Polonia in Paderewski’s “Piosnka dudarza”

Ignacy Jan Paderewski (1860-1941) was a world renowned concert pianist, composer, and statesman. Born during the time of partitions, Paderewski grew up in the Russian Empire and studied piano at the Warsaw Conservatory beginning at the age of 12 and in 1881 he began studying composition with Friedrich Kiel and Heinrich Urban in Berlin. His virtuosic career as a concert pianist began in 1884, and Paderewski went on to obtain popular success in Vienna, London, Paris, and his more than thirty American tours. During his concert career, Paderewski would perform his own compositions and was also a very dedicated philanthropist. Paderewski went on to create funds for American-born composers, sponsor monuments and concert halls, and advocate for the independence of Poland. 

When Poland eventually gained independence in 1918, Paderewski was appointed Prime Minister and Minister of Foreign Affairs. Throughout his lifetime, Paderewski would continue to represent, support, and promote Poland and efforts to protect Poland. His dedication to his country is evident in a plethora of his works, it can be particularly noted in his opus 18, Six Songs to the Words of Adam Mickiewicz (1887-1893). This song cycle is dedicated to Mickiewicz’s son, Władysław Mickiewicz for his dedication to Polish sovereignty. Op. 18 contains poems (e.g. “Moja pieszczotka”) that have been set by the most prolific Polish composers such as Chopin, Moniuszko, and others. Other songs, like “Piosnka dudarza” (“A Piper’s Song”), contain Polish Romantic tropes, particularly country life. The song begins with the duda theme, with the left hand playing a drone and the right hand a brief melody which builds to the piper’s first statement. The piper describes his journey along the Nieman river, which is featured in a variety of national poems, songs, and plays, such as Pan Tadeusz, Konrad Wallenrod, “Rozłączenie,” and Nad Niemnem (By the Nieman). 

However, when the piper began to perform for the people he encounters, no one understands him and so he goes on to the next village. This attempt to find someone who understands the piper’s plight can be interpreted as a Polish person’s longing to find a compatriot in a now foreign territory. Yet, when he does find this person they will both shed a tear and the piper will not go forward because he has found his sense of community. Paderewski ends the last stanza very declamatory cadential figure in the vocal line as demonstrated with the Perfect Authentic Cadence in A-flat major, but immediately continues the duda theme and the vocal line joins on top repeating “I will not go, no.” However, this repetition has a dreamy or yearning feeling behind it that is reminiscent of the aforementioned longing for Poland’s reunification.