![]() | Polish Music Newsletter |
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December 2002, vol. 8, no. 12. ISSN 1098 - 9188. Published monthly. Los Angeles: Polish Music Center, University of Southern California
Anniversaries | Discography | Events |
Paderewski's Return to Poland
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Friday, 6 December. SESSION 1: INSPIRATIONS AND CONTEXTS Friday, 6 December SESSION 2: SOURCES AND SOURCE EDITIONS Saturday, 7 December. SESSION 3: UNFINISHED AND INCOMPLETE COMPOSITIONS Saturday, 7 December. SESSION 4: FACSIMILE EDITIONS AND NIFC PROGRAMS
Two final events of the 4th International Chopin & Friends Festival took place on Sunday, November 24th. At 2pm in Weill Recital Hall, Canegie Hall (57th St. & 7th Ave. NYC), three pianists, Polish, Italian and French, presented a program of compositions of Chopin and the composers that followed Chopin's heritage including Brahms, Schumann, Debussy and Prokofiev.
On Sunday, November 24th at 7:30pm in Europa Club (98-104 Meserole Ave. in Brooklyn), Elephunk - a powerful Big Band with a strong groove,
dynamic soloists and challenging arrangements. A blend of jazz, funk and Latin.
Guest Artists: Hyonok Kim - avant-garde choreographer and dancer Hyonok Kim is an award winning choreographer and dancer.
She studied the- ater and dance at Seoul Institute of Art and studied modern dance, Martha Graham technique, classic ballet and modern Jazz at the Sorbonne, Paris. Her PH.D is from Universite de Paris, Sorbonne. Among her many honors: the Gold Prize at the Dance on Camera Festival, New York 1992; First Prize at the Spain Teruel International Video Competition in 1991; the Minister of Culture of South Korea Award in 1994. She has performed in 18 countries in Asia, Europe, and North and South America.
Continuation of Open Cycle Exhibition - Curator: Janusz Skowron.
Admission: $10, for students with ID before 8pm is free. Detailed schedule of the festival can be viewed at:
http://www.nydai.org/Progr am/ Program.htm
The Seventh Festival and Competition of Jazz Guitarists, named after Marek Bliziński will take place between 10 and 16 December in Warsaw, Poland. The Festival program includes the following concerts:
The Celebrity Symphony Orchestra presents another New Year concert at the Living Arts Centre, Mississauga, Ontario, Canada. The concert features Vadim Brodski, world-famous violin virtuoso, who won first place in all of the international competitions he entered, including the Paganini Competition in Italy (1984). Vadim Brodski was born in Kiev (Ukraine), a region famous for giving birth to such great violinist as David Oistrach and Isaac Stern. In 1981 he moved to Poland, where he started his international carrier. Since 1985 Mr. Brodski makes his second home in Italy. He plays on a violin by Gennaro Gagliano, made in 1747. V. Brodskis repertoire contains over 40 violin concertos from Bach to contemporary music. He will perform Saint-Saens's Introduction and Rondo Capriccioso, along with songs from his most recent recording, an arrangement of music for violin and orchestra from the legendary The Beatles. Also performing is Krystyna Pronko a legendary singer from Warsaw, Poland who has sold hundreds of thousands of records, and is hailed the First Lady of Polish Jazz. Joined by Karolina Ingleton, Canadian rising pop star, and the 45-pieces Celebrity Symphony Orchestra conducted by charismatic Andrew Rozbicki, Viva Carnival 2003 promises to be an unforgettable evening of classical, jazz, and contemporary music. Tickets are: $38, $45, $55 at Box Office Living Arts Centre Mississauga. Call (905) 306-6000 or toll-free 1-888 805-8888. |
INTERNET NEWS
Dayle Vander Sande sent the following information to all the members of the Karol Szymanowski Yahoo Group dedicated to discussing
the life and music of the great composer.
The volume
presents the winners of the 2001 edition of the Wilk Prizes for Research in Polish Music (Essay Competition). The winners, Adrian Thomas
in Professional Category, Sławomir Dobrzański and Katarzyna Grochowska in the Student Category, discuss music from the 17th to the 20th century.
