The Ukrainian-Polish cultural dialogue of the 1960s in the discourse of postcolonial studies (based on the archives of the Polish composers' union)

Abstract

The research is based on the analysis of materials from the archive of the Polish Composers' Union of the 1960s, which are being introduced into scientific circulation for the first time. It is emphasized that the cultural representation of Ukraine at the official level has always been carried out under the control of the Union of Composers of the USSR and in coordination with the ideological sector of the Communist Party of the Soviet Union, which was one of the mechanisms of colonial cultural enslavement of Ukraine. Based on archival documents, it is proved that Ukrainian music in the 1960s was not performed by Polish artistic groups, published or recorded in Poland. The only official channel for disseminating information about Ukrainian musical culture at that time was Polish Radio. Numerous facts of unofficial private cultural initiatives by conductor Ihor Blazhkov, composer Leonid Hrabovskyi, and other young Ukrainian musicians, which went against the official discourse of the state authorities and beyond the party and ideological control of Soviet Ukraine, have been established. It is proved that alternative unofficial channels of communication between Ukrainian artists and the Polish Composers' Union vividly illustrate their desire to "break through the Iron Curtain", receive direct information about modern trends in music and novelties in the festival and concert life of Europe, become the part of European and world cultural processes.

Keywords: Ukrainian-Polish cultural relations, the Polish Composers' Union, cultural colonization of Ukraine, postcolonial studies, cultural dialogue, Ukrainian music.

Presentation of the main material

During the Soviet period of Ukraine's history, institutional forms of Ukrainian-Polish cultural cooperation practically did not exist, as Ukrainian culture at that time was the culture of a nation that did not have its own statehood. Russia's colonial policy toward the republics of the former Soviet Union led to the fact that the natural creative exchange between cultures was disrupted and blocked. Russian culture not only dominated but also absorbed the entire cultural space, labeling Ukrainian and other national cultures as secondary and inferior. The complete centralization of governance at all levels, including in the cultural sphere, required coordination of international contacts with the control center in Moscow. Although the Union of Composers of the Ukrainian SSR existed at the time, it had no independence and was completely subordinated to the Union of Composers of the USSR. The situation for Ukrainian artists was particularly difficult, since, like representatives of other Soviet republics, they lived and worked under severe restrictions on democratic freedoms, ranging from freedom of movement to freedom of creative expression. The constant presence of the "third" in Ukrainian-Polish relations significantly impoverished the creative exchange between the two cultures, hindered the development of Ukraine's European aspirations and the recognition of its cultural achievements at the international level.

Documents from the archives and library of the Union of Polish Composers show that, despite the colonial status of Ukrainian culture during the Soviet period, Ukrainian-Polish cultural cooperation did exist. True, there were few examples of such cooperation, but its forms were quite diverse. In addition to the few official contacts, facts of scientific cooperation, participation in international music festivals and competitions, etc. that were always coordinated with official Soviet authorities in Moscow, there were alternative channels of intercultural communication, namely private correspondence between Ukrainian artists and the Union of Polish Composers, exchange of information materials, musical works, and recordings.

Illustration 2

An important role in Ukrainian-Polish cultural cooperation of this period was played by talented young artists who showed activity and initiative in expanding Ukrainian-Polish cooperation in the field of culture and remarkable organizational skills. Often, these initiatives went beyond, or even contrary to, the official discourse related to the state authorities of Soviet Ukraine and party-ideological control.

Illustration 3

One of these young cultural figures was Ihor Blazhkov (born 1936), a talented conductor, one of the members of a group of progressive musicians tentatively called the "Kyiv Avant-Garde" whose activities contradicted the official cultural policy.

Having just finished his studies at the Kyiv Conservatory, I. Blazhkov, with the aim of finding the scores of modern works and their performance, begins an active personal correspondence with the world's leading musicians whose work was banned in the Soviet Union Igor Stravinsky, Edgar Varese, Karlheinz Stockhausen, etc. Several letters of Ihor Blazhkov from the 1960s are stored in the archive of the Union of Polish Composers. One of them, dated December 21, 1961 (in Russian Illustration 1), provides information about the concert of the State Symphony Orchestra of Ukraine with the performance of the works of Polish composers O. Tansman, W. Lutoslawsky and F. Chopin, which took place under the baton of I. Blazhkov on October 24, 1961 in the Great Hall of the Kyiv Conservatory (Letter from Ihor Blazhkov, 12/21/1961). As it can be understood from the text of the letter, this was not the first appeal of I. Blazhkov to the Union of Composers of Poland. Apparently, there was his previous correspondence with the SCP through the Bureau of Cooperation with Abroad (Biuro Wspolpracy z Zagranic), thanks to which the young conductor received scores of works by contemporary Polish composers and hoped to enrich his concert repertoire.

