The Semi-Annual Magazine of the Chopin Foundation of the USA

CHOPIN FOUNDATION OF THE UNITED STATES, INC.

Officers & Directors Krzysztof Penderecki Honorary Chairman Blanka A. Rosenstiel - Founder & President Olga Melin - Vice President Dr. William J. Hipp - Treasurer Rebecca Baez - Secretary Dr. Adam Aleksander - Artistic Advisor Jadwiga Viga Gewert - Executive Director Directors Agustin Anievas, , Roberta O. Chaplin, Douglas C. Evans, Rosa-Rita Gonzalez, Renate Ryan, Lorraine Sonnabend Regional Councils Mack McCray – San Francisco Chopin Council SPRING 2013 Allan Park – Northwest Chopin Council VOLUME XXIII/NUMBER 1 Scholarship Committee TABLE OF CONTENTS Dr. Adam Aleksander, Agustin Anievas, Dr. Hanna Cyba Message from the Founder and President ...... 2 Advisory Board Bonnie Barrett – Yamaha Artist Services Chopin Foundation Donors and Contributors ...... 3 Dr. Shelton Berg – University of Miami Frost School of Music Ron Losby – Steinway & Sons Message from the Executive Director ...... 4 International Artistic Advisory Council Agustin Anievas, Martha Argerich, Emanuel Ax, Jeffrey N. Babcock, Highlights from our Recent Concerts ...... 5 John Bayless, Luiz Fernando Benedini, John Corigliano, Ivan Davis, Christopher T. Dunworth, Charles Dutoit, Nelson Freire, San Francisco Chopin Council...... 6 Bruno Leonardo Gelber, Gary Graffman, Horacio Gutierrez, Marta Istomin, Byron Janis, James Judd, Cyprien Katsaris, Northwest Chopin Council ...... 7 Zoltan Koscis, Jacob Lateiner, Garrick Ohlsson, Paloma O’Shea, Daniel Pollack, Maurizio Pollini, Abbey Simon, 2013-14 “Chopin for All” FREE Concert Series...... 9 Stanislaw Skrowaczewski, Michael Tilson Thomas, Charles Wadsworth, 2013-14 Membership Concerts...... 9 Susan Wadsworth, Krystian Zimerman “CHOPIN & LISZT: AFFINITIES IN WORK & RELATIONSHIP” Irena Poniatowska...... 10 Editorial Polonaise is published semi-annually by the Scholarship Program for Young American Pianists...... 14 Chopin Foundation of the USA 1440 79th Street Causeway, Suite 117, Miami, FL 33141 MTNA “Chopin Prizes”...... 15 Editorial Office: 305-868-0624 • 305-865-5150 (Fax) E-mail: [email protected] • Website: www.chopin.org Musical News and Notes for Young Pianists and Piano Teachers...... 16 Publisher: Lady Blanka A. Rosenstiel Executive Editor: Jadwiga Viga Gewert Support Young American Pianists...... 17 Contributors: Rena Kizilisik, Lynne Schaefer, Mack McCray, Allan Park Design by: Jacober + Associates, Miami Beach Copyright © 2013 Chopin Foundation of the United States, Inc. All rights reserved. “Words are wonderful enough; but music is even more wonderful. It speaks not to our thoughts as words do; it speaks straight to our hearts and spirits, to the very core and root of our souls.“ - Charles Kingsley (1819 – 1875) Message From The FOUNDER Blanka A. Rosenstiel, Founder & President