Their texts are accompanied by bibliographies. Judith Rosen's 1983 study of Grażyna Bacewicz, with a foreword by Witold Lutosławski
is the featured article, reprinted from Vol. 2 in the Polish Music History Series (out of print). The abstracts of articles and
the table of contents are included below.
This article is an online reprint of a monograph published in 1983 by the Friends of Polish Music at the University of Southern
California. The monograph, the first book in English about the noted Polish composer, emphasizes the importance of her
place in contemporary music. It discusses her significance as a composer, whose works not only bridged the gap between
neo-romanticism and modernism, but also paved the way for the pursuit of new music by the next generation of composers.
During her brief life (1909-1969) she lived through the eras of pre- and post- World War II with the accompanying musical
freedoms and restrictions. Her musical gifts, both as composer and performer, and her exceptional strength of
character are explored in a discussion of her life. The large quantity and excellence of her compositional
output (in spite of the difficult times in which she lived) are highlighted with quotes from well-known personages and interesting anecdotes. The original monograph included an introduction by Witold Lutosławski as well as extensive lists of compositions
and recordings and a selected bibliography. The present edition contains Lutosławski's introduction, a different selection of illustrations than in the original edition,
and an updated bibliography by Maja Trochimczyk and James Harley.
This article (awarded the 2001 Wilk Prize in Professional Category) is based on a file at the Archiwum Akt Nowych in Warsaw, in which details of the commissioning process for the 1951
Festival of Polish Music are contained. File 750 contains documents and letters to and from composers, who in Spring 1950,
were invited by the Polish Composers' Union to submit proposals to the Ministry of Culture and Art for works to be included in the Festival.
What emerges is an insight into the lives of over 50 Polish composers at a crucial point in the period of "socrealizm."
Composers responded to requests for concert music and music of mass appeal in different ways, giving different reasons for
their requests for subvention by the Ministry. And the Ministry responded by handing out support which ranged from one-off
payments to minor composers to larger amounts spread over several months to more prominent figures.
The responses of two composers - Panufnik and Lutosławski - are given special attention because of the new lines of
inquiry their letters provoke. The information they contain - and that gleaned in consequence from other contemporary sources -
is both surprising and controversial. In both cases, subsequent research will require a revised consideration of the composers'
unenviable positions as creative artists in a controlling political context.
The Pilsudski Institute of America for Research in the Modern History of Poland (based on 180 Second Avenue, New York, NY 10003-5778)
announces the creation of its new bilinbual web site at www.pilsudski.org
The Pilsudski Institute, located in New York, has passed the half-century mark as a foremost archival and research institution dedicated to the study of Poland and Central Europe. It is the repository of valuable materials and documents on Poland's history in the twentieth century including the period of Solidarity. Outside of Poland, its archives and a library are second only to the Hoover Institution in California in the size and depth of coverage of contemporary Polish history. The Institute's collection of over 200 Polish paintings and objects of art is a significant cultural resource for the understanding and promotion of Polish cultural heritage. The Institute is an independent, non-political, non-profit educational institution (*), beholden to no one, supported by the generosity of its members whose dues, donations and testamentary bequests.
On Monday November 11th at 6:30PM EST tune in to http://cbc.ca/musicforawhile/ (CBC Radio Two) on the internet and listen to a broadcast of Enchanted Lake, Opus 29.
Polish composer Bettina Skrzypczak, born
1962 in Poznan and living now in Switzerland has a new web site.
You can find all necessary information about her at the website
http://www.bettina-skrzypczak.com, included an English biography and
portrait.
Her music is issued by the music publisher Ricordi (Germany),
Ricordi also will have her first CD being issued in January 2003 (see
information on the recordings page at www.bettina-skrzypczak.com)
Classical.com is one of the world's leading online classical music services, offering a large resource of reference material
has a web site at Classical.com. This is a commercial site (subscription) offering listening, downloads,
custom CDs, and a huge resource of entertaining information to expand your classical music
knowledge. http://www.classical.com
DISCOGRAPHY
Recordings of Gorecki's Third Symphony (Nonesuch, with Zinman and Upshaw) and Polish
composer Stanislaw Skrowaczewski conducting Bruckner's
Symphonies have been selected as the Top 10 Discs of the
Decade in the BBC Music Magazine, November issue.
