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Music of Poland

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Themusic of Polandcovers diverse aspects of music and musical traditions which have originated, and are practiced inPoland.Artists from Poland include world-famousclassicalcomposers likeFrédéric Chopin,Karol Szymanowski,Witold Lutosławski,Henryk GóreckiandKrzysztof Penderecki;renowned pianists likeKarl Tausig,Ignacy Jan Paderewski,Arthur RubinsteinandKrystian Zimerman;as well aspopular musicartists, and traditional, regionalisedfolk musicensembles that create a rich and lively music scene at the grassroots level. The musicians of Poland, over the course of history, have developed and popularized a variety ofmusic genresandfolk dancessuch asmazurka,polonaise,krakowiak,kujawiak,polskapartner dance,oberek;as well as thesung poetrygenre (poezja śpiewana) and others. Mazurek (Mazur), Krakowiak, Kujawiak, Oberek and Polonaise (Polonez) are registered as Polish National Dances, originating in early Middle Ages. The oldest of them is Polonaise that comes from the Medieval pageant dances and it was originally called "chodzony", a "walking dance".

Polish music exhibits influences from a broad variety of styles which are represented by critically acclaimed bands, such as Perfect (Zbigniew Hołdys), Status Qwo, Maanam (Kora), T.Love, Golec uOrkiestra, Budka Suflera, Czerwone Gitary, Dżem, Big Cyc, as well as many other renowned artists, e.g. Czesław Niemen, Magdalena Ostrowska, Jacek Kaczmarski, Wojciech Młynarski, Czesław Mozil, Jakob Węgiel, Marek Grechuta, and contemporary singer-songwriters and pop icons includingMargaret,Maria Peszek,Myslovitz,Edyta Bartosiewicz,andDoda;jazz musiciansTomasz Stańko,Krzysztof Komeda,Włodek Pawlik,Adam Makowicz,Leszek Możdżer,andMichał Urbaniak;deathandblack metalmusic bandsBehemoth,Vader,andDecapitated;andfilmandcontemporary classical musiccomposersWojciech Kilar,Jan A.P. Kaczmarek,Zbigniew Preisner,Abel Korzeniowski,Krzesimir Dębski,andKrzysztof Meyer,among many others.

Classical music

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Medieval and Renaissance

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Portrait ofMarcin Leopolita,c. 1570

The origin of Polish music can be traced as far back as the 13th century, from which manuscripts have been found inStary Sącz,containingpolyphoniccompositions related to the ParisianNotre Dame School.Other early compositions, such as the melody ofBogurodzica,may also date back to this period. The first known notable composer,Mikołaj z Radomia,lived in the 15th century.

During the 16th century, mostly two musical ensembles – both based inKrakówand belonging to theKingand theArchbishopofWawel– led the rapid innovation of Polish music. Composers writing during this period includeWacław z Szamotuł,Mikołaj Zieleński,Nicolaus Cracoviensis,Marcin LeopolitaandMikołaj Gomółka,who composed "Melodies to Polish Psalter".Diomedes Cato,a native-born Italian who lived in Kraków from about the age of five, became one of the most famous lutenists at the court ofSigismund III,and not only imported some of the musical styles from southern Europe, but blended them with native folk music.[1]

Cover page of the"Melodies for the Polish Psalter"composed byMikołaj Gomółka,1580

Baroque

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During the 17th century, Polish composers from this period focused onbaroquereligious music, concertos for voices, instruments, andbasso continuo,a tradition that continued into the 18th century. The most renowned composer of this period isAdam Jarzębski,known for his instrumental works such asChromatica,Tamburetta,Sentinella,Bentrovata,andNova Casa.Other composers includeGrzegorz Gerwazy Gorczycki,Franciszek Lilius,Bartłomiej Pękiel,Stanisław Sylwester SzarzyńskiandMarcin Mielczewski.Also, in the last years of the 16th century and the first part of the 17th century, a number of Italian musicians were guests at the royal courts of Sigismund III andWładysław IV.These includedLuca Marenzio,Giovanni Francesco Anerio,andMarco Scacchi.

