Abstract The present paper surveys the history of the Warsaw Autumn festival focusing on changes in the Festival programming. I discuss the circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between programming policies and the current political situation, which in the early years of the Festival forced organisers to maintain balance between Western and Soviet music as well as the music from the so-called “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on the presentation of 20th-century classics was gradually replaced by an attempt to reflect different tendencies and new phenomena, also those combining music with other arts. Despite changes and adjustments in the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue emphasis on any particular trend – has consistently been pursued. The idea of introducing leitmotifs, different for each Festival edition (such as: music involving human voice, mainly electronic, etc.) – is not inconsistent with this general aim since the selected works represent different aesthetics, and the “main theme” is not the only topic of any given edition of the Warsaw Autumn.

中文翻译：

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华沙秋季国际当代音乐节目政策转型节

摘要 本文调查华沙秋季节日的历史，重点关注节日节目的变化。我讨论了在波兰组织具有国际地位的循环当代音乐节的情况。我指出了节目政策和当前政治局势之间的关系，在音乐节的早期，这迫使组织者在西方和苏联音乐以及来自所谓“人民民主国家”（即苏联）的音乐之间保持平衡。集团）。最初对展示 20 世纪经典作品的强烈强调逐渐被反映不同趋势和新现象，以及将音乐与其他艺术相结合的尝试所取代。尽管计划政策发生了变化和调整，音乐节创办人的中心目标——呈现当代音乐的多样性，而不是过分强调任何特定趋势——一直在追求。引入主题主题的想法，每个节日版本都不同（例如：涉及人声的音乐，主要是电子音乐等）——与这个总体目标并不矛盾，因为入选的作品代表了不同的美学，“主题”不是任何特定版本的华沙秋季的唯一主题。