The BBC Music Magazine's picks of the month included, in the orchestral category: Szymanowski, Janacek and Haas
String Quartets arranged for orchestra. Erik Levi writes:
"Three string quartets arranged for orchestra survive
unscathed thanks to the Australian Chamber Orchestra's
dazzling playing." Richard Tognetti's "transcription ...is
convincing in almost every respect, the performers effecting
a miraculous unanimity of ensemble while achieving the
necessary elements of spontaneity and urgency...in the
Szymanowski...makes one instantly forget that the work was
originally conceived for only four players." Chandos CHAN
10016 received 5 stars.
This disc is also reviewed in the Gramophone Award Issue by
Ivan March, who praises the Szymanowski and Haas quartets.
"The sensuous textures of Szymanowski's Second Quartet, too,
seem enhanced, when the playing yearns with underlying
intensity without becoming over-voluptuous."
In the instrumental category, the BBC picks of the month include: Chopin: Etudes, Opp. 10 & 25.
Murray Perahia, piano. Reviewed by Adrian Jack who gives it
5 stars and says, "Perahia's long-awaited recording of the 24
Etudes emphasises the music's emotional content as much as
its technical challenges." Jack states that the "wait has
certainly been worth it. Not only are these 24 pieces still
the cornerstone of modern piano technique, but they are also
- and it's been said often enough - great music which
satisfies our deepest spiritual needs, whose textural
innovations and harmonic adventures still amaze."
This disc is also selected as the Editor's Choice and "Record
of the Month" by the November Gramophone magazine. Bryce
Morrison writes that this is "artistry of the highest
calibre. Listen and wonder at such unalloyed perfection."
According to Gramophone Sir Simon Rattle will soon join his
former City of Birmingham Symphony Orchestra to record
Szymanowski's "Love Songs of Hafiz" and the ballet,
"Harnasie" on EMI. Looks like the new conductor of the
Berlin Philharmonic will soon have recorded most of
Szymanowski's works. Hopefully, he will garner awards for
these as well.
PADEREWSKI'S RETURN TO POLAND
Inspired by Chopin's idea of burying his heart where his love was, the dying Paderewski told his sister, Antonia Wilkonska, that no matter what happened to his body, his heart should remain in the United States. President Roosevelt, wishing to bestow the nation's highest honor on Paderewski, ordered that he be buried at Arlington National Cemetery. When Henry Stimson, the Secretary of War, told him that only U.S. citizens could be buried at Arlington, Roosevelt directed that Paderewski's body be interred in a crypt surrounding Arlington's Mast of the Battleship Maine, to lie there until Poland was once again free. For the next several years, Paderewski devotees pondered the mystery, where is Paderewski's heart? While his body was being prepared for burial at Arlington National Cemetery, his heart was removed and disappeared. Paderewski's sister died two years later and his longtime agent continued to search for the heart. Years later, by a stroke of luck, one of Lech Walesa's American relatives saw the initials I.J.P. on a crypt while visiting a cemetery in New York. The caretaker confirmed that it did indeed held Paderewski's heart. In 1986, under the auspices of the Polish-American Congress, the heart was removed from this cemetery and placed in a shrine dedicated to his patron saint, Our Lady of Czestochowa, in Doylestown, Pa..
Meanwhile, Paderewski's body lay in the crypt of the Mast of the Maine for two decades, a fact known only to a few. A Paul Hume article in the Washington Post alerted President John F. Kennedy to the sad fact that only few people knew that the crypt contained Paderewski's remains. Kennedy directed that a marker be placed at the crypt's entrance. By a remarkable coincidence, JFK ordered me, the senior Polish-American in uniform, back from Vietnam to witness the unveiling of the marker. President Kennedy, in a moving speech, declared that artists, as free spirits, are uniquely qualified to promote democracy through the arts and education. A tape of this speech is one of my most prized possessions.