In addition, a tradition of operatic production began in Warsaw in 1628, with a performance ofGalatea(composer uncertain), the first Italian opera produced outside Italy. Shortly after this performance, the court producedFrancesca Caccini's operaLa liberazione di Ruggiero dall'isola d'Alcina,which she had written for PrinceWładysławthree years earlier when he was in Italy. Another first, this is the earliest surviving opera written by a woman. When Władysław was king (as Władysław IV) he oversaw the production of at least ten operas during the late 1630s and 1640s, making Warsaw a center of the art. The composers of these operas are not known: they may have been Poles working under Marco Scacchi in the royal chapel, or they may have been among the Italians imported by Władysław.[2]

Composers of the latter part of the 18th century includedMaciej Radziwill,whose style has been characterized as being in thegalantstyle.

Classical

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Feliks Janiewicz,Karol Kurpiński,Jan Stefani,Wojciech ŻywnyandFranciszek Ścigalskiwere Polish composers writing in theclassical period stylecharacteristic in the 18th and early 19th centuries. The first national opera,Krakowiacy i Góralewritten byWojciech BogusławskiandJan Stefanipremiered on 1 March 1794.

Romantic

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Frédéric ChopinbyDelacroix,1838

At the end of the 18th century, Polish classical music evolved into national forms like thePolonaiseandMazurka— perhaps the first distinctively Polishart music.Polonaises for piano were and remain popular, such as those byJacek Szczurowski,Michał Kleofas Ogiński,Juliusz Zarębski,Henryk Wieniawski,Józef Elsner,and, most famously,Frédéric Chopin.Chopin remains very well known, and is regarded for composing a wide variety of works, includingmazurkas,nocturnes,waltzesand concertos, and using traditional Polish elements in his pieces. The same period sawStanisław Moniuszko,the leading individual in the successful development ofPolish opera,still renowned for operas likeHalkaandThe Haunted Manor.

In the 19th century the most popular composers wereMaria Agata Szymanowska,Franciszek Lessel,andIgnacy Feliks Dobrzyński.Important opera composers wereKarol KurpińskiandStanisław Moniuszko.At the turn of the 19th and 20th centuries the most prominent composers wereWładysław ŻeleńskiandMieczysław Karłowicz.Karol Szymanowskigained prominence prior to World War II.Józef Kofflerwas the first Polishtwelve-tone composer(dodecaphonist).[3]

Contemporary

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Wojciech Kilar,classical and film music composer, 2006

Between the wars, a group of new and emerging composers formed the Association of Young Polish Musicians; which included future luminariesGrażyna Bacewicz,Zygmunt Mycielski,Michał SpisakandTadeusz Szeligowski.[4]

FollowingWorld War IIand the countrybecoming a communist system,some composers, such asRoman PalesterandAndrzej Panufnik,fled the country and remained in exile. In the early 1960s, a number of Polish composers formed thePolish Composers' School,characterized by the use ofsonorismanddodecaphonism.The style emerged from thepolitical crisis in 1956,following Stalin's death. In the same year theWarsaw Autumnmusic festival was inaugurated, both closely connected.[5]According to conductorAntoni Witcomposers were given artistic freedom because the Polish regime wasn't as harsh as other Eastern European dictatorships and music wasn't considered ideologically relevant unlike literature, theater or cinema.[6]Composers from the "Polish School" includedTadeusz Baird,Bogusław Schaeffer,Włodzimierz Kotoński,Witold Szalonek,Krzysztof Penderecki,Witold Lutosławski,Wojciech Kilar,Kazimierz Serocki,Tomasz Sikorski,Zygmunt KrauzeandHenryk Mikołaj Górecki.[5]

More modern classical and jazz composers includeKrzysztof Meyer,Jan A.P. Kaczmarek,Paweł Szymański,Krzesimir Dębski,Hanna Kulenty,Eugeniusz Knapik,Paweł Łukaszewski,Paweł Mykietyn,Maciej Zieliński,Marcel Chyrzyński,Marta PtaszynskaandAgata Zubel.

Recordings

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ThePolskie Nagrania Muzawas the state recording company, from 1956. Following the fall of communism it was bought by Warner Music Poland. It dealt with the wide range of music tastes, folk, popular, classical and children's music.