Illustration 4

In another letter dated June 3, 1962 (in Polish Illustration 2), Ihor Blazhkov informs Andrzej Dobrowolski, general secretary of the Union of Polish Composers, about the celebrations on the occasion of the 25th anniversary of the death of the outstanding Polish composer Karol Szymanowski, which took place in Kyiv and consisted of a performance, a musicological conference, chamber and symphonic concerts and an evening of music by K. Szymanowsky in recordings (Letter from Ihor Blazhkov, 03.06.1962). To his letter, I. Blazhkov added the concert program and reviews of the event, published in Kyiv newspapers, and also informed his Polish colleagues about his own search and scientific and educational activities regarding the life and work of Karol Szymanowsky, namely: a trip to the composer's small homeland in Tymoshivka, Orlova Balka and Yelysavetgrad (now Kropyvnytskyi), preparation of a scientific article for the Polish publication "Ruch Musyczny" and work on the script of the documentary film "Shymanowsky and Ukraine".

To this letter, I. Blazhkov received a reply from the Union of Composers of Poland, signed by the general secretary Andrzej Dobrowolski, in which, along with words of sincere gratitude, it was noted, in particular: “We are very glad that thanks to your efforts, the Kyiv community had the opportunity to get acquainted with the work and activities of our most outstanding composer of the 20th century. We would be very grateful if you could convey our most heartfelt thanks on our behalf to all the participants of the musicological conference, the performers of the concert, in particular to Professor B. Liatoshynskyi" (translation from Polish by author of this article O.B.) (Letter from Andrzej Dobrowolski, Secretary General of the Polish Composers' Union, 12.06.1962).

Interesting from the point of view of revealing the European aspirations of Ukrainian artists in Soviet times is the letter of Ihor Blazhkov dated December 2, 1962 (in Polish Illustrations 3, 4) to one of the members of the Organizing Committee of the International Music Festival "Warsaw Autumn", in which he suggests including the works of a talented Ukrainian composer in the festival programs Valentyn Sylvestrov (he was then a student of the Kyiv Conservatory in the composition class of professor Borys Liatoshynskyi), as well as composers from other republics, Arvo Part, Giya Kancheli, and Andrei Volkonskyi.

Therefore, the mission of I. Blazhkov can be interpreted much more broadly than the promotion of Ukrainian culture: in his address, he acted as an ambassador of creative youth not only of Ukraine, but also of other republics of the former Soviet Union (in particular, Estonia, Georgia), which also could not "break through" to the international festival in Warsaw. Since this letter has never been published, we present the full text (translation from Polish by O. B.):

"Dear Mr. Patkowski!

І am a young conductor from Kyiv, I dare to contact you on the recommendation of Mr. Fred Prieberg. At the same time, I am addressing you personally, as well as on behalf of my friends, young composers. Recently, our young composers are very interested in new music and have already made a small step in this direction in their own works. We would be very grateful if you, as a member of the "Warsaw Autumn" Organizing Committee, would include in the program of the next "Warsaw Autumn" (1963) the works of our talented youth, namely:

Sylvestrov (Kyiv) Symphony

Piano concert

Trio for flute, trumpet and cello

Quartetto piccolo for string quartet

Piano works

Part (Tallinn) "Obituary" for symphony orchestra

Volkonskyi (Moscow) Music for 9 instruments

Kancheli (Tbilisi) Concert for symphony orchestra

Largo and Allegro for strings, percussion and piano

I sincerely hope that we will stay in touch in the future.

Heartily devotedIhor Blazhkov" (Letter from Ihor Blazhkov to Josef Patkowski, 02.12.1962).

