Abstract As the managing and artistic director of Warsaw Philharmonic in 1955-58, Bohdan Wodiczko introduced an innovative programming policy which re-oriented the Philharmonic’s repertoire toward 20th-century classics and focused on the links between new music and that of other historical periods. The aim was to create a vast sonosphere of a “musical inter-age” (S. Kisielewski after M. Wańkowicz) encompassing radically different styles and genres and significantly transforming the axiology of the musical art. Wodiczko’s novel programming, though largely concentrating on the already waning neo-Classicism, laid the foundations for the phenomenon of the Warsaw Autumn and was a harbinger of the political-cultural thaw that would come after October 1956. This paper examines Wodiczko’s programming revolution in its political context, as well as the critical reception of Warsaw Philharmonic concerts, with particular emphasis on the aesthetic disputes arising around those composers whose works provoked the greatest controversies: Igor Stravinsky and Carl Orff.

中文翻译：

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Bohdan Wodiczko 在华沙爱乐乐团的编程政策（1955-1958）。走向华沙的秋天。

摘要 作为 1955-58 年华沙爱乐乐团的管理和艺术总监，博丹·沃迪奇科引入了一项创新的节目制作政策，将爱乐乐团的曲目重新定位于 20 世纪的经典曲目，并专注于新音乐与其他历史时期音乐之间的联系。其目的是创造一个巨大的“跨时代音乐”（S. Kisielewski 继 M. Wańkowicz 之后）的音域，包含完全不同的风格和流派，并显着改变音乐艺术的价值论。Wodiczko 的小说编程虽然主要集中在已经衰落的新古典主义上，但它为华沙之秋现象奠定了基础，并且是 1956 年 10 月之后政治-文化解冻的先兆。本文考察了 Wodiczko 的编程革命政治背景，