ABSTRACT
The study of Polish music since the Second World War provides with a number of unusually distinctive periods shaped largely by non-musical events. Perhaps we should not be so surprised, given the country's turbulent history and anyone interested in delving further into Poland's past may do so in the excellent English-language studies by authors such as Norman Davies and Adam Zamoyski. Writing the music was one thing – the composer had communicated with the Party and arguably the masses – but the communication path followed by the music after that was sometimes subject to further interference outside the composer's control. The simple truth is that if the music is fun and memorable it survives. But it can also be reflective. Bacewicz was by nature prolific; her music is conventionally regarded as having not only drive but also a neo-classical elegance. Bacewicz also showed a flair, matched only by Lutoslawski at the time, for instrumental colour.