As it is known, "Warsaw Autumn" was the first annual festival of avant-garde music in Eastern Europe, through which Ukrainian composers received information about the latest works and musical trends of the 20th century. The official circles of Soviet Ukraine were suspicious of "Warsaw Autumn" with its vividly innovative direction, and did not make any efforts to "promote" the works of Ukrainian composers at this festival. Therefore, it is difficult to overestimate the personal efforts of I. Blazhkov in this direction. And although they were not immediately crowned with success (the first work of the Ukrainian composer was performed at "Warsaw Autumn" only in 1970), Ihor Blazhkov became one of the guides of the young generation of Ukrainian composers into the world of musical modernism, which helped them quickly overcome forced isolation from European and world cultural processes.

The example of I. Blazhkov was valuable for other members of the "Kyiv Avant-garde” group. The activity of then still young Ukrainian composer Leonid Hrabovskyi (born in 1935) was important in terms of establishing personified Ukrainian-Polish cultural contacts in the 1960s. Several of his letters are kept in the archives of the Union of Polish Composers, which confirm the desire of the Ukrainian creative intelligentsia to join European cultural processes during the socalled "Iron Curtain".

In a letter in Polish dated May 25, 1964 (Illustration 5, 6) to the representative of the Union of Composers of Poland, Leonia Piwkowska, Leonid Hrabovskyi reports that he received her contacts from his Moscow colleague Edison Denisov, who was among the official guests of the VII "Warsaw Autumn" in 1963. The letter contains a persistent request to send individual scores and records of the latest Polish music for review, including works by Witold Lutoslawski, Krzysztof Penderecki, Bohuslaw Schaeffer, as well as sound chronicles from the last editions of the Warsaw Autumn festival (1961-1963) (Letter from Leonid Hrabovsky, May 25, 1964).

L. Hrabovskyi received a positive response to his letter from Mrs. L. Piwkowska (Illustration 7) and several scores of works by Polish composers Bohuslaw Schaeffer, Andrzej Koszewski, Augustyn Bloch, Witold Lutoslawski and Krzysztof Penderecki (although the list of works did not exactly coincide with the one that interested L. Hrabovskyi) (Letter of reply from Leonia Pivkovska, June 19, 1964).

Illustration 5

In two other letters in Polish dated July 5, 1964 (Illustration 8) (Letter from Leonid Hrabovsky, 05.07.1964) and September 19, 1964 (Illustration 9) (Letter from Leonid Hrabovsky, 19.09.1964), Leonid Hrabovskyi again asks to send him new scores of specific works by Penderecki, Lutoslawski, Schaeffer (in the second letter also Kotonski and Gurecki) and reminds, that still expects to receive from the Union of Polish Composers audio chronicles of previous festivals.

It is not known whether L. Hrabovskyi received answers to these appeals, but it was not possible to find them in the archive of the Union of Polish Composers. Apparently, with the approach of the next "Warsaw Autumn" festival in 1964, the addressee of L. Hrabovskyi, Leonia Piwkowska, was busy with organizational work and did not have time to process personal correspondence. But it is obvious that in the following year, 1965, L. Hrabowski's correspondence with the Union of Polish Composers continued. This is evidenced by a copy of a typewritten letter from the head of the artistic department of the SCP Leonia Piwkowska to L. Hrabovskyi dated December 21, 1965 (Illustration 10).

Illustration 6

The letter, in particular, says the following (translation from Polish by O.B.):

"I hasten to inform you that now during the holidays, the chronicle "IX Warsaw Autumn 1965" will be sent together with a CD with compositions by Mr. Witold Lutoslawski, who asked to include it in our package. On the occasion of the new year 1966, we ask you to accept our best wishes" (Letter from the head..., 12/21/1965).

Illustration 7

Leonid Hrabovskyi's correspondence with the officials of the Union of Polish Composers became an important step in the direction of the integration of the Ukrainian artistic community into the European cultural space. By the way, it was Leonid Hrabovskyi who became the first Ukrainian composer whose work "Homeomorphia-II" was performed unauthorized (i.e. without the official permission of the USSR Composers' Union) at the "Warsaw Autumn Festival" in 1970. An interesting archival finding was a letter from Anatolii Bondarenko, a third-year student of the conducting and choral faculty of the Kyiv Conservatory, dated April 3, 1964 (in Russian Illustration 11). It becomes clear from the letter that the contributor, being a student in the class of Professor Hryhorii Veriovka, was given the task of writing a detailed music-theoretical analysis of the work of the Polish composer Karol Prosnak "The Sea" from the cycle "Songs about the Sea". The letter contains a request to provide information about the life and work of the composer K. Prosnak, which A. Bondarenko was not lucky enough to find in any of the libraries of Ukraine (Letter from Anatolii Bondarenko, 03.04.1964).

