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EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Reviews ADAM Mickiewicz
REVIEWS ADAM MICKIEWICZ: THE LIFE OF A ROMANTIC. By Roman Koropeckyj. Ithaca and London: Cornell University Press, 2008. xvii, 549 pp., illustrations, notes, bibliography, index. ISBN (cloth) 978-0-8014-4471-5. Roman Koropeckyj begins his biography of Adam Mickiewicz (1798–1855)— Poland’s greatest poet, canonically speaking—with a jocular epigraph from a Polish hip-hop artist who suggests that Mickiewicz would make a good rapper if he were still alive today. The juxtaposition of this epigraph with an excerpt from Mickiewicz’s famous autobiographical lyric, a retrospective, somber summa of the poet’s life, seems to encapsulate Koropeckyj’s approach to a task that is certainly not for a scholar who is faint of heart: writing a biography of the Polish “national poet” that re/presents Mickiewicz’s voice in its own historical, social, and literary context with a twenty-first century audience and its frame of reference in mind. This monumental biography—a somewhat risky adjective to use since the authorial design appears, inter alia, to remove Mickiewicz from the symbolic monument erected to him by Polish culture during the last two and a half centuries—is a tour de force. To begin with, it is meticulously researched, which is no small feat given the wealth of materials on Mickiewicz, as well as flawlessly written. Koropeckyj writes with sprez- zatura and flair, a combination that makes Mickiewicz seem truly alive in a human, writer-next-door kind of way. At the same time, the biographer turns Mickiewicz into a character, a hero perhaps, of a romantic work of art and “of his time.” Mickiewicz the rebel, exile, pilgrim and wanderer, melancholic, wieszcz (poet-prophet, spiritual leader of the nation), improvisatore, thinker and scholar, “teacher and preacher” (p. -
Maria Szymanowska Piano Works
DUX S.J. Ul. Morskie Oko 2, 02-511 Warszawa +48 22 310 28 33 lub + 48 601 802 456 Maria Szymanowska Piano Works Cena: 29,30 pln Opis słownikowy Kompozytorzy Szymanowska, Maria ∎ Wykonawcy Ciborowska, Anna ∎ Opis produktu CD DUX 0450Total time: [63:43] Maria Szymanowska Nocturne in B flat major, Moderato 1. Nocturne in B flat major, Moderato [5:36] Maria Szymanowska Vingt Exercices et Préludes dédiées a Mademoiselle la Comtesse Sophie Chodkiewicz 2. Prelude No. 1 in F major, Vivace [2:53] Plik wygenerowano: 25-09-2021 Oprogramowanie sklepu: AptusShop DUX S.J. Ul. Morskie Oko 2, 02-511 Warszawa +48 22 310 28 33 lub + 48 601 802 456 3. Prelude No. 3 in D major, Moderato [2:04] 4. Prelude No. 4 in G minor, Agitato [1:50] 5. Prelude No. 6 in C major, Moderato [3:06] Maria Szymanowska Caprice sur la Romance de Joconde dédiée a Monsieur John Field in E major 6. Caprice sur la Romance de Joconde dédiée a Monsieur John Field in E major [7:36] Maria Szymanowska Prelude No. 9 in B flat major, Moderato, Lento molto cantabile 7. Prelude No. 9 in B flat major, Moderato, Lento molto cantabile [6:40] Maria Szymanowska Prelude No. 18 in E major, Presto 8. Prelude No. 18 in E major, Presto [1:57] Maria Szymanowska Dix-huit Danses de différent genre dédiées a Madame la Princesse Wiasemsky 9. Polonaise in F minor, Allegro moderato [5:01] Plik wygenerowano: 25-09-2021 Oprogramowanie sklepu: AptusShop DUX S.J. Ul. Morskie Oko 2, 02-511 Warszawa +48 22 310 28 33 lub + 48 601 802 456 Maria Szymanowska Vingt-quatre Mazurkas arrangées pour le piano 10. -
Maja Trochimczyk
Maja Trochimczyk History in Song: Maria Szymanowska and Julian Ursyn Niemcewicz’s Śpiewy historyczne They were read, they were sung; ladies contributed to this decora- tive edition with their drawings and music; girls learned the songs by heart and, in this way, they loved, they learned the country’s history […] Nobody dared not to know Niemcewicz’s book and to admit that they did not know the history of their homeland. With these words, Prince Adam Jerzy Czartoryski captured the enormous impact of Niemcewicz’s Śpiewy historyczne on Pol- ish culture. In my study, I will focus on the music, created for all 33 chants by a group of amateur and professional composers, including Maria Szymanowska. This monumental and patriotic poetry collection was written by a poet, politician, educator, jour- nalist, and freedom fighter, Julian Ursyn Niemcewicz (1758–1841) who was also a deputy to the Four-Year Seym, a member of the Patriotic Party, a leading advocate of the Constitution of May 3, 1791, Tadeusz Kościuszko’s right hand during the 1794 Insurrec- tion, a member of governments in the Duchy of Warsaw, the Con- gress Kingdom and the November Uprising, and the president of the Society of Friends of Learning in Warsaw (1827–1831). Niemcewicz’s educational approach to history was the prima- ry reason for the design and content of Śpiewy historyczne where each of the 33 poems was accompanied by an essay (Przydatki do śpiewu…) explaining its historical background. Each poem was also set to music and illustrated with an engraving of a no- table scene from the life of its hero. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Negishi, Yuki (2018). Haptic influences on Chopin pianism: case studies from the music of Szymanowska and Kessler. (Unpublished Masters thesis, Trinity Laban Conservatoire of Music and Dance) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/22012/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Haptic Influences on Chopin Pianism: Case Studies from the music of Szymanowska and Kessler Submitted for the Degree of Master of Philosophy at Trinity Laban Conservatoire of Music and Dance for Creative Practice, Music December 2018 Yuki Negishi 1 Table of Contents • Introduction- The meaning of ‘haptic’….………………………………………………………..P.6 • Chapter 1 ◦ Historiographical Framework………………………………………………………………………P.7 -
Maria Szymanowska and the Evolution of Professional Pianism by Slawomir Dobrzanski
Maria Szymanowska and the Evolution of Professional Pianism by Slawomir Dobrzanski Today's pianists, preoccupied with a grueling daily regimen of scales, arpeggios, etudes, etc. and equipped with an enormous piano repertoire ranging from Rameau through Chopin to Ligeti, rarely spend much time thinking about who created their profession. In fact, most piano connoisseurs and historians rarely venture beyond the early 20th century, or, more specifically, beyond the start of the Recording Era. Nevertheless, the evolution of professional pianism remains a fascinating area of inquiry. For instance, what, we may ask, are the differences and similarities between early 19th century pianists and the pianists of our time? The life and career of Maria Szymanowska (1789-1831), one of the first pianists "(to take) Europe by storm," provides surprisingly good source material for the making of such comparisons. In contrast to that of today's pianists, Maria Szymanowska's musical education did not take place at any official music school. There are several reasons for this. Firstly, public music education in Warsaw was still in its infancy (the first professional music school there opened only in 1809); secondly, such education was at the time inaccessible to women. Given such circumstances, Szymanowska's piano instruction took place at her home in Warsaw, with two unknown piano teachers, Lisowski and Gremm. It is widely assumed that she took advice from Chopin's teacher, Józef Elsner, from Karol Kurpinski, conductor of the National Theatre, and from Chopin's organ teacher Franciszek Lessel, a student of Haydn. Maria's parents, following their daughter's unusual interest in music, began inviting renowned musicians into their home whenever such artists performed in Warsaw. -
2Nd Stanisław Moniuszko International Competition of Polish Music
2nd Stanisław Moniuszko International Competition of Polish Music Konkurs należy do organizacji Alink-Argerich Foundation program 2 11–18 WRZEŚNIA 2021 II Międzynarodowy Konkurs Muzyki Polskiej im. Stanisława Moniuszki 11–18 września 2021 roku II Międzynarodowy Konkurs Muzyki Polskiej im. Stanisława Moniuszki 11–18 września 2021 roku Misja i cele Konkursu Celem Międzynarodowego Konkursu Muzyki Polskiej im. Stanisła- wa Moniuszki jest popularyzacja polskiej muzyki na świecie oraz utrwalenie w świadomości odbiorców znaczenia twórczości zarówno Stanisława Moniuszki, jak i wielu wybitnych polskich kompozytorów. Konkurs promuje dorobek muzyki polskiej XIX i XX wieku, zwłaszcza tej, która została zapomniana lub jest mniej popularna w praktyce koncertowej. Ma się przyczynić do tego, by szeroka publiczność poznała na nowo odkrywane utwory, a niesłusznie zaniedbana spuścizna doczekała się należytego opracowania i nowych edycji. Równie ważnym celem konkursu jest promowanie utalentowanych muzyków, którzy zdecydują się włączyć do swojego repertuaru mniej znane dzieła polskich kompozytorów. Organizacja