I have always believed in the magic of music. During the 35 years of the Chopin I am very pleased to announce the dates of our Ninth National Chopin Piano Foundation, I have seen over and over again how music thrills and soothes, Competition of the USA, held in Miami, February 21 through March 1, 2015. entices and moves, and touches every one of us at our very core. Music has the As always, our rules are based on the requirements of the International power to unlock our hearts and emotions, and I know that the passionate music Chopin Competition in Warsaw. We look forward to the excitement of both - lovers I have had the privilege to meet over the years share my ardent belief that the national and international competitions - but before that a new batch of music is one of the most vital pleasures of our lives. scholarship recipients will be selected by June 15th of this year. It is our hope that some of these talented young musicians will be ready to enter the 2015 There is no better evidence of how much classical music is still in demand Chopin Competition. than at our “Chopin for All” FREE Concert Series which is in its seventeenth successful season. If you don’t arrive at our concerts at the Broward County Main Also this year, I am thrilled that once again there are two new winners of the Library early enough, you may be seated in the lobby in front of the monitor and Chopin Prizes at the Music Teachers National Association Piano Competition, speakers, since all the seats are taken the moment the doors open. At Granada in Junior and Senior categories. The first prize winner in the Young Pianists Presbyterian Church every concert attracts about 500 avid guests! Music lovers category will perform for us in South Florida next season. I am so grateful for from all walks of life are united by Chopin’s music. Many of them have attended all the piano teachers across the country who collaborate with us in searching year after year since the series began in 1996, and bring their friends and family, for young talent. Together we can do more! who then bring their friends and on and on it goes. Our hearts and spirits are I want to thank all music lovers, members, and avid supporters for helping never tired of music - we need it - and I promise you we will continue bringing us to carry on our mission. With your ongoing generosity and love of music, exciting and gifted musicians to delight all of your music “senses!” the Chopin Foundation will be able to grow and expand its musical reach for In this issue you will find our schedule for the new season of concerts in which years to come, and to continue creating magic! we will introduce a number of young artists who have never performed here Affectionately and musically yours, – outstanding young Americans, an exchange artist from Kosovo, and the Blanka A. Rosenstiel upcoming winner of the 2013 International Paderewski Competition.

2 // POLONAISE SPRING 2013 DONORS & CONTRIBUTORS

We extend our deepest thanks to those whose vision and support have helped us in our mission: that of developing the next generation of great musicians. May we continue to add to this esteemed roster others who would join us in our mission.