Apparently, the Ukrainian student quickly received the necessary information from the Union of Polish Composers, as evidenced by a short letter-answer signed by the general secretary of the Union of Polish Composers Andrzej Dobrowolski dated April 14, 1964 () (Reply letter from the Secretary General..., April 14, 1964). ukrainian polish cultural musical dialogue

It is worth noting that the independence and persistence in searching for the necessary information, the courage to establish direct relations with the officials of the foreign creative union revealed the considerable organizational and management skills of the future famous figure of Ukrainian culture. Anatolii Bondarenko became a choral conductor, teacher, organizer of art education in Ukraine, from 1971 to 1982 he headed the Reingold Glier Kyiv Music School (now the Reingold Glier Kyiv Municipal Academy of Music), where it was on his initiative that the first pop-jazz performance department in Ukraine and a new specialty for the training of pop musicians were opened (Volkov, 2009).

In general, the 1960s were marked by a surge of interest among Ukrainian artists in Polish contemporary music. Judging by the documents of the archive of the Union of Polish Composers, this creative organization regularly received and satisfied requests to send scores of works by Polish composers of the 20th century. In a letter from the head of the vocal ensemble of the Palace of Culture of the city of Izium, Kharkiv region, Ivan Yarovyi, dated December 13, 1965 (in Russian), there was a request to send the notes and words of a well-known song by the Polish composer Jan Jankowski called "Valentina" (poetry by W Patuszynski) (Letter from Ivan Yarovyi, 13.12.1965). In a letter dated July 30, 1969, Honored Artist of the Ukrainian SSR Anatolii Syrovatskyi informed the Union of Composers of Poland about the forthcoming publication of a collection of songs on the theme of the struggle for peace by the publishing house "Muzychna Ukraiina" and expressed an offer to include in the collection a work by a Polish composer on the specified subject (Letter from Anatolii Syrovatskyi, 30.07.1969). The lecturer of the pedagogical institute in the town of Kamianets-Podilskyi Viktor Semenovych Vasyliev asked to send sheet music of the works of Polish avant-garde composers Josef Koffler, Boguslaw Schaeffer, Kazimierz Sierocki, Krzysztof Penderecki and Witold Lutoslawski (Letter from Viktor Vasyliev, 1969). All contributors from Ukraine received positive responses from the Union of Polish Composers along with the information and sheet music they needed.

And here is the musicologist Tamara Bulat (1933-2004), a research associate of the musicology department of the Maksym Rylskyi Institute of Art History, Folklore and Ethnography of the Academy of Sciences of the Ukrainian SSR, who was looking for materials on the topic "Rylskyi and Music" (Letter from Tamara Bulat, 27.01.1965), was less fortunate. In the response letter of Polish Composers' Union to her appeal signed by the general secretary Andrzej Dobrowolski (in Russian -), regret is expressed about the fact that it was not possible to find a single work on the poem of the Ukrainian poet Maksym Rylskyi, neither among the members of the Union of Composers of Poland, nor in the funds of the Polish Radio (Letter of reply from the Polish Composers' Union, 24.02.1965). At the same time, the positive, respectful tone of A. Dobrowolskyi's letter and the concluding "words of respect and friendly greetings" leave no doubt about the willingness to engage in dialogue and a sincere desire to continue cooperation.

Academic cooperation and participation of Ukrainian musicians in festivals and competitions as forms of Ukrainian-Polish cultural cooperation were always coordinated with Moscow during the period of Soviet colonization. Therefore, the participation of Ukrainian musicians in international events was an exception rather than a rule. Some information on this subject is contained in the report of the Ministry of Culture and Arts of the Polish People's Republic "Russian and Soviet Music in the Polish People's Republic in 1945-1966" (Muzyka rosyjska i radziecka, 1966). The very title of this document is interesting, as it glorifies Russian music and seems to separate it from the rest of the musical cultures of the Soviet republics. This is a voluminous typewritten work of more than 100 pages without attribution, which gives an idea of the presence of Russian and Soviet works in the repertoire of Polish philharmonic societies, symphony orchestras, musical theaters, publishing houses and record companies, programs of music competitions and festivals, etc.

