppositions, sometimes involving a value judgment, such as ‘us’
versus ‘them’ or ‘strangers’.5
As Próchnicki points out, the border need not exist geographically.
It manifests itself in the form of linguistic and cultural differences
both between neighbouring societies and those separated by a con-
siderable geographical distance.6 True boundaries are therefore not
an obstacle to the emergence of differences. This entails differences
in the ways of artistic thinking, as well as a veritable fusion of mutual
influences. Weinberg’s oeuvre turns out to be an excellent example of
this phenomenon.
Scholarly literature in the humanities offers numerous typologies
of borderland. The fact that ‘borderland’ is still a dynamically develop-
ing category is evident e.g. from a paper by Grzegorz Babiński, which
suggests, among others, a division into new and old borderlands.7 The
4
W. Panas, ‘O pograniczu etnicznym w badaniach literackich’, in T. Michałows-
ka, Z. Goliński, Z. Jarosiński, eds, Wiedza o kulturze i edukacja. Księga referatów
Zjazdu Polonistów (1996).
5
W. Próchnicki, ‘Pogranicza…’, 36–37. Due to their evaluative aspect, borderlands
are frequently the subject of postcolonial research. Examples of interesting publi-
cations on this subject, include: J. Kieniewicz, Ekspansja, kolonializm, cywilizac-
ja (2008); H. Bhabha, ‘Of mimicry and men. The Ambivalence of Colonial Dis-
course’, https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/
modules/fulllist/special/crimefiction/homi_bhabha_-_of_mimicry_and_man.
pdf, accessed 28 Mar. 2021; H. Bhabha, The location of culture (2010); Ch. Sando-
val, Methodology of the Oppressed (2000).
6
W. Próchnicki, ‘Pogranicza…’, 37
7
G. Babiński, ‘Przemiany pograniczy narodowych i kulturowych – propozycje ty-
pologii’, in R. Stemplowski, A. Żelazo, eds. Polskie pogranicza a polityka zagran-
iczna u progu XXI wieku (2002), 18. The old borderlands include: a) territorial; b)
historical; c) those demonstrating a significant degree cultural interpenetration,
and therefore of similarity between the communities living there; d) more fre-
quently transitional than bordering on each other; e) those lacking sharp divisions
and boundaries between communities; f) economically and socially diversified,
which does not lead to sharp divisions (since there is an observable continuity
and completeness in their social stratification); g) those existing between ‘social
wholes’; h) those evolving from the acceptance of subordinate cultures to cultur-
al equality, but essentially preserving vertical intercultural and identity relations,
with a significant role played by religious diversity (though it is not constitutive to
social divisions). Under the heading of new borderlands, Babiński lists: a) slight-
ly territorial ones (with an indefinite or only symbolic territory); b) ‘ahistorical’
ones; c) those demonstrating significant cultural diversity and civilizational dis-
tances; d) bordering on each other in both territorial and cultural terms; e) those
41
Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020)
most universal typology, however, seems to be the general one pro-
posed by Krzysztof Zajas, who distinguishes between the following
borderlands: interdisciplinary, spatial, psychological and existential,
sociological, and mythological.8 The author conceives of the interdis-
ciplinary borderland as the interpenetration of scientific discourses
and the application of research tools derived from diverse disciplines.9
When undertaking research on the work of a composer such as Miec-
zysław Weinberg, scholars must be aware of the need to extend their
knowledge so as to include the thematic fields of history, sociology,
religious studies, literature, and anthropology, that is, disciplines
necessary to present the fullest possible interpretation of the artist’s
output.
Spatial borderland is a specific territory or space. It comprises local
homelands, which create the conditions for the co-existence of many
cultures and determine the emergence of works characterised by a spe-
cific form or language. In the case of Weinberg, spatial borderland
and its influence on the composer’s work seems to be one of the key
manifestations of Zajas’s category. Weinberg came from a family of
Moldavian Jews who managed to escape a pogrom in Chișinău.10 Born
in 1919 in Warsaw,11 he was brought up as a Polonized Jew. Weinberg
himself, although he drew abundantly on the Jewish tradition in his
in which boundaries between groups are clear but often only symbolic and iden-
tity-related; f) demonstrating various social and economic differences (both very
large and minimal – no complete social stratification has been formed); g) those
between communities selected as a result of migration processes; h) those exhib-
iting distinctly horizontal ways of perceiving intercultural relations (especially
on the part of the minorities); i) those in which religious diversity plays a highly
significant role.