Traditional folk music

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Polishfolk musicwas collected in the 19th century byOskar Kolberg,as part of a wave of Polishnational revival.[7]AfterWorld War II,in thePolish People's Republic,folk traditions were commonly cultivated, but public performances and broadcasts had also highly organized and officially promoted forms. State-supported, large-scale folk ensembles became prominent.[7]The most famous of these wereMazowszeandŚląsk,both of which still perform. Though such bands presented interpretations of regional folk repertoire, the overall sound was a homogenized mixture of Polish styles. There were more authentic groups, such asSłowianki,but the sanitized image of folk music made the whole field unattractive to some audiences, and many traditions dwindled rapidly.

Polish dance music, especially themazurkaandpolonaise,were popularized by Frédéric Chopin, and they soon spread across Europe and elsewhere.[7]These are triple time dances, while five-beat forms are more common in the northeast and duple-time dances like thekrakowiakcome from the south. The 'polonaise' comes from the French word for 'Polish' used to identify its origin among the Polish aristocracy who had adapted the dance from a slower walking dance calledchodzony.[7]The polonaise then re-entered the lower-class musical life, and became an integral part of the Polish music.

Podhale

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While folk music lost popularity in Poland, especially in urban areas, the tourist destination ofPodhalehas retained its lively traditions.[7]The regional capital,Zakopane,has been a center for art since the late 19th century, when people like composerKarol Szymanowski,who discovered Goral folk music there, made the area chic among Europe's intellectuals.[7]Though a part of Poland, Podhale's musical life is more closely related to that found in theCarpathianmountains of Ukraine, Slovakia, Moravia in Czech Republic andRomania.

Local ensembles usestring instrumentslike violins and a cello to play distinctive scales with augumented fourth, mainly thelydian modeandacoustic scale,in Poland calledskala podhalańska.The distinctive singing style used in this scale is calledlidyzowanie.The lead violin (prym) are accompanied by several second violins (sekund) and a three-stringed cello (basy).[7]Duple-time dances like thekrzesany,zbójnicki(the Brigand's Dance) andozwodnaare popular. The ozwodna has a five-bar melodic structure which is quite unusual. The krzesany is an extremely swift dance, while the zbójnicki is well-known and is perceived as being most "typical" of Podhale and Northern Slovakia. Folk songs typically focus on heroes likeJuraj Jánošík.[7]

Other regions

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Outside of Podhale, few regions have active folk scenes, though there are music festivals, such as the Kazimierz Festival, which are well-known and popular.[7]Regional folk bands include Gienek Wilczek Band (Bukowina), Tadeusz Jedynak Band (Przystalowice Male), Stachy Band (Hazców nad Wislokiem), Franciszek Gola Band (Kadzidło), Edward Markocki Band (Zmyslówka-Podlesie), Kazimierz Kantor Band (Głowaczowa), Swarni Band (Nowy Targ), Kazimierz Meto Band (Glina), Ludwik Młynarczyk Band (Lipnica), Kujawska Atlantyda (Kujawy) andTrebunie-Tutki.

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Margaret,one of the most recognized Polish singers
See also:List of Polish musicians

Poland has always been a very open country to new music genres and even before the fall of the communism, music styles likerock,metal,jazz,electronic,andnew wavewere well-known.[8]Since 1989, the Polish scene has exploded with new talents and a more diverse style.

Every year, a huge gathering of young Poles meet to honour the rock and alternative music inJarocin,Żary,atWoodstock FestivalPoland inKostrzyn nad Odrąand atOpen'er FestivalandOff Festival.These events often attract more than 250,000 people and are comparable to the gatherings inWoodstockandRoskilde.

In jazz music, Polish musicians created a specific style, which was most famous in 1960s and 1970s. Some prominent Polish jazz artists are:Krzysztof Komeda,Zbigniew Namysłowski,Adam Makowicz,Tomasz Stańko,Włodek Pawlik,Michał Urbaniak,Leszek Możdżer.Some of the most popular and commercially successful Polish vocalists of 20th and 21st centuries areCzesław Niemen,Edyta Górniak,Myslovitz,Doda,Maryla Rodowicz,Kamil Bednarek,Ewa Farna,Agnieszka Chylińska,Sylwia Grzeszczak,Michał Szpak,Edyta Bartosiewicz,Anna Maria Jopek,Kasia Nosowska,Dawid Podsiadło,Sarsa,Monika BrodkaandMargaret.