Illustration 8

According to this report, in the 1960s there were no works by Ukrainian composers in the repertoires of Polish philharmonic societies, symphony orchestras, or musical theaters, as well as no publications by the Polish Music Publishing House or recordings on “Polski Nagrania” records. The representation of Ukraine in Poland during this period was carried out mainly by musicologists and performers.

In particular, p. 54 of this document refers to the significant artistic event of 1960 the celebration of the 150th anniversary of the birth of the outstanding Polish composer Fryderyk Chopin. Then, during the Chopin International Pianist Competition, the International Musicological Congress took place, in which a well-known musicologist from Lviv took part, at that time she was still a candidate of art history, an assistant professor at the Mykola Lysenko Lviv State Conservatory (now the Lysenko Lviv National Academy of Music) Stefania Pavlyshyn (Muzyka rosyjska i radziecka, 1966, с. 54).

Illustration 9

An important role in the European representation of Ukraine and Ukrainian culture in Europe in the 1960s was played by the International Festival and Congress of Early Music of Central and Eastern Europe, which took place in the Polish cities of Bydgoszcz and Torun on September 10-16, 1966. Then, perhaps for the first time, the European cultural community learned about the development of Ukrainian music from the 16th to the 18th centuries from the report of the assistant professor of the Kyiv State Conservatory (now the National Academy of Music of Ukraine) Onysia Shreier Tkachenko and heard partesny works of the outstanding Ukrainian composers Mykola Dyletskyi, Artemii Vedel, Dmytro Bortnianskyi, although at that time all the above-mentioned composers were considered Russian. It is worth noting that although Onysia Yakivna Shreier-Tkachenko was at that time the head of the Department of Music History at the Kyiv Conservatory, she had to seek permission to travel to this congress via Moscow. She was the only participant of the congress from Ukraine, three other speakers were well-known Russian musicologists, professors Maksim Brazhnikov, Sergei Skrebkov and Yurii Keldysh () (Muzyka rosyjska i radziecka, 1966, с. 46).

Illustration 10

Documents from the archives of the Polish Composers' Union show that leading Ukrainian musicians were sometimes included in official delegations of the USSR Composers' Union to participate in cultural events in Poland.

Archival work at the Polish Composers' Union allowed us to adjust our understanding of the participation of Ukrainian musicians in the Warsaw Autumn. For many years, the presence of Ukrainian musicians at the “Warsaw Autumn Festival” was mainly in the form of participation in official delegations. It used to be believed that the main Ukrainian representative at the “Warsaw Autumn” in the second half of the 1950s and 1960s was the prominent Ukrainian composer Borys Liatoshynskyi, who participated in the festival every year. However, archive documents confirmed this information only partially. It turned out that Borys Liatoshynsky participated in the Warsaw Autumn not every year, but only three times: in 1958, 1959, and 1967, and all three times as the head of the official delegation of the USSR Composers' Union.

Illustration 11

At the same time, it was possible to identify the names of other Ukrainian musicians who also attended the Warsaw Autumn as official guests. For example, one of B. Liatoshynsky's first students at the Kyiv Conservatory, later a well-known musicologist Ihor Belza, participated in the first three editions of the Warsaw Autumn, and Ukrainian musicologist, graduate of the Mykola Lysenko Music and Drama Institute Leonid Entelis participated in the second, third, fourth, and sixth editions.

In 1963, the official delegation of the USSR Composers' Union to the Seventh Warsaw Autumn included Ukrainian musicians: composer Valentyn Borysov and musicologists Halyna Tiumenieva and Nina Herasymova-Persydska. As a rule, after participating in the festival, Ukrainian composers and musicologists spread information about it in Ukraine and helped to penetrate avant-garde compositional trends behind the Iron Curtain.

In addition to the Warsaw Autumn, Ukrainian musicians participated in official delegations of the USSR Union of Composers and other international events in Poland. For example, Ukrainian composer Klymentiy Domyntshen (together with Serhiy Aksyuk, secretary of the board of the USSR Composers' Union) participated in the International Music Festival "Krakow Spring" held on June 12-21, 1964 (Muzyka rosyjska i radziecka, 1966).