8
K. Zajas, ‘Widnokresy literatury’, in J. Fazan, K. Zajas, eds, Na pograniczach lit-
eratury, 21, (2012), 5–10.
9
K. Zajas, ‘Widnokresy literatury’, 5–10.
10
With regard to biographical information, I draw on two monographs dedicated
to this artist: David Fanning’s Mieczysław Weinberg: In Search of Freedom (2010)
and the aforementioned work by Danuta Gwizdalanka. The former publication
offers the first comprehensive overview of the composer’s life and work. The book
became the point of departure for other studies, including Mieczysław Wajnberg:
kompozytor z trzech światów. All the biographical data come from these two books,
unless stated otherwise.
11
This date, although it appears in official biographical sources, was verified by Da-
nuta Gwizdalanka. It turns out that the composer’s birth centenary in 2019 should
rather have been celebrated a year earlier, because he was most likely born in 1918;
cf. D. Gwizdalanka, ‘Nieznane fakty z biografii Mieczysława Wajnberga’, https://
42
Agnieszka Nowok-Zych, Mieczysław Weinberg and the Category of Borderland
output, always felt more Polish, which he emphasised until the end
of his life. He did not know Hebrew, nor did he speak Yiddish.12 In
1939, he managed to escape from occupied Warsaw to Minsk, where he
studied at the local conservatory in the class of Vasily Zolotarev. The
artistic legacy of the Romantic national schools was still alive in that
centre, which influenced Weinberg’s musical output, among others in
the form of references to folk melodies and his late-Romantic orches-
tration (one of the examples is Rhapsody on Moldavian Themes, Op.
47, written long after leaving Belarus). Fate, however, forced Weinberg
to make another escape, necessitated by Nazi Germany’s invasion of
its recent Soviet ally in 1941. The composer reached Tashkent, from
which, thanks to the protection of Dmitri Shostakovich, he managed
to move to Moscow in 1943. He resided in the latter city until his death
in 1996. It is impossible not to notice that as a consequence of changes
in territorial divisions and the resulting (forcible or life-saving) mass
migrations, twentieth-century Europe became a continent of intermin-
gling influences, of which the Union of Soviet Socialist Republics seems
to be the most distinctive example. What emerged from Weinberg’s
wanderings was a musical language which (though undergoing some
transformations over the years) incorporated elements of both his na-
tive (Moldavian, Jewish and Polish) traditions and the achievements of
Romantic national schools. It also made allowances for the communist
party’s thematic requirements, and demonstrated many stylistic par-
allels to the output of Dmitri Shostakovich. Despite the political thaw
and the easing of restrictions on citizens of Jewish origin after the
death of Joseph Stalin, Weinberg never left Moscow, probably owing
to his friendship with Shostakovich.13 This fact relates to another set of
categories in Zajas’s typology, namely, the psychological and existential
borderlands, related to the difficulty of classifying one’s identity and
culture.pl/pl/artykul/ nieznane-fakty-z-biografii-mieczyslawa-wajnberga, ac-
cessed 3 Aug. 2019.
12
Testimony of Victoria Bishops, the composer's daughter, now living in Toronto,
contacted online during the International Conference ‘Weinberg: Between East
and West’, organised by David Fanning and Michelle Assay at the Martin Har-
ris Centre for Music and Drama, University of Manchester, which I attended on
24–27 January 2019. The meeting with Victoria Bishops was entitled ‘Letters from
My Father’. Publishing work on the conference proceedings is currently under-
way; they will be published by The British Academy.
13
Testimony of Victoria Bishops, International Conference ‘Weinberg…’.
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Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020)
true affiliation. Zajas describes this as ‘the sense of identity being upset
by the presence of the Other, settled within the same space; as a way of
living, it is the existence of a nomad who seeks to communicate with
Others’.14 In Weinberg’s case, this phenomenon can best be described
within the framework of Zajas’s third proposed type, that of the soci-
ological borderland, which refers to group identification on the level of
language, national identity and national minorities. It is a problem that
arises as a result of neighbouring groups delineating the boundaries of
their existence within one and the same territory.