Two contemporary big Polish music festivals areOpole FestivalandSopot Festival.Among other important festivals there are:Jazz Jamboree,Rawa Blues FestivalandWratislavia Cantans.

Heavy metal

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Black metal

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Roman Kostrzewski, former frontman of Kat, one of the most influentional Polish heavy metal bands performing in 2010

Black metalin Poland has evolved since the 1980s, although the first bands strictly in this genre appeared in the early 1990s, with the growth of theNorwegian black metal movement.One of the first Polish black metal bands, founded in late 1979, wasKatfrom Katowice, which was originally classified as thrash, and heavy metal. Kat was a major influence on Polish heavy metal music, developing their harsh sound with straightforward satanic lyrics, and later were heavily inspired by the poetry ofTadeusz Miciński.The group has reformed several times over the years, and remains active, with their guitarist co-founder on studio projects. After a naming dispute in the early 2000sKat & Roman Kostrzewskicontinue with both their live, and studio legacy.[9]

Other bands, classified as black metal in the 1980s, include Imperator (founded in 1984) with an antichristian approach in their music, andVader(founded in 1983) with Satan themed lyrics, appearing on stage in leather and spikes.[10]While still active, Vader later developed a death metal sound with occult themed lyrics, Imperator's style of music is disputed; reformed twice in the 1990s, the band eventually dissolved in 2000, with only one studio album released.[10]Minor Polish black metal bands of the 1980s include Fantom (founded 1985), Scarecrow with an origin in speed metal (formed 1987), thrash metal influenced Bundeswehra (1988), Apocalyptic Slaughter (1988), Dethroner later renamed Enormity (1987). All were short lived local acts, who only released demo recordings.

In the 1990s a wide range of black metal bands developed, such asChrist Agony,Mussorgski (both founded in 1990),Behemoth,Besatt, Xantotol (all founded in 1991), Oppressor later renamed Baphomets Throne,Mastiphal,Graveland,North, Taranis,Infernum(all founded in 1992), Hermh, Arkona, Thunderbolt, Profanum (all founded in 1993),Lux Occulta(founded in 1994),Darzamat(founded in 1995), Witchmaster (founded in 1996),CrionicsandVesania(founded in 1997).[11][12][13][14][15]After its first album, Christ Agony signed to the French Adipocere Records, then to Cacophonous Records, and then toHammerheart Records.They received a brief period of recognition in the European underground, but later became a minor act. After their seventh album in 2009 Christ Agony eventually signed toMystic Productionand gained nostalgic recognition in Poland with support from European tours.[16]

During early and mid-1990s, Behemoth, Graveland, Infernum, Profanum, Kataxu and other bands developed a distinguishable Polish black metal style, which featured a decent atmospheric keyboard usage and nature sound samples (e.g. wind, raven cries), while still preserving the raw production values. Behemoth quickly become popular in the underground with support fromGraveland's mainman Rob Darken, and later with influentional labelAvantgarde Music.Based in Gdańsk, the band eventually developed death metal influenced sound, and gained international recognition.[17][18]Other bands of the 1990s such as Baphomets Throne, North, Mussorgski, Besatt, Infernum remained active, but were signed to underground labels and never received international acclaim. In later years only Darzamat, after several album releases, were signed toMassacre Records,but their short lived European recognition was broken by lineup changes.[19]Vesania signed toNapalm Records,went on hiatus, but released three albums in the 2000s.[20]Later, Poland developed bands such as MasseMord,Mgła(both founded in 2000),Furia(founded in 2003), Morowe (2006) and Blaze of Perdition (2007); though all of these are only known in the underground circuit.[21][22]

Within black metal in Poland, severalNational Socialist Black Metal(NSBM) bands developed such as Veles (founded in 1992), Gontyna Kry (founded in 1993), Kataxu (1994), Ohtar (1996), and Sunwheel (1998). All of which attracted the interest of theAnti-Defamation League,and were considered to perform "music of hate".[23]In the early 1990s NSBM was also investigated by the PolishOffice for State Protection.[24]Although Graveland were extremely popular among NSBM fans and generally seen as a National Socialist band,[25]Rob Darken rejects this label, and told Decibel magazine: "I do not think Graveland is an NSBM band. Graveland is regarded as a NSBM band because of my political convictions, [which] most people would call extreme right-wing, National Socialist convictions."[26]