The participation of Ukrainian musicians in the Henryk Weniawski International Violin Competition in Poznan⁴ was accompanied by constant success (pages 54-57 of the Report). In particular, in the fourth competition in 1962, the outstanding Ukrainian violinist Oleh Krysa won the second prize. In addition to violinists, competitions of lutenists and composers were also organized within this competition. From the report of the Ministry of Culture and Arts of the Polish People's Republic, we learn that at the 3rd Henryk Weniawski International Composer Competition in 1966, the second prize winner was the teacher of Kharkiv Institute of Arts (now the Kotliarevskyi Kharkiv National University of Arts) Ihor Kovach for his composition for violin solo and chamber orchestra "Concertino" (Muzyka rosyjska i radziecka, 1966, с. 54-57).

In the section of the report of the Ministry of Culture and Arts of the Republic of Poland entitled "Performances of Soviet Artists and Groups in Poland" (pages 72-85), there is information about the touring trips of Ukrainian musicians and creative groups, apparently authorized and agreed with Moscow. In particular, in November 1960, a song and dance group from Lviv performed in the Lubelskie Voivodeship. The Ukrainian State Dance Ensemble named after Pavlo Virsky made a great promotion of Ukrainian culture in Poland: from November 2 to 15, 1961, the ensemble gave 11 concerts in different cities of Poland (Muzyka rosyjska i radziecka, 1966, pp. 72-85).

The existence of official cooperation between the Composers' Unions of Ukraine and Poland is confirmed by an interesting archival find: correspondence with the Polish Composers' Union by Mykola Mykytovych Mykhailov (1902-1981), a Ukrainian musicologist, chairman of the Musicology Commission and member of the board of the Composers' Union of the Ukrainian SSR. Actually, his letter with the exact date of sending to the Union of Composers of Poland is not in the archive, but there is a detailed questionnaire (in Russian) with a list of questions to which the contributor asks to be answered (Address of Mykola Mykhailov, 1964). In particular, he asks for information (mainly for the period 1956-1963) regarding the state of development of the main musical genres in Polish music, namely: operas, operettas, ballets (including their librettos, production histories and musical examples), symphonic works, cantata-oratorio, chamber-instrumental and chamber-vocal genres (the letter contains a request to provide several scores of each genre for their promotion in Ukraine). M. Mykhailov wants to know what works of modern Polish composers are performed in other countries and whether there are any textbooks or a book on the history of Polish music of the post-war period. Also, in his address, the musicologist shows interest not only in professional musical culture, but also in samples of modern Polish folklore, among which he is particularly interested in folk songs about Polish-Soviet friendship. A significant group of M. Mykhailov's questions is related to Ukrainian-Polish cultural and artistic ties. In particular, he is interested if "the works of Ukrainian Soviet composers are performed in Poland, for example, works of Liatoshynskyi, Dankevych, Shtoharenko, Filipenko, Veriovka, Maiboroda Platon, Maiboroda Heorhii, Homoliaka, Kozytskyi, Meitus, Sandler, Taranov, Shamo?" If performed, which ones? Are there works by Polish composers based on the words of the Ukrainian poet Taras Shevchenko? On the words of Ukrainian Soviet poets?" (translation from Russian by O.B.) (Address of Mykola Mykhailov, 1964).

Mykola Mykhailov received a response to his appeal from the Union of Composers of Poland under the signature of the general secretary Andrzej Dobrowolski (in Polish) with a lengthy appendix on 38 pages (!), which was prepared by the efforts of the Polish musicologist Andrzej Stankiewicz. In the lower part of the page with the content of the appendix, which resembles not an informational reference, but rather a detailed musicological study, there is a postscript with the signature of the author (A. Stankiewicz), who regrets that he did not manage to find examples of modern Polish folklore and works of Polish composers to the words of Taras Shevchenko and other Ukrainian poets () (Letter of reply from the Secretary General, January 14, 1964).