As already mentioned, the misconceived ‘need’ to identify Wein-
berg as a Jewish and / or Polish and / or Soviet composer possibly
constituted the greatest obstacle to promoting his work. Starting in the
1960s, which David Fanning sees as the golden years of the composer’s
artistic activity, Weinberg’s music failed to attract any major interest
in either publishers or the public. Victoria Bishops recalls her father’s
words: ‘he had more luck in his life for the quality than for the number
of [his music’s] performers’.15 In the USSR, Weinberg was regarded
as a Jewish composer, whereas in Poland – as a Soviet one, which
effectively blocked his way to the concert stages. The Polish Ministry
of Culture became interested in the person of Weinberg only as late
as 1994, and the first CD recordings of the composer’s works were
released after his death thanks to the great commitment of Tommy
Persson, an admirer of Weinberg’s talent.16 Due to his Jewish origin,
Weinberg and his relatives repeatedly encountered unpleasant remarks
or prejudice, and his life also came under serious threat. He suffered
slights even from his friends, fellow-composers. Georgy Sviridov,
also a close friend of Shostakovich, apparently officially expressed
the view that Weinberg, although writing similarly to Shostakovich,
would never be able to match the latter composer’s talent because of
his Jewish roots.17 Through his first wife, Natalia, whom he had met
14
K. Zajas, ‘Widnokresy literatury…’, 8.
15
Testimony of Victoria Bishops. Weinberg's works were performed by artists of
such calibre as Mstislav Rostropovich, Sviatoslav Richter, and David Oistrakh.
16
Tommy Persson, Weinberg’s Last Years, speech delivered during the International
Conference ‘Weinberg…’, unpublished.
17
Daniel Elphick’s unpublished statement at the International Conference ‘Wein-
berg…’. Daniel Elphick is the author of an excellent doctoral dissertation dedi-
cated to Weinberg's quartets. His statement confirms the assumption of Grzegorz
Babiński that internal divisions exist even within the ‘borderland’ and that it is
44
Agnieszka Nowok-Zych, Mieczysław Weinberg and the Category of Borderland
in Tashkent, Weinberg became the son-in-law of Solomon (Shloyme)
Vovsi-Mikhoels. Mikhoels was not only a respected actor and director
in Jewish theatres, but also a committed activist and chairman of the
Jewish Anti-Fascist Committee. Anti-Semitic policies intensified in
the USSR in the late 1940s and the early 1950s, leading to many arrests
and political assassinations. As a result of anti-Semitic campaigns,
Mikhoels was murdered by the NKVD in a mock car accident in 1948,
and all his family came under close surveillance by the authorities.18
Weinberg was accused of ‘bourgeois formalism’ and imprisoned at
Lubyanka in 1953, but he was released after the death of Joseph Stalin.
Additionally, Shostakovich wrote a letter to Lavrentiy Beria requesting
a pardon for Weinberg.
The composer’s fullest contact with the ‘Other’, in the positive sense
of this word, was that with Dmitri Shostakovich, who became not only
his faithful friend, but also an artistic authority. The composer never
tried to conceal the decisive impact that Shostakovich’s music had a on
him. This profound private relationship found its natural reflection in
Weinberg’s musical language, which is frequently brought up as one
of the main objections to his work and the reason for dismissing him
as Shostakovich’s ‘epigone’. Alexander Ivashkin is extremely critical of
Weinberg in this regard:
The influence of Shostakovich’s music on Russian composers mani-
fested itself on many levels. In the 1960s, many artists took over his
style, while to a large extent compromising its value. Among its im-
itators were Moysey Weinberg, Yuri Levitin, German Galynin, and
the most talented of them, Boris Tishchenko. However, Shostakovich
appreciated their works because he heard in them many elements
characteristic of his [own] musical language. Probably, like many
composers, he was under the illusion that this was the direction that
itself hierarchical (G. Babiński, ‘Przemiany pograniczy…’, 15.). In his book Mu-
sic behind the Iron Curtain: Mieczysław Weinberg and his Polish Contemporaries,
Elphick adds that Weinberg dedicated his Symphony No. 6 to Sviridov and that
despite the latter’s anti-Semitic views, they remained in close contact. The dia-
ries published after Sviridov’s death present him as a staunch anti-Semite. On this
basis, it can be concluded that his views did not stop him from making friends
with Weinberg, which seems quite controversial. Cf. D. Elphick, Music behind
the Iron Curtain. Mieczysław Weinberg and his Polish Contemporaries (2019), 180.
