Spuscizna = polish heritage  
 Music Rural Art 19th Century Poland

 A collection of melodies, in the MIDI format  friendly to the internet. No actual musical  instruments were harmed in the production  of this music. It's all done with smoke and  mirrors.

  Just click a song title and listen.

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4: COUNTRY IDYLL by Henryk Siemiradzki 1886
13: DROGA DO WSI by Jozef Szermentowski 1872
8: DZIECI PRZED CHTA by Aleksander Kotsis 1872
10: BOCIANY by Jozef Chelmonski, 1900
DANCE by Wlodzimierz Tetmajer circa 1905
14: KRAJOBRAZ LESNY by Wladyslaw Malecki 1883
7: ACHIEVEMENTS by Wlodzimierz Tetmajer 1905
17: MARKET IN PRZEMYSL by Tadeusz Rybkowski
19: JOURNEY IN A CARRIAGE by Alfred Wierusz Kowalski 1890
9: ORKA by Jozef Chelmonski, 1896
21: KRAKOVIAN WEDDING by Wojciech Kossak 1940
15: PRZYJAZD GOSCI by Marcin Zaleski 1839
12: HIPOLIT by Lipinski 1878
6: DO MIASTA by Ludwik de Laveaux 1889
28: FUNERAL by Czeswal Wdowiszewski 1937
30: GWIAZDI ZARANNA (MORNING STAR) by Jozef Szermentowski 1874
24: ODPUST NA WSI (FEASTDAY) by Franciszek Kostrzewski 1866
11: EVENING PRAYER OF A FARMER by Artur Grottger 1865
23: THE LAST PENNY INN by Jan Feliks Piwarski 1845
25: OSTANTIA CHUDOBA by Aleksander Kotsis 1870 27: POGRZEB HUCULSKI by Teodor Axentowicz, 1882 18: WYPLATA ROBOCIZNY by Jozef Chelmonski, 1869 5: GESIARKA by Teodor Axentowicz, 1883
26: MOTHER DIED by Aleksander Kotsis 1873
29: POGRZEB CHLOPSKI (PEASANT FUNERAL) by Jozef Szermentowski 1862

Editor's Notes: The music selections are the results of my tastes and which rendition sounded the best to my ear. Several versions of many the above melodies can be found on the internet. Some rejected versions  were frankly terrible, failing to keep the beat or using the wrong instruments.

"Gaude Mater Polonia" and "Serdeczna Matko" could be classified as religious hymns rather than anthems. However, "Gaude Mater Polonia" served as the Polish anthem in the 17th and 18th Centuries and "Serdeczna Matko" became a substitute "anthem" during the Partition years in the 19th Century when Poles were forbidden to sing patriotic or nationalistic songs. Have you noticed that Poles have always thought of Poland as their motherland?"Barka" is included because it was a favorite of the late Pope John Paul II.Some of the above melodies are not truly Polish in origin. "Barbuska Polka" is questionable. "Bozena Walc" has a Polish name, but may be of Czech origin. "Too Fat Polka" is based on a Czech tune called "Village Tavern Polka" and "Beer Barrel Polka" started out as "Skoda Lasky" by Czech composer Jaromir Vejvoda. "Who Stole the Kiszka" was borrowed from a Ukrainian folk dance by a Polish band leader in Connecticut in the 1950s. "Frailach" is obviously Jewish, but they were Poles as well. "Kaczuszki" was chosen as a humorous selection and because of its popularity at  Polish weddings, but alas it's probably Austrian. "Blue Skirt Waltz" (originally "Red Dress Waltz") is really American with a Slovenian style provided by Frank Yankovic. The "Clarinet Polka" sounds American, but it was written in Zamosc by Karol Namyslowski as the "Dziadek Polka". So what? I like them all. And lastly, Bobby Vinton was added because I easily succumb to pressure and extortion.

Extra special thanks to Grace Skowron, Gene Mikrut, and Joe Oberaitis for their helpful collaboration and valuable input and Stan Konefal for his tasteful sequencing. I myself have no musical talent. I merely seek to preserve a bit of Poland's outstanding musical contributions for everyone.


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