From the first two pages of this document, it is clear that during the period in question, the promotion of Ukrainian music in Poland took place mainly through Polish radio. There was even such a form as Decades of Ukrainian Culture on Polish Radio. Polish listeners had the opportunity to hear the works of Mykola Lysenko, Kostyantyn Dankevych, Semen Hulak-Artemovsky, Vadym Homolyaka, Borys Liatoshynsky, Levko Revutsky, Heorhiy Maiboroda, Andriy Shtoharenko, Yuliy Maitus, and other Ukrainian composers on radio programs.

In response, Mykola Mykhailov sent a short but meaningful letter dated February 10, 1964 on the letterhead of the Union of Composers of the Ukrainian SSR (in Russian -) with the words of "exceptional thanks", in which he explained the purpose of his appeal:

"I use this information widely in lectures for workers, collective farm workers and students, as well as in classes at the conservatory. I suppose to speak in 1965 with the brochure "Polish modern musical culture", which I will write in the summer of this year" (translation from Russian by O. B.) (Letter of gratitude from Mykola Mykhailov, 10.02.1964).

Unfortunately, it was not possible to find a brochure with this title in the list of M. Mykhailov's scientific works. But this musicologist really did lecture work since 1927, and in 1944-1966 he was a docent at the Kyiv Conservatory (Mikhailov Nikolai Nikitich).

Conclusions. This article is the first to publish previously unknown materials from the archives of the Polish Composers' Union, which expand our understanding of Ukrainian-Polish cooperation in the field of culture and art in the 1960s. Ukraine's cultural representation at the official level was carried out mainly through the participation of leading Ukrainian musicians in official delegations to international music festivals and competitions, as well as through the efforts of individual Ukrainian musicologists and performers. As archival documents confirm, Ukrainian music in the 1960s was not performed by Polish bands, published or recorded in Poland. The only official channel for disseminating information about Ukrainian musical culture at that time was Polish radio. At the same time, it is clear that along with the official channels of Ukrainian-Polish cultural cooperation, there were alternative, unofficial channels. One of them was the private correspondence of some Ukrainian cultural figures (in particular, Ihor Blazhkov, Leonid Hrabovskyi, Anatolii Bondarenko, and others) with the Polish Composers' Union, which can be considered a form of discursive resistance to the colonial Soviet government and a vivid illustration of the attempts of young Ukrainian artists to "break through the Iron Curtain" and obtain firsthand information about new trends in music and novelties in the festival and concert life of Europe. The willingness of individual representatives and the top management of the Polish Composers' Union to cooperate with officials and organizations, as well as with young, then unknown musicians, and to try to meet their needs as fully as possible and help them find the necessary information or musical materials, makes a great positive impression.

Direct personalized ties between Ukrainian and Polish cultural figures in the 1960s contributed to the cultural dialogue of the then-colonized Soviet Ukraine with Poland, bypassing Moscow, the natural desire of artists to be part of European and world cultural processes, the modernization of the musical language and the development of compositional and performing techniques of Ukrainian musicians, which together gave a powerful impetus to the European cultural representation of Ukraine.

Comments

1. Jozef Patkowski (1929-2005) was a Polish musicologist and composer, the founder of the first experimental electro-acoustic studio of the Polish Radio in Eastern Europe. In 1960-2000, he was a member of the organizing committee and program commission of the "Warsaw Autumn" festival.

2. Fred Prieberg (1928-2010) was a German musicologist, initiator of research in the field of music history and activities of musicians during the Nazi regime.

3. In the 1950s-1990s, Leonia Piwkowska was the secretary of the Union of Polish Composers, and also served as the head of the artistic department.

4. As it's known, in the first competition in 1935, one of the winners was Davyd Oistrakh (second prize), and in the second competition in 1952, Olha Parkhomenko (third prize).

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9. Letter from Anatolii Bondarenko to the Union of Composers of Poland (1964, April 3). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpracazzagranicq. Podserie: Wymianazwiqzkowa, sprawozdania zpobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Roklata: 1960-1973.

10. Letter from Anatolii Syrovatskyi to the Union of Composers of Poland (1969). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Roklata: 1960-1973.

11. Letter from Andrzej Dobrowolski, General Secretary of the Union of Polish Composers, to Ihor Blazhkov (1962, June 12). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

12. Letter from Ihor Blazhkov to Joseph Patkovsky, member of the Organizing Committee of the "Warsaw Autumn" festival. (1962, December 2). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Migdzynarodowy Festiwal Muzyki Wspolczesnej Warszawska Jesieh. Jednostka: VI Warszawska Jesien: korespondencja z goscmi i solistami zagranicznymi. Rok/lata: 1962.