18
In the event of the Weinbergs’ death, the Shostakovich family were prepared to
take care of their daughter, Victoria.
45
Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020)
future music was to take. Today, however, it is known that these
works were destructive to Shostakovich’s music, as it got lost among
a multitude of poor copies.19
In reality, the composers mutually influenced and inspired each
other. Jewish themes probably appeared in Szostakowicz’s works
thanks to his friendship with the Polish artist.
Weinberg’s nomadic biography resulted in a kind of musical ‘trilin-
gualism’, which was a combination of native elements, the Zolotarev
school, and a style close to the music of Dmitri Shostakovich. Each of
these languages was meant to help the composer establish communi-
cation with the ‘Other’ in the new reality that he faced, and the first
of them – also to emphasise his roots. Native elements are represent-
ed, among others, by the idioms of Jewish music, frequently ‘vulgar’
and imitating a klezmer band. In this way, Weinberg alludes to his
childhood (his father wrote revue and theatre music). References to
Fryderyk Chopin’s oeuvre play a significant role, especially in the form
of quotations in Symphony No. 8 ‘Polish Flowers’ Op. 83 and Sympho-
ny No. 21 ‘Kaddish’ Op. 152.20 Chopin was not only one of Weinberg’s
favourite composers. As an émigré, Weinberg had a sense of shared
experience and fate with the Polish Romantic. Additionally, Cho-
pin’s music evoked memories of his studies at Warsaw Conservatory.
Weinberg was considered as one of the most talented students of Józef
19
A. Ivashkin, ‘Shostakovich and Schnittke: the Erosion of Symphonic Syntax’, in:
D. Fanning, ed., Shostakovich. Studies (1995), 254-255. Shostakovich himself val-
ued Weinberg’s music highly: ‘He always appreciated and liked Weinberg’s mu-
sic. He dedicated his String Quartet No. 10 to this composer. In 1975 he also wrote
a sketch for the program of Weinberg’s opera Мадонна и солдат (The Madonna
and the Soldier).’ Shostakovich, in his turn, ‘talked with joy about Moysey Wein-
berg’s new opera Пассажирка (The Passenger). “It is an amazing work” he used
to repeat, “just extraordinary.”’ Cf. K. Meyer, Dymitr Szostakowicz i jego czasy
(1999), 327, 340. On the other hand, Weinberg saw no danger in imitating Shostak-
ovich’s musical style, which is evident in his defence of his friend’s Symphony No.
10: ‘He opposed the thesis that Shostakovich’s music exists just for its own sake.
He added that, in his view, the composer had tens of thousands of admirers in
the Soviet Union alone. He also confessed that he did not see anything wrong in
the fact that the young composers’ generation was within the sphere of influence
of the author of Symphony No. 10’ (K. Meyer, Dymitr Szostakowicz..., 240–241).
20
In Polish Flowers, the composer quotes Chopin's Sonata in B-Flat Minor, Op.
35 (Movement Three: Marche funèbre: Lento), while in Kaddish – Ballade in G Mi-
nor, Op. 23.
46
Agnieszka Nowok-Zych, Mieczysław Weinberg and the Category of Borderland
Turczyński, teacher of the Chopin Competition third-prize winner Wi-
told Małcużyński. Weinberg himself was seen as the would-be winner
of the event’s next edition. After playing in front of Józef Hoffman, he
received an offer of studies in Philadelphia. The journey, however, never
took place since Weinberg’s Jewish origin prevented him from obtain-
ing a visa. The composer’s ‘rooting’ was enhanced by the profoundly
autobiographical character of his output. Weinberg considered giving
testimony to the tragic history of his nation as his artistic creed. He
thus spoke on behalf of all the victims of European totalitarian regimes.
His belief in the profound meaning of humanism meant that in his art
he responded to the need of upholding the memory of the horrors of
World War II, so that such atrocities would never take place again. As
the composer himself commented:
Many of my works are related to the war. But it was not I who chose
this topic. It was dictated by my fate, and by the tragic fate of my
relatives. I consider it my moral duty to write about the war, about
the terrible fate that has befallen humankind in our century.21
If I consider myself distinguished because my life has been saved,
this fact gives me a conviction that it is impossible to pay off the debt,
that even hard creative work for twenty-four hours a day, four days
a week would not bring me even an inch closer to this repayment.22
Another, mythographic type of borderland concerns the space of
‘special cultural significance, as for example, in the concept of Kresy
[the historical eastern borderlands of Poland – translator’s note].’23 I as-
sume that ‘mythographic borderland’ also refers to a space of special
significance to the author of the given text, on which he or she bestows
a symbolic, almost legendary meaning. To Weinberg, Warsaw seems
to have been such a place until the turning point which came in 1966.