In 1981, as President Reagan's chief Arms Control Negotiator, I prevailed upon him to commemorate the 40th anniversary of Paderewski's death. There was a stirring ceremony at the amphitheater of Arlington National Cemetery, overlooking the mast of the Maine. Lane Kirkland, President of AFL-CIO, pledged the active support of American Labor to Lech Walesa's Solidarity movement. President Reagan, referring to President Kennedy's speech two decades earlier, reiterated Paderewski's philosophy that democracy could be promoted by the arts and education. He promised to support Solidarity in wresting Poland from Soviet domination and to return Paderewski's body to a free Poland.
In 1985, serving as President Reagan's Special Advisor on Arms Control, I was sent behind the Iron Curtain to brief the communist leaders of Poland, Czechoslovakia, and Hungary. When I asked General Jaruzielski if I could speak to Lech Walesa he said "I take note of that." I told Walesa about President Reagan's strong support for Solidarity. In 1988 President Reagan authorized me to tell Mr. Walesa, that when he became President of Poland Paderewski's body would be returned. In 1989, the Berlin Wall was torn down, the Cold War ended, and Poland regained its freedom. True to his promise, Reagan planned to return Paderewski's body to Poland on the 50th anniversary of his death, June 29, 1991. However, on a State visit to the United States, President Walesa said he had not sufficiently consolidated the government and requested that the return of the body be postponed until the following year.
On June 29, 1992, there was a magnificent ceremony at Arlington National Cemetery. Paderewski's casket, draped in an Polish flag, was transported from Arlington Cemetery to Andrews Air Force Base. I, as Honorary Chairman, traveled to Warsaw aboard the Presidential 747 with Paderewski's remains. I was accompanied by a group of prominent Polish-American businessmen, academicians, and cultural leaders. Clarence Paderewski, a renown American architect and second cousin of Paderewski, also traveled with me to Poland. In Warsaw there was another elaborate ceremony at the airport. President Walesa and prominent members of his government greeted the casket. In the group was Dr. Emila Paderewski Chroszicki, a well known physician and professor, and Paderewski's other living second cousin. We traveled in a military procession through streets lined with thousands of Poles waving American and Polish flags, to the Baroque Royal Castle, Zamek Krolowski, in downtown Warsaw where his body lay in state for the next several days. President George Herbert Walker Bush led an emotional ceremony in a square in front of the Castle where President Bush formally delivered the remains to President Walesa. In his address President Bush stressed that this great patriot and statesman had not only been responsible for restoring Poland's freedom, but also had promoted democracy through the arts and education. In accepting the remains President Walesa drew attention to the Polish constitution of 1793, the second oldest in the Free World, which was modeled after the United States Constitution. He thanked the U.S. citizens, especially Polish-Americans, for their undying support. In one final procession, Paderewski's casket was given a military escort to the Basilica of St. John, where it was placed in a crypt.
The Polish government in gratitude for my work in returning Paderewski's remains to Poland, presented me with the Polish flag which draped Paderewski's casket and two books signed by those who paid their respects while Paderewski's body lay in state in Zamek Castle. In turn, I donated the flag to the Polish museum in Chicago and the books to the American Center of Polish Culture in Washington D.C..
Poland's President Kwasniewski declared the year 2001to be the year of Paderewski, commemorating the 60th anniversary of his death. In addition to a number of events in Poland, it was celebrated by gala concerts in Carnegie Hall and Lisner Auditorium. Further events are planned for 2002 to commemorate the tenth anniversary of the return of Paderewski's remains to Poland.
The full version of this article may by found on the site www.paderewskirowny.org maintained by Edward L. Rowny,
Former Ambassador, LTG USA (Ret.). He may be contacted at fax: (202) 986-4752, e-mail: erowny@aol.com.