Death metal

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Vaderis the longest running Polish death metal band; pictured performing at Metal Hammer Festival in Poland in 2011

In the 1980s Poland developed an earlydeath metalmovement, though at the time many of the bands were referred to as eitherblack metalorthrash metal,many were later classified as death metal. Some of the bands of the period includeVader,which started as a classic heavy metal group (founded in 1983), and others with origin in thrash metal, like Imperator (founded in 1984), Armagedon (founded in 1986), Magnus (founded in 1987), Ghost and Thanatos later renamedTrauma(both founded in 1988), Bloodlust, and Betrayer (both founded in 1989).[27][28]Many of the groups disbanded in the early 1990s after only one album, although several gained an underground following in Europe due to tape trading. Vader became the only one to remain active since its formation, and reached international fan base, with albums charting in Poland, Germany, and Japan, on labels such asEarache Records,Metal Blade Records,andNuclear Blastamong others.[17][18][27]While Trauma also remained active since its formation they never reached the same recognition. Since the late 2000s several of the "classic" bands such as Magnus, Armagedon, and Merciless Death have been reformed, and have since remained active.[29][30]

In the 1990s a second wave of death metal was developed with bands such as Violent Dirge,Lost Soul,Hazael,Hate,Pandemonium (all founded in 1990), Cerebral Concussion later renamed Devilyn, Prophecy,Dies Irae(all founded in 1992),Sceptic(founded in 1994),Decapitated,and Yattering (both founded in 1996).[31][32][33][34]The highly technical music of Violent Dirge became the interest of influential label Nuclear Blast who later released the groups sampler. Although Violent Dirge dissolved in 1995 after the release of several demos, and two underground albums with success remaining only in Poland.[35]Hazael was also subject of interest from eastern record labelCentury Media Records.But after signing a contract, and recording the album for the label they were dropped. This eventually lead to the break up of the band in 1996. However, they went on to reform in 2014.[36]

Recognition in Europe led bands such as Devilyn to get signed toListenable Records,Yattering a recording deal withSeason of Mistfor their second release, and Prophecy signed toKoch International.[17]After losing popularity Prophecy went on hiatus in 1999, and reformed in 2004, but eventually split-up in 2010, while Devilyn, and Yattering disbanded in 2006. Hate after several underground albums reached international recognition in the 2000s after signing to Listenable Records, and laterNapalm Records,Dies Irae, reformed in 2000 consisting of members of Vader signed to Metal Blade Records, and released three albums, until the death of their drummer.[17][18][37][38][39]

In late 1990s Decapitated was signed to Wicked World a subsidiary of Earache Records.[40]The band released several albums, later reaching international acclaim after reforming in 2009, and a new recording deal with Nuclear Blast.[18]After reforming in 1997 Lost Soul signed withRelapse Recordsto release their debut album, in 2006 the band went in hiatus, and lost their minor popularity in Europe.[17][34]They once again reformed in 2009 and signed to an underground Polish label, they occasional tour in their home country.[41]In the early 2000s with the release of third album Sceptic signed toCandlelight Records.After only touring in Poland the label eventually dropped Sceptic from their catalogue. Other minor Polish death bands active mostly in the European underground scene includeStillborn(founded in 1997),Azarath(founded in 1998),Deivos(founded in 1999) and Masachist (founded in 2006) among others.[42][43]Although founded in 1991 as a black metal bandBehemothreached international acclaim from their mixture of black metal with death metal, with one album certified Gold in Poland and three charting on theBillboard 200in the US.[17][18][44][45]

Thrash metal

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Tomasz Pukacki ofAcid Drinkersone of the most popular Polish thrash metal bands; pictured in 2007

