The Development Paths of Polish Piano Romanticism in the “Post-Chopin” Era

Statement of the problem. The history of Polish piano Romanticism has long been dominated by the figure of Frdric Chopin, whose artistic legacy has become the central axis of scholarly discourse. However, such “Chopin-centrism” has contributed to the marginalization of composers from the so-called “post-Chopin era” – a period that remains insufficiently explored in Ukrainian musicology. The problem thus lies in the imbalance of scholarly attention and the need to expand the interpretative framework of Polish Romantic music beyond the Chopin canon. Objectives, methods, and novelty of the research. The purpose of the research is to trace the development of Polish piano romanticism in the second half of the 19th and early 20th centuries, with a focus on the stylistic, aesthetic, and cultural features of the post-Chopin generation. The study employs historical-cultural, stylistic, and comparative methods, as well as an interpretative approach grounded in the author’s personal experience as a performer. The novelty of the research lies in its inclusion of underexplored repertoire and its emphasis on an interpretative-performance approach, which integrates the performer’s experience as a source of analytical insight. Research results. The study reveals that Polish piano music of the post-Chopin period developed in several directions: from adherence to Chopin’s style to the emergence of new national and stylistic models. Composers such as S. Moniuszko, W. eleski, J. Zarbski, K. Szymanowski, and L. Rycki contributed to a complex and heterogeneous musical landscape. The research also examines the influence of folklore, the role of salon culture, and the transformation of musical language. Special attention is given to the diversity of artistic responses to Chopin’s legacy and the ambiguity of its reception in performance and criticism. Post-Chopin piano Romanticism in Poland is characterized by both continuity and innovation. A deeper understanding of this period allows us to overcome reductive evaluations and to appreciate the broader cultural processes that shaped national music. Conclusion. Thus, the piano art of the "post-Chopin era" appears not only as a stage of reception of Chopin’s legacy, but also as a search for a new musical identity, which requires scientific reassessment and performing attention at the present stage.The findings contribute to the reconstruction of a more inclusive model of Polish Romanticism and open new avenues for interdisciplinary and performance-based studies.