13. Letter from Ihor Blazhkov to the Union of Composers of Poland (1962, June 3). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

14. Letter from Ihor Blazhkov to the Union of Polish Composers. (1961, December 21). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

15. Letter from Ivan Yarovyi to the Union of Composers of Poland (1965). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

16. Letter from Leonia Piwkowska, the head of the artistic department of the UPC, to L. Hrabovskyi. (1965, December 21). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania zpobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

17. Letter from Leonid Hrabovskyi to Leonia Pivkovskaya. (1964, July 5). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Roklata: 1960-1973.

18. Letter from Leonid Hrabovskyi to Leonia Pivkovskaya. (1964, May 25). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

19. Letter from Leonid Hrabovskyi to Leonia Pivkovskaya. (1964, September 19). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

20. Letter from Mykola Mykhaylov to Andrzej Dobrowolskyi, Secretary General of the UPC. (1964, February 14). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

21. Letter from Mykola Mykhaylov to the Union of Composers of Poland (1964). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

22. Letter from Tamara Bulat to the Union of Polish Composers. (1965, January 27). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

23. Letter from Victor Vasiliev to the Union of Composers of Poland (1969). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

24. Letter-reply from Andrzej Dobrowolski, the general secretary of the Union of Composers of Poland, to Anatolii Bondarenko. (1964, April 14). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

25. Letter-reply from Andrzej Dobrowolskyi, general secretary of the UPC, with an appendix (38 pages) to Mykola Mykhaylov's letter. (1964, January 14). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania zpobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

26. Letter-reply from Leonia Piwkowska to Leonid Grabovsky. (2022, June 19). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania z pobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

27. Letter-reply from the Union of Polish Composers to Tamara Bulat's letter dated January 27, 1965. (1965, February 24). Archiwum Zwiqzku Kompozytorow Polskich. Seria: Wspolpraca z zagranicq. Podserie: Wymiana zwiqzkowa, sprawozdania zpobytu za zagranicq, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata: 1960-1973.

28. Mazepa, L., & Mazepa, T. (2003). The way to the music academy in Lviv: in 2 volumes. Lviv: Spolom. (in Ukrainian)

29. Mikhailov, Nikolai Nikitich. (No date). Historical encyclopedia.

30. Musica Galiciana. Kultura muzyczna Galicji w kontekscie stosunkowpolsko-ukrainskich, t. 17. (2021). Karol Mikuli i jego uczniowie w kontekscie rozwoju szkolnictwa muzycznego Galicji (z okazji 200. rocznicy urodzin kompozytora), pod redakcj naukow Grzegorza Oliwy, Kingi Fink i Teresy Mazepy. Rzeszow: Wydawnictwo Uniwersytetu Rzeszowskiego.

31. Muzyka rosyjska i radziecka wPolskiejRzeczypospolitejLudowiej w latach 1945-1966. (1960-1973). Ministerstwo Kultury i Sztuki, Zespol do Spraw Muzyki. Archiwum Zwizku Kompozytorow Polskich. Seria: Wspolpraca z zagranic. Podserie: Wymiana zwi^zkowa, sprawozdania z pobytu za zagranic, korespondencja. Jednostka: ZSSR korespondencja. Rok/lata.

32. Nidecka, E. (2005). Tworczosc polskich kompozytorow Lwowa a ukrainska szkola kompozytorska (1792-1939). Wydaw. Uniwersytetu Rzeszowskiego.

33. Romaniuk, I., & Pachos, J. (2014). Festivals of Ukrainian culture in Poland as an element of artistic Ukrainian-Polish cooperation in the early XXI century. Ukraine of the twentieth century: culture, ideology, politics. Issue 19. P 206-213. (in Ukrainian)

34. Shkurgan, O. (2020). “Recepcja piesni o. Tymoteusza Szczurowskiego w srodowiskach katolickich dziewitnastowiecznej Warszawy”. Muzyka, 65, nr 1. P 57-76. [The Reception of Songs by Father Tymoteusz Szczurowski in the Catholic Environment of 19^th century Warsaw].