In the early 1980s, in response to the Americanthrash metalwave, Poland developed their own thrash metal scene. Bands of this period includeKat(founded in late 1979), who started as a speed/heavy metal group,Turbo(founded in 1980), who had origins in rock and heavy metal, as well as some strict thrash metal bands such as Kreon, Dragon (both founded in 1984), Destroyers, Hammer (both founded in 1985), Quo Vadis, Alastor,Hunter,Wolf Spider,Acid Drinkers(all founded in 1986), and Egzekuthor (founded in 1987), among others.[46][47][48][49][50][51][52]The 1980s is also when the thrash metal scene in Poland had the most success, with bands finding a starting place in theMetalmaniafestival (based in Katowice). Bands like Destroyers, Hamer, Dragon, and Wolf Spider became the subjects of interest of national record labelsPronitandPolton,with the bands sharing recordings on split albums. Destroyers continued performing until early 1990; their later albums were released by the national labels Tonpress andPolskie Nagrania Muza.Wolf Spider, after four albums, disbanded in 1991; they later reformed in 2011. Dragon, in later years, developed a death metal influenced style, and they remained active until 2000 with five albums released. Hamer, after reforming several times, remain active.

Turbo, with their popularity based on the protest song "Dorosłe dzieci", switched to a thrash metal sound after two albums released only in Poland.[50]Several attempts to cross over the Polish border have been made by Turbo with English language albums, which have been released by the German label Noise Records, the Italian label Metal Master Records, and the British label Under One Flag (a subsidiary ofMusic for Nations).[50]Due to problems receiving passports, Turbo remains a local act; they have disbanded and reformed several times, have released eleven albums, and are still active.[50]The band Kat had taken a similar approach; after several singles released in Poland, they signed to Belgian Ambush Records to release their debut album.[53]Due to being unable to tour outside Poland, Kat remains local, with several Polish language albums released. Kat reformed several times over the years; they remain active solely as a studio project. After a name dispute in the early 2000s the act namedKat & Roman Kostrzewskicontinues with their legacy.[9]

Acid Drinkersis another Polish band that attempted to tour outside home country.[54]In the years after therevolutions of 1989,Acid Drinkers members revoked their passports, but after problems with visas, it occurred to them that they needed to eventually stop their protests.[17][18]They remain active only in Poland and have received cult status with fifteen albums released, several of which have appeared on Polish Albums Charts. Other bands like Quo Vadis and Alastor remain active in underground scenes to incorporate in later years to their music groove, death or progressive metal. Egzekuthor disbanded in 1992 after one album, reformed in 2002 to be disbanded in 2008 before second studio effort was released. While Hunter have waited till 1995 to release first album reached acclaim in Poland with 2000s albums.[52]Although over the years moving away from strict thrash metal style Hunter received nomination toFryderyk,an annual award in Polish music, within several records on Polish Albums Chart have been noted, with songs to receive regular airplay.[52][55]In later years several thrash metal band have emerged while none have reached the acclaim of those from the 1980s. Some of them include Geisha Goner (founded in 1990), Tuff Enuff (founded in 1992), Flapjack, Myopia (both founded in 1993), Horrorscope (founded in 1996), Virgin Snatch, and Alkatraz (both founded in 2001).[56][57][58][59]

Gothic metal

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Magdalena "Medeah" Dobosz, vocalist of one of the most popular Polish gothic metal bands,Artrosis;pictured in 2009

Poland developed theirgothic metalscene in the 1990s, although it was intertwined with the gothic rock movement since the beginning, focused around the Castle Party Festival founded in 1994. The scene was loosely inspired by Polish bands such asClosterkeller,Pornografia, Fading Colours (all founded in the 1980s), and in later years by British acts likeParadise Lost,My Dying Bride,Anathema,and NorwegianTheatre of Tragedyamong others. The earliest of the Polish gothic bands developed their sound from various styles like rock, black, death and doom metal, that include Battalion d'Amour (founded in 1989), Neolithic,Moonlight(both founded in 1991), Sacriversum,Sirrah(both founded in 1992), Hermh, Cemetery of Scream (both founded in 1993), Hefeystos, and Tower (both founded in 1994) among others. Most Polish gothic metal bands since the 1990s reached recognition only in Poland, or for short time in Europe. Compared with the black or death movement, gothic metal is a minor music scene.