RECENT PERFORMANCES
Polish pianist Piotr Paleczny, who was a winner in the Chopin
Competition in 1970 and is regarded as Poland's prime pianist
, was the soloist in Chopin's Piano Concerto in e-minor
performed by the Philharmonic Orchestra of Rzeszow with
Tadeusz Strugala conducting. Music by Kilar ("Orawa") and
Panufnik ("Sinfonia sacra") was also scheduled.
The 14th "Jazz Over the San" river festival held in Przemysl
on the eastern border of Poland featured "Chopin in Jazz."
The Andrzej Jagodzinski Trio was the inaugurating group,
followed by the Abraham Burton Quartet with Steve Davis,
trombone, the Maciej Sikala Quartet and Keith Dunn and Adam
Wendt Friends.
The IVth Festival of Polish Culture was held in four cities
in Ukraine (Kiev, Kharkov, Lviv and Odessa) in November.
According to the Nowy Dziennik 1 Nov issue, the festival is
held every two years beginning in 1996. The orchestra of the
Lviv Opera performed works by Moniuszko, while the Ukraine
Symphony Orchestra of the National Theatre, Opera and Ballet
played Lutoslawski's "Concerto for Orchestra," and the Odessa
Philharmonic presented 20th century Polish composers
Karlowicz, Bacewicz, Gorecki and Kilar.
The National Symphony Orchestra of Polish Radio under the
direction of Gabriel Chmura and composer Henryk Mikolaj
Gorecki were featured in this festival in Northern Westphalia, Germany. The cycle of events
was inaugurated in Dusseldorf with Gorecki conducting his
famous Third Symphony.
The Sląsk Folk Song and Dance Ensemble successfully completed
their first tour of 15 cities in Japan. According to their
tradition of singing one song in the native language of the
country they tour, the group received a standing ovation for
singing the popular folk tune "Szla dzieweczka do laseczka"
in Japanese and also a traditional Japanese song, "Momigi."
Director Stanislaw Hadyna reported that 2000 were in
attendance in Tokyo's largest hall.
On October 16 the Polish Theatre Institute of New York
presented "Mickiewicz and Lithuania," a staged, costumed 19th
century soiree, celebrating the famous Polish poet Adam
Mickiewicz in English translation with songs set to his
lyrics in Polish by Polish composers Chopin, Paderewski,
Moniuszko and Niewiadomski. Director Nina Polan and Joseph
Culliton were the actors and they were joined by singers
Monika Krajewska, mezzo, and tenor Gregorio Rangel
accompanied by their Music Director Pablo Zinger at the
piano.
Pianist Alan Feinberg presented a Chopin group in his recital
at Schoenberg Hall, UCLA (7 Nov), while Mark Zeltser also
included the music of Chopin in his recital at Fields' Pianos
(17 Nov).
On the other side of town the Los Angeles Master Chorale
conducted by Grant Gershon presented a program at the new
Cathedral of Our Lady of the Angels, which the director
called "Mystics at the Cathedral." Gorecki's "Amen" was
heard.
Pianist Earl Wild still "thrilling his audiences" as Daniel Cariaga wrote in his review in 19 November issue of the
Los Angeles Times. Cariaga stated that,
at 86, "Pianist Wild retains his wondrous natural touch" in
his recent concert in Pasadena (17 Nov). "He thrilled his
audience of nearly 500 as much as ever...his technical feats,
...take the breath away...for definitive and heart-melting
Chopin...created deeply impressed aural memories."
Distinguished Canadian Chopin pianist, Louis Lortie,
performed an entire Chopin program on October 13 at UCLA's
Schoenberg Hall. He included the 12 Etudes of Opus 10 and 12
of Opus 25, as well as the posthumous Trois Nouvelles
Etudes.
Twenty participants from musical academies in Poland vied for
best national conductor's prizes. Tomasz Tokarczyk, graduate
of the Cracow Academy of Music, won First Prize (a Gold
Violin Key), Wojciech Rodek representing the Music Academy of
Wroclaw took II Prize and Przemyslaw Neumann of Poznan
received the Bronze (III Prize). They are now eligible to
represent Poland in the International Competition that will
take place in Katowice. Boguslaw Madey was chairman of the
jury.