FOUNDER FRIENDS Lady Blanka A. Rosenstiel Franklin & Dorothy Abel, Sonia Alcazar, Michael Alexander, Hilda Andrews, Richard Ascher, Claudine Assous, Evelyn Axler, Tadeusz Babij, Philip Balbi, Milton & Adelle Bandklayder, GRAND BENEFACTORS Allan Behm, Eric Berger, Ophelia Bertran, Emily Boraby, Loretta Bready, Dr. Thor Bruce, Honorable S. Peter Capua, Alfred Casaretti, Paolo Carega, Erich Cauller, Carole Cohen, Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, Raymond & Cornelia Copell, Carmen Cuenca, Robert Fithian, Mildred Cohn, Robert Connor, The Miami-Dade County Mayor and Board of County Commissioners; Florman Family Edith Cubas, Rosemary Curasi, Margareta De Gea Grezell, Hermine Dessort, Foundation, Mark Blank Chairman; Brenda Bruce Fountain; Louis Leibowitz Charitable James & Joan Dezell, Elena Duyos, Norman & Diana Elson, Rita Essner, Elisabeth Evans, Foundation, Marvin & Isa Leibowitz; The Rosenstiel Foundation; Southern Wine & Spirits of Mary Fader, Grecia Falcon, Paula Finkle, Susan Fleming, Florence “Flossie” Fowlkes, America, Harvey & Roberta Chaplin, Chairman & CEO; Yamaha Artist Services Candido Font, Merle Frank, Roberto & Marie Friedman, Donna Genet, Margarita Garcia, Dalia Glottman, Rosa-Rita Gonzalez, Ken & Gladys Gold, Carmen Gonzalez, Keith Gray, BENEFACTORS Bernice Harris, Carol Hill-Williams, Helene Houge, Petrina Hurlbert, Emilia Ibanez, American Institute of Polish Culture, Agustin & Carol Anievas, Audrey Love Charitable Gail Ironson, Claire Jacobson & Marvin Roth, Mr. & Mrs. Benjamin Jacobstein, Foundation, Manuel & Rebecca Baez, George Berberian, The Beveridge Family Foundation, Jerome & Anita Kaplan, Rita Kritcher, Dr. Iris Lash, Judy Lawton, David Lazovitz, Broward County Main Library and Friends of the Fort Lauderdale Libraries, Mr. & Mrs. Norman Leathers, Marilyn Levine, Barbara Levy, Norman & Nancy Liebman, The City of Coral Gables, Chopin Imports, Corduroy Charitable Trust/Mark D. Howland, Lucy London, Zenobia Logusz, Darren Lyle, Erna Mayer, Abel Merrill, Embassy of the Republic of Poland, Funding Arts Network, Greater Miami Convention & Roger & Elizabeth Mervis, Teresita Mestre, Mary Morales, Li Chiung Moyant, Jeffrey Mullens, Visitors Bureau, William & Frankie Hipp, Sheldon L. and Pearl R. Leibowitz Foundation, Avis Lee Neiman, Marta Olchyk, Nelsie Parada, Cyril & Marie Parkanyi, Bertin & Maria Perez, David & Olga Melin, Sonny Nguyen, Piano Music Center, Renate Ryan, Suzette Pope, Alan Phillips, Miriam Rodriguez, Floyd Rosen, Arnold & Edith Rosenberg, Stephen & Lorraine Sonnabend, Tian Ying, Juana Zayas Eugene & Jacqueline Ross, Charles Rubenstein, Sheldon & Bernice Rubin, Anne Russinof, Carol Sadowski, Leonard Sanginario, Helen Saulson, Rose & Alan Sazant, PATRONS Reiner & Barbara Schwebel, Margaret Seroppian, Daniel Setton, E.M. Setton, Ruby Bacardi, Isa Baez, Enrique & Lina Blondet, Frances & Janusz Burzynski, Doan Bao Tran, Denyamin & Laura Shurik, Leslie Silverman, Marilyn Silverstein, Norman & Audrey Skopp, Philip Caswell, III, Buddy & Diane Cohen, Sandra Davis, Carlos & Carmen Dominguez, Linda Smoak, Peter Steinberg, Barbara Stephens, Karen Strouse, Allan & Susan Dunn, Mayor Norman Edelcup, Douglas Evans, Pamela Garrison, Amanda Suarez, Elizabeth Sullivan, Grace Sullivan, Hilda Sussman, Henryk Switala, Lenore Gaynor, Clifford & Norma Hall, Herbert & Madeline Hillsberg, Jadwiga Henderson, Irene Szulman, Dean Taylor, Dwight Taylor, Richard & Evelyn Vaz, Jon Verbalis, Vivian Waddell, Christopher Humberston & Luisa Ruffin, Dr. Idalia Lastra, Jesus & Silvia Lastra, Lee Walter, Jean Warner, John Williams, Lee Wouters, Joanna Zaremba Joseph Lavinio & Richard Jannotti, Richard & Theresa Lubman, Laureano & Ana Martinez, Terry & Louise Moore, Northwest Chopin Council, Ralph & Elizabeth Piotrovsky, PARTNERS IN THE ARTS Daisy Richardson, Carlos Rivas, Carol Romer & Bill Nigh, Richard & Anne Rosenfeld, Classical South Florida 89.7FM, WLRN 91.3FM, The Miami Herald, Alicja Schoonover, Dolores Seidon, Lisa Werner & Peter Seite, Fred Seltzer, Clara Sredni, Sunday Afternoons of Music/Doreen Marx, CGCC Community Arts Program/Mark Hart, Duane & Liliana Treeman, Jacqueline Tuozzolo, Tatiana & Gerrit Verberg, Von Holtzbrinck Friends of Chamber Music of Miami/Julian Kreeger, Publishing/Patricia Hall, Ligia Wiegand, Robert & Julie Williamson, Bevy Yuz The Rosenstiel School of Marine & Atmospheric Science, The Village of Key Biscayne

POLONAISE SPRING 2013 // 3 Message From The EXECUTIVE DIRECTOR Jadwiga Viga Gewert

Our 2012-2013 season of concerts have again been the talk of the town. Christina McGann. The April 2013 concert will presented preselected Miami-Dade The Southern Wine & Spirits of America’s “Chopin for All” FREE Concert Series and Broward piano students, aged 7 to 17 years old, in an all-Chopin program. opened in October with our Top Teenage Talent – the 2012 Chopin Scholarship The series concludes in May 2013, with the young Polish pianist Piotr Kosinski, recipients, Connie Chen and Gabrielle Chou, in two superb concerts staged at winner of the 2010 International Paderewski Piano Competition in Los Angeles, our usual locations: Broward County Main Library’s concert hall and Granada who comes to us as an exchange artist. Presbyterian Church in Coral Gables. The December 2012 concert featured Our Salon Membership Concerts presented three Masters of the Piano – phenomenal young cellist, Jonah Kim, who charmed the audience in a duo Adam Aleksander in November, Ning An in January, and Mei-Ting in March at the performance with the more understated Andrew Tyson, the winner of the 2011 elegant La Gorce Country Club on Miami Beach. YCA Competition. In January 2013, we presented a rising star of American piano, Steven Lin, a Third Prize Winner of the 2012 Hilton Head International The most important concert of the season will feature Rafal Blechacz, the 2005 Piano Competitions. In February, the 2012 Chopin Prize Winner of the Music International Chopin Piano Competition Winner, who will perform in Miami on May Teachers National Association’s (MTNA) Piano Performance Competition, Yi- 7, 2013, as part of our collaboration with the Friends of Chamber Music of Miami. Yang Chen from Taiwan, performed a program from Chopin to … Yi-Yang Chen! No music lover should miss this concert! The March 2013 concert featured Igor Lovchinsky, a finalist of our 2005 National We hope to see you at our exciting events next season, starting November 2013! Chopin Competition, performing a lively solo as well as a duo with the violinist