Although considered as a rock band, Closterkeller developed a gothic metal sound in the late 1990s. With nine both native and English language albums released up to 2011 they became the most influential Polish gothic band.[citation needed]Battalion d'Amour with their poetic lyrics reached popularity with 1990s albums, which was lost after a change of the group's lead vocalist in the early 2000s. The band released their last album in 2005. Neolithic signed to French Adipocere Records developed a doom and progressive metal influenced sound. They released two albums and disbanded in 2006 with brief recognition in their home country. Moonlight active until 2007 released several albums in 2000s, combining a gothic metal style with trip hop and rock. Reformed several of times of the years, Hermh began as a gothic metal act before switching to symphonic black metal with vampire themed lyrics, and remains a studio project. Cemetery of Scream with five albums released is still active. Hefeystos, with a progressive rock influenced sound, released two albums, and eventually disbanded in 2000. While Tower disbanded in the late 1990s, also with two albums released. OnlySirrahreached short-lived recognition in Europe with a recording deal fromMusic for Nations.Disbanded in 1998, the group was reformed in 2013 and is still active.

The second wave of gothic bands includesArtrosis,Lorien (both founded in 1995), Aion, Desdemona (both founded in 1996), Sator (later renamedDelight;founded in 1997), and Via Mistica (founded in 1998), among others. Artrosis quickly reached popularity in Poland with albums released by local label Morbid Noizz Productions. In the late 1990s Artrosis became the subject of interest fromTilo Wolffslabel Hall of Sermon which released an English version of one of their albums. The band reached its popularity in the early 2000s with a contract from Metal Mind Productions. The band released seven Polish and four English language albums and remain active. Loriens popularity came with a debut album released by underground labels in Europe, USA, and Australia with promotion fromPolskie Radioin their home country. After several line-up changes and one more album released, Lorien disbanded in 2005. Eight years later the group was reformed and is still active. While Aion gained some European acclaim with two albums released byMassacre Records,andImpact Records.In later years the band remained local act with a recording deal from Metal Mind Productions. Eventually changing style to modern heavy metal on their fifth album, Aion disbanded after its release in 2004.

Although Desdemona's debut album was released in Japan, the band became a local act with albums released by Metal Mind Productions, eventually dropping their gothic metal style in favour of industrial with four album released, and a recording deal fromDanse Macabre Records.Delight which began as a power metal band reached recognition in Poland with support from extensive touring, and several both Polish and English language albums released in the early 2000s. In 2005 after a performance atWave Gotik Treffenin Germany Delight was signed toRoadrunner Records,although after one album released the group was disbanded with no official statement. Via Mistica remains a local act with three albums released in the early 2000s. In later years several gothic metal bands have emerged, most of them remaining minor part of Polish heavy metal scene, that include such acts like Mystherium (founded in 2001), Ciryam (founded in 2003),UnSun(founded in 2006), and NeraNature (founded in 2009) among others. Only UnSun reached international acclaim with a recording deal fromCentury Media Records,and albums charting in Japan, although after two albums the group went on hiatus due to problems with the vocalist's health.

See also

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References

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  2. ^"Muzyka barokowa w Rzeczypospolitej".Retrieved16 April2020.
  3. ^"Koffler Józef (1896–1944)".Archived fromthe originalon 15 May 2019.Retrieved16 April2020.
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Further reading

[edit]
  • Cooley, Timothy J.Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians.Indiana University Press, 2005 (Hardcover with CD).ISBN0-253-34489-1
  • Czekanowska, Anna.Polish Folk Music: Slavonic Heritage – Polish Tradition – Contemporary Trends.Cambridge Studies in Ethnomusicology, Reissue 2006 (Paperback).ISBN0-521-02797-7
  • Grzegorz Michalski, Ewa Obniska, Henryk Swolkień and Jerzy Waldorff,An Outline History of Polish Music.Edited by Tadeusz Ochlewski. Warsaw, Interpress Publishers,1979, (194 p., index of names), + fully illustrated pages (c. 80).
  • Thomas, Adrian(2005).Polish Music Since Szymanowski.Cambridge:Cambridge University Press.doi:10.1017/CBO9780511482038.ISBN978-0-521-58284-1.
[edit]
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