Ronald J. Czyz, Jr., programming assistant, at the John Paul
II Cultural Center in Washington, D.C. publicized "Chopin's
Romanticism" a program scheduled for 27 October. Maire-
France Lefebvre, piano and Nathaniel Chaitkin, cello played
Chopin's Polonaise Brillante, Op. 3 and Sonata in G minor,
Op. 65. Music of Schumann and Mendelssohn was also heard. You
can visit the Center's web-site: www.jp2cc.org
ANNIVERSARIES
SITES OF THE MONTH:
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POLISH MUSIC JOURNAL
Vol. 5 No. 1, Summer 2002
BACEWICZ AND WILK PRIZES 2001

The summer 2002 issue of the Polish Music Journal is now available from:
www.usc.edu/polish_music/PMJ/issue/5.1.02/contents.html.
The article (awarded the 2001 Wilk Prize in Student Category ex aequo with Grochowska) provides a summary of historical research on possible personal contacts between Frederic Chopin (1810-1849) and Maria Szymanowska (1789-1831).
Although there is no direct evidence of an actual meeting between them, several documents and historical circumstances suggest that both composers must have known
each other personally. The main body of the article is devoted to a comparative analysis of musical styles of both the composers and to the possible influence of Szymanowska's
compositions on Chopin's musical language. Although some of the research is based on previous insights of musicologists such as Maria Iwanejko and George Golos,
the author suggests some new possible comparisons. Especially noteworthy is a brief analysis of the melodic material in Polonaises by Oginski, Szymanowska,
and earliest Polonaises by Chopin. Szymanowska's works discussed in the text include Vingt Exercises et Preludes, Waltzes, Songs, Mazurkas, dances, and 2 Nocturnes
This article (awarded the 2001 Wilk Prize in Student Category, ex aequo with Dobrzanski) takes up the task of
explaining the route by which a Gdansk singer, Constantia Czirenberg, became the dedicatee of Milanese publisher Filippo Lomazzo's 1626
motet anthology, Flores Praestantissimorum virorum. The main tools used for this study are the 17th-century travel
diaries and itineraries of Charles Ogier and Prince Władysław IV Waza, both friends and admirers of Czirenberg.
While tracing the possible connections between Czirenberg, Lomazzo and Władysław IV Waza, the author concludes that it was
the Polish prince who initiated Lomazzo's dedication. This conclusion offers a new perspective on Władysław's well-known music patronage,
which this time took place outside the royal court.
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Paderewski, 2002 Booklet by Instytut Adama Mickiewicza, Poland![]()
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The Polish Cultural Institute of N.Y. Newsletter recently
published a superb review from the Chicago Tribune written by
Howard Reich. The author praises the Cracow Klezmer Band,
which appeared "in a standing-room only crowd at the Chicago
Cultural Center at the World Music Festival." Mr. Reich
called them "the great find of this year's festival" for they
"dared to view klezmer music not as rowdy entertainment, but
as sublime, high art in an era, which many would-be klezmer
bands, including several in the U.S., exaggerate and
vulgarize klezmer traditions." They regard "this art form as
a concert music to be performed with utmost polish, care and
subtlety." He concluded "of all the ensembles that have
emerged in recent years to explore the meaning of klezmer in
a new era, few have reached as high as the Cracow Klezmer
Band, and fewer still have attained comparable results."
The Polish ensemble includes Jaroslaw Bester, accordion;
Jaroslaw Tyrala, violin; Wojciech Front, bass and Oleg Dyyak
on accordion, clarinet and percussion.![]()
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PMC Newsletters
Copyright 2002 by the Polish Music
Center
The publication of the Polish Music Newsletters is supported by
Dr. & Mrs. Matthew S. Mickiewicz Family Fund, California. ![]()
Sources of information: American Record Guide, Chamber Music,
Fanfare, Polish American press, www.meloman.
Formatting by Michael Bedernik, 2 December 2002.