Young Pianists Concert, Fort Lauderdale Young Pianists Concert, Miami

4 // POLONAISE SPRING 2013 HIGHLIGHTS FROM OUR CURRENT SEASON

OCTOBER JANUARY continued

Connie and Gabrielle with Brenda Bruce Gabrielle Chou & Gabrielle also George Berberian, Ning An with Barbara Pagowska, Ning An at La Gorce Country Club Fountain, Lady Blanka & Renate Ryan Connie Chen plays violin Olga Melin & Ning An Agnieszka Gray & Lady Blanka

NOVEMBER FEBRUARY

Yi-Yang Chen at the piano Yi-Yang Chen with Diego Arevalo Yi-Yang Chen with the Lee family, Adam Aleksander flanked Hanna Cyba & Chopin Members & his parents Jessica, Chien, Dickson & Sylvia by Grazyna & Dr. Zbigniew Adam Aleksander Wojciechowski from Texas

DECEMBER MARCH

Christina McGann & Igor Lovchinsky McGann & Lovchinsky with Leibowitz Family McGann & Lovchinsky Jonah Kim & Andrew Tyson Jonah & Andrew with Andrew & Jonah with Cynthia Lady Blanka & the artists’ hostess, Shulman, Main Library Manager, Miriam Guazzini & Viga Gewert

JANUARY

Mei-Ting Sun with Iga Henderson, Rick Mailinowski from Piano Music Rosa Rita Gonzalez & Rena Kizilisik & Mark Greenberg Center, Bonnie Barret from YASI,NY, Hilda Andrews with MTS Kinga Augustyn Steven Lin Steven with Dr. Howard Sanford, Brigitta & Lady Blanka & MTS introduces young audience Mano Solinski & Margery Sanford his program with Steven Lin

POLONAISE SPRING 2013 // 5 CHOPIN FOUNDATION COUNCIL OF SAN FRANCISCO Mack McCray, President

It’s been an eventful year. We were thrilled to be contacted by Allan Park, president of the Northwest Chopin Chapter -- it’s not so lonely out here on the West Coast now! I visited the Council in Seattle as one of the judges for their Chopin competition, and The 2012 Winners performed was delighted with the level of enthusiasm on the board and talent among the students. the Holiday Concert Chopin Council of San Francisco and Chopin Council of Northwest are planning to do Pictured here with members of some projects together, which means we will be able to lure notable pianists out here to SF Council’s Board of Directors the West Coast for a tour of concert dates at a more attractive fee. San Francisco had its largest Young Pianists Chopin Piano Competition to date, so large that we had to use two sets of judges and two different performance halls in the San Francisco Conservatory! The winners performed in a concert the following night, and performed again at our holiday concert and reception in December at the beautiful Queen Anne Hotel. Lo-An Lin, the recent First Prize Winner at the San Antonio International Piano Competition, performed a beautiful recital for our traditional Chopin Birthday Celebration on February 24th. We are planning to have Claire Huangci, Winner of our 2010 National Chopin Piano Competition, perform next year’s Birthday Concert both in San Francisco and Seattle. For more information please visit our website at www.chopinsf.org.