konkursu to tak- że promocja Polski jako miejsca, gdzie odbywają się wydarzenia artystyczne o międzynarodowym zasięgu. Podstawowe założenia Konkurs odbywa się co dwa lata i może być przeznaczony dla róż- nych składów wykonawczych. Druga edycja konkursu odbędzie się w dwóch kategoriach – fortepian i zespoły kameralne. W kon- kursie mogą uczestniczyć muzycy-instrumentaliści zgłaszający się indywidualnie oraz jako zespoły kameralne (od duetów po składy dwunastoosobowe). W konkursie nie ma ograniczeń ze względu na wiek i obywatelstwo uczestników. II MIĘDZYNARODOWY KONKURS MUZYKI POLSKIEJ 5 Uczestnicy będą prezentować utwory 56 polskich kompozytorów, tworzących głównie w XIX i XX wieku. Przesłuchania konkursowe odbędą się w Filharmonii Podkarpackiej im. Artura Malawskiego w Rzeszowie od 11 do 18 września 2021 roku. -
The Piano Genre of the Nineteenth-Century Polonaise
THE PIANO GENRE OF THE NINETEENTH-CENTURY POLONAISE by BARBARA M. SIEMENS B.Mus., The University of British Columbia, 1986 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2002 © Barbara M. Siemens , 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. School of Music The University of British Columbia Vancouver, Canada Date Abstract The polonaise is a genre whose history reaches back over four hundred years. In recent times, the style has come to be characterized by the rhythm found in many nineteenth-century examples in the piano literature. However, while this rhythm is a typical feature in most Romantic samples, the term "typical" becomes problematic when viewing polonaises written in nineteenth-century Poland, as well as in eighteenth-century Germany. In these cases, the above pattern is given a less prominent role and is replaced by other rhythmic features. This dissimilarity between the polonaises of various periods calls into question the validity of labelling a primary characteristic unilaterally "typical." Is it possible to make one statement regarding the basic rhythmic characteristics of a polonaise, or is it more accurate to create definitions which vary according to historical context? The answer lies in an examination of the rhythmic characteristics as they occur, and not as they are thought to occur, throughout the history of the genre. -
Halina Goldberg
Halina Goldberg The Topos of Memory in the Albums of Maria Szymanowska and Helena Szymanowska-Malewska The custom of maintaining friendship albums, blank books in- tended to be filled with keepsakes inscribed by friends and ac- quaintances, persisted in Europe for some four centuries, though its social contexts and the resulting artifacts underwent many transformations. Mementos left in a friendship album (also known as keepsake album, album amicorum or Stammbuch) could take on various forms – poems, drawings, paper cuttings, musical compo- sitions – depending on the interests of the recipient and the talents of the inscriber. In this essay, I examine one aspect of the album tradition: its emphasis on memory. Using the albums of Maria Szymanowska and her daughter, Helena Szymanowska-Malewska, I discuss three ways the topos of memory takes shape in album inscriptions. First, I explore what musical mementos can tell us about ways in which memory intersected with the nineteenth-century cult of relics. Then I contextualize the role musical album inscriptions had in constructing and maintaining the memory of the Polish nation. Fi- nally, I demonstrate how specific compositional features of musical gifts were designed to invoke psychological processes characteristic of a remembered experience. Mementos and Relics “Where are the hours that oh! so swiftly vanished?” exclaimed Johann Wolfgang Goethe in the much-celebrated poem known today under the title “Aussöhnung”, but originally composed for Maria Szymanowska’s album.1 Goethe’s poem, while extolling music’s power to bring back the past, reminds the reader that even as the present, through music, catches a glimpse of the past, it is 1 “Wo sind die Stunden, überschnell verflüchtigt?” From Johann Wolfgang Goethe inscription in the album of Maria Szymanowska. -
4908223-289677-809730512322.Pdf
