POLAND. Much that has been said about the development of the national element in Russian music through the folk song and the general state of musical affairs applies to the art music of Poland. But whereas the older Russian songs are mostly melancholy, quiet. of even rhythm, and regular periodic structure, those of the Poles are more fiery and passionate. The melodies, which for the greater part are not remarkable in them selves, are rendered effective by means of skillful ornamentation and piquant rhythms. Difficult and unusual intervals occur with great frequency, imparting to the Polish folk songs something of an instrumental character. Polish music during the nineteenth century is represented by the works of only a single great musician. This re markable man is Chopin (q.v.). In ad dition to Chopin, Poland has produced a few other composers, some of whom devoted their energies to the establishment of a national Polish opera.
When the singspiel (q.v.) became popular in Germany, Kamienski (1734-1821) conceived the idea of writing similar works in Polish. Thus
lie wrote the first Polish opera, Neudza Uszesli wiona (Luck in Misfortune), which was pro duced in Warsaw in 1775. This was followed by five others. Elsner (1769-1854), although a Ger man by birth, was identified with Poland. He wrote no less than nineteen operas, while his successor in the post of principal conductor of the Warsaw- National Opera, Kurpinski (1785-1S57), composed twenty-six. Chopin's friend Dobrzyuski ( 1807-67) contributed only one opera, but wrote chamber music of sterling merit. Moniuszko (1820-72), who wrote fifteen operas, ranks next to Chopin, but the gap that separates him from his great compatriot is enor mous. His reputation rests chiefly upon his Polish songs, which are full of local color. In 1901 the opera Manru, by Paderewski (q.v.), was performed in Europe and America, and elicited favorable comment.