Chopin BirthdayConcert Artist Lo-An Lin with Mack McCray

6 // POLONAISE SPRING 2013 CHOPIN FOUNDATION COUNCIL OF NORTHWEST Allan Park, President The winners for 2013 Chopin Foundation Our Chopin Council completed its 2013 Festival on February 2nd. Over 140 talented of United States, Northwest Chapter are: pianists from the Northwest region competed in four age categories. Our adjudicators were Mack McCray, Ning An and Yoshi Nagai. Winners of the Festival returned the following • 2013 Winners for Division A: day to perform at Seattle’s most well known mansion - The Polish Foundation Home. Edward Zhang, Jeewon Jung, Daniella Tsang The day was filled with beautiful music and interesting vignettes from our honorary Honorable Mentions: Sandy Huang, Gloria Shen, Katherine Yue, emcee, Dr. Steven Lagerberg. Alison Bell, our former President, presented the awards Katherine Li and Dora Ziyan Chen with my assistance. The mansion was filled to capacity 15 minutes prior to starting. • 2013 Winners for Division B: We had a wonderfully organized registration volunteer staff, door monitors and assistants Millicent McFall, Nathan Lee, Steve Silverberg to help run the program smoothly. Our principle program director, Judy Baker, made sure Honorable Mentions: Emily Pan, Jonathon Lin, Alex Muyang Zhang, that the judges, volunteer staff and board members were fully equipped with everything Justin Zhu Cai, Andrew Ma, Adrienna Tran-Pearson, for a successful day of adjudicating. Preston W Lee, Annie Yang, Adrian Fan, Janet P. Phang

While Chopin NW did not award a Concerto winner this year, we were able to proudly • 2013 Winners for Division C: offer a live Concerto performance with a 5 piece chamber orchestra to our 13 year old Alexander Lu, Daniel Park Oslin, Jay Tanaka Grinols GRAND PRIZE WINNER, Shannon Cassady. She performed the 1st movement of the Honorable Mentions: William Zhang, William Huang, Jason Dan, Chopin’s E Minor Concerto.The following week, 14 students who received Honorable Bryan Zhao Mentions performed at Sherman Clay in downtown Seattle on the legendary Horowitz Concert Grand. • 2013 Winners for Division D: Sun Chang, Alexander Zhu, Nicholaus Poelwijk We will be returning to The University of Washington School of Music again in 2014 Honorable Mentions: David Siebert, Megan Lee, Heaven Wei-Line, with new adjudicators selected from different regions of U.S. Complete YouTube Dillon K Ching, Katharine Zorich, Audrey Chen, Noelle Elyse Farr, performances of both the winners and honorable mentions of Chopin NW 2013 David Shin, Irene Sue Hwang, Anna Pham, Amber Tang can be found at our site, www.chopinnw.org. • 2013 Winners for Division E: Shannon Cassady

POLONAISE SPRING 2013 // 7 OUR SPONSORS

The Chopin Foundation’s programs are sponsored in part by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and the Board of Commissioners; the City of Coral Gables; numerous generous individuals; and the following: CHOPIN FOUNDATION OF THE UNITED STATES PRESENTS SOUTHERN WINE & SPIRITS OF AMERICA’S SALON STYLE 2013-2014 SEASON OF CONCERTS MEMBERSHIP CONCERTS “CHOPIN FOR ALL” FREE CONCERT SERIES HOLD THE DATES! All concerts are presented in two locations: SATURDAYS at 3PM at Broward County Main Library, 100 S. Andrews Ave, Ft. Lauderdale SUNDAYS at 3 PM at Granada Presbyterian Church, 950 University Drive, Coral Gables November 17, 2013 January 11, 2014 March 30, 2014 Admission FREE; No Tickets Required Artist TBA Artist TBA Artist TBA

Membership not required to attend our elegant, November 2, 2013, 3 PM, Ft. Lauderdale March 15, 2014, 3 PM, Ft. Lauderdale salon-style, Sunday afternoon concerts followed November 3, 2013, 3 PM, Coral Gables March 16, 2014, 3 PM, Coral Gables by a mirthful wine reception and then a sumptuous Menan Berveniku, young emerging pianist 2013 Int’l Paderewski Piano Competition winner; dinner at beautiful La Gorce Country Club on from Kosovo name TBA Miami Beach. It’s a delicious return to a bygone era of gracious civility when people dressed for dinner, feeling December 7, 2013, 3 PM, Ft. Lauderdale April 12, 2014, 3 PM, Ft. Lauderdale glamorous and posh in a private recital, luxuriating December 8, 2013, 3 PM, Coral Gables in magnificent music made by masters of the April 13, 2014, 3 PM, Coral Gables piano, then breaking bread and enjoying sparkling Drew Petersen, Full Chopin Scholarship recipient Young Pianists Concerts – young local piano conversation with ladies and gentlemen of the & baritone Erik Petersen – Chopin & Schubert students in an All-Chopin program smart set just like you. If you are in South Florida in season, we would love for you to join us!