Three Generations of Mazurkas Maria Agata Szymanowska (1789-1831) Fryderyk Franciszek (Frédéric François) Chopin (1810-1849) 1 Mazurka No. 1 0.37 25 Mazurka in B flat major, Op. 7, No. 1: Vivace 2.04 2 Mazurka No. 2 0.50 26 Mazurka in A minor, Op. 7, No. 2: Vivo, ma non troppo 2.55 3 Mazurka No. 3 0.47 27 Mazurka in F minor, Op. 7, No. 3: (no tempo indication) 2.13 4 Mazurka No. 4 0.41 28 Mazurka in A flat major, Op. 7, No. 4: Presto, ma non troppo 1.15 5 Mazurka No. 5 0.31 29 Mazurka in C major, Op. 7, No. 5: Vivo 0.57 6 Mazurka No. 6 0.32 30 Mazurka in B flat major, Op. 17, No. 1: Vivo e resoluto 2.04 7 Mazurka No. 7 0.39 31 Mazurka in E minor, Op. 17, No. 2: Lento, ma non troppo 1.40 8 Mazurka No. 8 0.35 32 Mazurka in A flat major, Op. 17, No. 3: Legato assai 3.45 9 Mazurka No. 9 0.33 33 Mazurka in A minor, Op. 17, No. 4: Lento, ma non troppo 3.44 10 Mazurka No. 10 0.37 11 Mazurka No. 11 0.16 Karol Maciej Szymanowski (1882-1937) 12 Mazurka No. 12 0.39 13 Mazurka No. 13 0.31 34 Mazurka, Op. 50, No. 1: Sostenuto, molto rubato 1.53 14 Mazurka No. 14 0.30 35 Mazurka, Op. 50, No. 2: Allegramente, poco vivace 2.27 15 Mazurka No. 15 0.33 36 Mazurka, Op. -
Competition of Polish Music in Rzeszów the Stanisław Moniuszko International Competition of Polish Music in Rzeszów 20 – 27 September 2019
WWW.KONKURSMUZYKIPOLSKIEJ.PL THE STANISŁAW MONIUSZKO INTERNATIONAL COMPETITION OF POLISH MUSIC IN RZESZÓW THE STANISŁAW MONIUSZKO INTERNATIONAL COMPETITION OF POLISH MUSIC IN RZESZÓW 20 – 27 SEPTEMBER 2019 The Stanisław Moniuszko International Competition of Polish Music in Rzeszów is a new cultural initiative whose purpose is to promote Polish music around the world and make the listeners realise the quality and significance of the musical legacy of Stanisław Moniuszko and many other distinguished Polish composers from the nineteenth and twentieth centuries. MISSION AND OBJECTIVES OF THE COMPETITION The Stanisław Moniuszko International Competition of Polish Music (Międzynarodowy Konkurs Muzyki Polskiej im. Stanisława Moniuszki) in Rzeszów has been initiated in order to promote that part of the great legacy of nineteenth and twentieth century Polish music which has been forgotten or, for a variety of reasons, has been less popular in concert practice. Its other objective is to present rediscovered works to the general public and provide this unjustly neglected legacy with appropriate analyses and new editions. The Competition also endeavours to promote talented musicians who are willing to include lesser-known works written by Polish composers in their concert programmes. The final aim of the Competition is to disseminate information about Polish artistic events addressed to the international recipients. BASIC PRINCIPLES The Stanisław Moniuszko International Competition of Polish Music in Rzeszów will be organised on a biennial basis and will be intended for a variety of different sets of performers. The first edition of the Competition will be divided into two distinct categories: one for piano and the other for chamber ensembles. -
Publications
2011 2012 ADAM MICKIEWICZ INSTITUTE | REPORT | SEASON 2011/2012 It was an excellent season for the growth of the Polska brand as well as for the development of the Adam Mickiewicz Institute’s reputation among our global partners. Paweł Potoroczyn, director of the Adam Mickiewicz Institute The 2011/2012 season will be remembered as a period of great challenges and spectacular outcomes. With whole-hearted accountability, we can say today that through the success of the International Cultural Programme of the Polish EU Presidency we have gained a level of experience that prepares us to meet any challenge head on. This experience is already paying dividends, as evidenced by projects like Polska Arts Edinburgh 2012, Polska Music, the Asia Project and the latest concert tour of the I, CULTURE Orchestra. The International Programme of the Polish Presidency surpassed even our boldest expectations – 20 million spectators in 10 world capitals, more than 7,500 write-ups in the most influential media and hundreds of valuable new contacts. At the Adam Mickiewicz Institute, we do not speak about the success of the Presidency; we speak about its effects, thanks to which Poland now has a face and our national brand is ever more robust and ever more reflective of the most desirable traits. Equally important to us is the fact that, due to the geographic reach of the Presidency, we gained valuable and practical experience in the Far East, which we plan to capitalise on in upcoming seasons. Though the Presidency is now behind us, two of its pillar projects will continue to shine with a new lease on life and, thus, a new energy: the I, CULTURE Orchestra and the Karol Szymanowski project.