There is no doubt that the Warsaw of his childhood and youth stayed
in the composer’s imagination as a carefree time of family happiness
and security, as well as his first artistic successes. In 1966, for the first
and only time since his escape, he had the opportunity to visit Poland
21
D. Gwizdalanka, Mieczysław Wajnberg…, 60.
22
H. Milewska, ‘Mieczysław Weinberg – muzyczne dziękczynienie’, HFiM, 2 (2011),
https://hi-fi.com.pl/sylwetki-muzyczne-lista/740-mieczys%C5%82aw-weinberg-
muzyczne-dzi%C4%99kczynienie.html, accessed 3 Aug. 2019.
23
K. Zajas, Widnokresy literatury…, 8.
47
Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020)
as a Soviet delegate to the ‘Warsaw Autumn’ International Festival
of Contemporary Music. That return to his ‘paradise lost’ is known
to have proved a great disappointment for Weinberg, as his second
daughter Anna recalls:
Father’s trip to Poland was very sad for him. He met almost nobody
of his youth friends [...] He was sad because Warsaw was absolutely
reconstructed and many friends were gone.24
Krzysztof Meyer comments on the situation in more detail:
I knew his [Weinberg’s] name because while reading Soviet Music
regularly I kept coming across information about his works. More-
over, I had several Soviet CDs with recordings of his music at home.
I liked it very much, for example his second Sinfonietta. I thus de-
veloped an interest in Weinberg and we had something to talk about
from the start. Other Polish composers shunned him. This was due
to the negative attitude to Russian cultural policies, as the works of
the composers sent to the Festival were, almost without exception,
conventional and traditional. What we expected from the ‘Warsaw
Autumn’ was not merely good craftsmanship. We thus preferred
Edison Denisov and Alfred Schnittke. Weinberg did not fit into the
Warsaw Autumn landscape, either. The only Pole who sought contact
with him was Zbigniew Turski because they had studied together be-
fore the war and it was Weinberg who had played his piano concerto
at that time. Such a reception must have been a bitter experience for
Weinberg. After all, Poland was his lost motherland, and Polish – the
mother tongue. He still spoke flawless Polish, without any colloquial-
isms, articulating the words as if they had been printed. He spoke the
Polish of the pre-war intelligentsia, cultivated and elegant-sounding.
He did not seem it to consider it a great tragedy that most of our
colleagues kept a distance from him... His greatest disappointment
was that the city, which he remembered from the past, had ceased
to exist.25
The category of the borderland, in all the manifestations and sens-
es of this term, clearly demonstrates that an attempt to ‘assign’ one
identity to an artist is doomed to failure. This intuition is confirmed
24
D. Elphick, Music behind the Iron Curtain…, 193.
25
K. Meyer, ‘Im Schatten Schostakowitchs’, Opernwelt, 6 (2010), 42–43, quoted in:
D. Gwizdalanka, Mieczysław Wajnberg…, 40.
48
Agnieszka Nowok-Zych, Mieczysław Weinberg and the Category of Borderland
by the reflection of Daniel Elphick, who calls for a reconsideration of
Weinberg’s musical legacy, free of cultural value judgments. He believes
that the only right way is to take his music as
an intersectional weaving of Jewish, Soviet-Russian, and Polish in-
fluences and experiences. In this manner, we understand his music
as the expression of a full and rounded human being, and not the
simple culmination of any national tradition.26
Viewed from this perspective, the musical output of Mieczysław
Weinberg as a ‘composer from the borderland’ takes on eminently in-
dividual qualities, becoming at the same time an extremely valuable
testimony of the times in which he lived. It is a legacy unique in the
history of the world’s music literature.
Bibliography
References
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Elphick D., Music behind the Iron Curtain. Mieczysław Weinberg and
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D. Elphick, Music behind the Iron Curtain…, 262–263.
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Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020)
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