January 18, 2014, 3 PM, Ft. Lauderdale May 17, 2014, 3 PM, Ft. Lauderdale Concert with wine reception January 19, 2014, 3 PM, Coral Gables May 18, 2014, 3 PM, Coral Gables FREE TO MEMBERS; dinner additional. Conlan Miller, 2013 winner of the Music Micah McLaurin, an award winning 17-year Non-members: $45-$100. Get all the details at www.chopin. Teachers National Association’s Piano old American pianist org or get old-school and call us at 305/868-0624. Performance Competition

For more information please The Chopin Foundation is dedicated to promoting young American rising- star classical musicians through scholarships and performance opportunities. February 8, 2014, 3 PM, Ft. Lauderdale call the Chopin Foundation Become a Member, from $200, and help us implement our mission of nurturing February 9, 2014, 3 PM, Coral Gables at 305.868.0624 the future masters musicians and promoting classical music in the USA. Lindsay Garritson, an award winning young or visit www.chopin.org American pianist, violinist and vocalist

POLONAISE SPRING 2013 // 9 AFFINITIES IN WORK & RELATIONSHIP By Prof. Irena Poniatowska

This article is an extended and revised version of my article Chopin Liszt: Affinities in their Works and Relationship (Chopin in the World, 1994).

Chopin and Liszt were the greatest performers As artist and composer, Chopin was always an brillant style, Chopin withdrew into individualism and composers of all 19th-century pianists, so much impenetrable individuality and – excepting his young whereas Liszt kept looking for new sources of so that they could in fact be described as “composer years – he tended to resist external influence. Liszt inspiration to finally embark on a search for pianists” or “pianist composers.” In the 19th century was his opposite: he absorbed new ideas, doctrines religious ecstasy. Both were firmly focused on piano they were perceived as a kind of artistic twins; Wilhelm composition. Chopin remained loyal to his instrument von Lenz (writing in his 1872 book on Liszt, Chopin, throughout his life; Liszt focused his efforts on the Tausig and Henselt) and Lina Ramann (writing in her piano until 1848, the year he gave up his virtuoso three-volume monograph on Liszt, 1880-1894) dubbed career and began to express himself in other music Chopin and Liszt “the Dioscuri”, i.e. Castor and Pollux, genres, and even then he continued to regard the piano twin sons of Zeus and Leda. as a special kind of microcosm. The relationship between Chopin and Liszt is As Paul Badura-Skoda points out, it was from Liszt usually discussed in the context of their work and their that Chopin learned to take a complete orchestral friendship. In artistic terms, there are obvious mutual approach to the piano sound. By way of example connections, influences and inspirations which suggest Badura-Skoda points to the chorale section of the strong artistic links between the two men. Their social Nocturne in C minor, several etudes, polonaises and relationship and friendship, on the other hand, has sonata passages. Liszt, on the other hand, picked up been clouded by a degree of controversy, especially from Chopin an understanding of form and structure, in the wake of the recent explorations of their mutual a discovery which brought more restraint and disagreements. Chopin scholars tend to look for ways architectural logic to his flights of fancy.ii Such mutual of laying the blame squarely on Liszt. The Liszt party influences are evident in the piano textures of their argue that the two composers remained moderately works, particularly in their etudes. To Liszt, Chopin friendly, and draw attention to Liszt’s repeated efforts was a pioneer in terms of new harmonic devices, new to shore up his friendship and artistic trends eagerly, and fell easily under other forms of ornamentation and new types of figuration with Chopin, which prompted S. Gut to describe people’s influence. To simplify slightly, Chopin was such as his tempo rubato or his nuanced sound effects their relationship as une amitié à sens unique introverted, and Liszt was an extravert. Following – the influence of which can be discerned in Liszt’s (a one-way friendship). i his fascination with, and thorough exploration of, the Trois Apparitions (particularly in the last one), in his

