The Polish Film Chronicle signature tune and its unknown versions of 1967

Kamila Staśko-Mazur

Abstract

Polska Kronika Filmowa (The Polish Film Chronicle, PKF) opened in its early years (1945–51) with a bombastic music motif, a form of quotation. From 1952 onward, the titlesequence was accompanied by a music piece specially composed by Władysław Szpilman,which was broadcast without any changes until 1994 and became the trademark of this newsreel,as well as a soundmark of the Polish audiosphere. One of its distinguishing features wereits polonaise rhythms. The ionicus a minore  formula, correlated with dynamic progressions (including modulations and remodulations) and a bugle-call-like melody – made this tunehighly popular and recognisable. Sources found in the WFDiF (Warsaw Documentary Film  Studio) prove, however, that alternative versions of the PKF signature tune were composed in1967. These unpublished compositions by H.M. Górecki, W. Kilar and J. Maksymiuk were recorded along with Szpilman’s piece in two versions, one opening and the other – closing thenewsreel. Each of the new proposed tunes is about 15 seconds long and, in most cases, scoredfor a symphony orchestra. W. Kilar’s piece resembles a solemn song, which combines extendedtonality with neo-Classical elements. It has versions in several different keys (similarly to W. Szpilman’s original tune, written out in B-flat major and C major). H.M. Górecki’spiece is characterised by a broad sound and a repeated rhythmic motif. It fuses fourth harmonieswith the euphonic colours of a vitalistic close. Both composers’ tunes were recordedin versions with and without string quintet. J. Maksymiuk presented the largest number ofproposals (versions I–VIII), varying in texture and style. The first four (three contemporary-style,and one polonaise stylisation) were left unrecorded, while the others (for orchestra or brassensemble with percussion) represent various uses of march-like and dance elements.The recording of 1967 remains anonymous. Audio analysis shows that it was made in alarge hall, in stereo. We do not know who inspired this project, but most likely it was associatedwith attempts to change the PKF title sequence (including the graphics) and withpolitical interventions. Eventually, however, the legendary piece by W. Szpilman remainedintact as the Chronicle’s signature tune.