10 // POLONAISE SPRING 2013 etude La leggierezza from the cycle Trois Etudes de sound over a series of gradational variations to achieve F. Hiller, but in 1836 two composers met again on 14 Concert (1848), in the first version of hisBerceuse , in a richly textured culmination in the finale. In contrast to May and, judging from Liszt’s letter to Marie d’Agoult, his Consolation No 3. Liszt’s Six Chants Polonais, which Chopin’s economical means of expression, Liszt’s style Chopin was very friendlyiv. George Sand actually he based on Chopin’s songs, are transcriptions with is opulent, orchestral and theatrical. Only individual first met Chopin in the salon of Liszt and Madame varying levels of fidelity. The Spring is the most faithful etudes, e.g. Waldesrauschen or Chasse-neige, attain d’Agoult, which she shared with them at the Hôtel de piece in the collection, and The Ring, too, stays with uniform figuration thanks to their programmatic France. Another possible reason for the disagreement its original model in a relatively disciplined way. The nature. Chopin also uses the full could be Liszt’s infamous review of Chopin’s concert. Drinking Song uses flashy glissandos combined with an range of the piano, extending the figuration patterns Published in the Gazette Musicale (2.05.1841) under interpolation from the song The Ring. My Enchantress to the decima, with passages spanning up to two the title of Le Concert Chopin, Liszt’s review focused is an expanded nocturne; A Maiden’s Wish is a set of octaves, to achieve new and surprisingly inventive on the members of high society in attendance (“all this variations; The Bridegroom’s Return, the last song in figuration patterns. aristocracy by birth, by fortune and by wealth”) and the collection, showcases Liszt’s virtuoso dynamism. concluded that Chopin was incapable of expressing his The Funerailles (October 1849) could be seen as Liszt’s ideas, a comment which J.-J. Eigeldinger memorably special tribute to Chopin. As Stanisław Gut points out, described as “a coup d’état and a funeral of the first the work was inspired by Chopin’s death rather than order,”v which must have hurt Chopin considerably. by the Hungarian uprising,iii as some scholars have Chopin vented some of his bitterness in letters to his insisted. In it, Liszt uses figuration patterns taken from father; the letters have been lost but we know his the middle section of Chopin’s Polonaise in A flat major, father’s replies, dated 30 December 1841, 21 March and Op. 53. With the exception of the nostalgic En rêve and 16 October 1842. Chopin’s father expresses his regret the 1885 Nocturne (reminiscent of Chopin’s Preludes), about the cooling off in the mutual affections of Liszt the influence of Chopin on Liszt’s music fades and and Chopin, a development which he finds unexpected, vanishes after 1855. and he gives advice to his son, recommending caution, To an extent, we could talk about Liszt’s influence tact and kindness. In the last letter he emphasises on Chopin in the Etudes, Op. 10, which are dedicated to how Chopin was wrong to break off the friendship, Liszt (notably in Nos. 9 and 12) and in the Etudes, Op. 25 Liszt’s boastfulness notwithstanding. He adds: “You (in the last two pieces). Liszt took a long time to come The problem of personal relations between the were a friend, and it is a thing of beauty among friends up with his first virtuoso etudes in the 1850s. However, two artists is often discussed in the literature. After a to outdo each other in tact.”vi In 1843 Liszt wrote to in his Transcendental Etudes as well as in his Concert period of mutual adulation, in which they were genuine Chopin to recommend L. Rellstab, in which he assures Etudes Liszt produced a synthesis in which Chopin’s and inseparable friends, appearing together in concert the Polish composer of his continued admiration and achievements blend with those of Paganini and other in 1833 and 1834, Chopin’s affection for Liszt cooled, friendship,vii a sentiment which G. Belotti judges composers of the time. inviting scholarly speculation on the likely causes. hypocritical and purely conventional. In Belotti’s Chopin and Liszt thought of the etude in very Chopin and Liszt first met late in 1831. Liszt opinion, Liszt was jealous and envious, leading a double different ways. Whereas Chopin tended on concentrate attended Chopin’s first Paris concert at the Salle Pleyel game. When asked by Schuberth, his publisher, to on a single technical problem per etude, giving each in 1832. Different explanations have been considered speak with Chopin on Schuberth’s behalf, Liszt asked piece a uniform texture combined with compact and for Chopin’s change of heart, such as the 1835 meeting Marie d’Agoult for the favour, because he had no time balanced proportions, Liszt preferred to bring together of Marie Pleyel and Liszt in Chopin’s rooms, which took to write himselfviii. According to Belotti, Liszt’s sole a number of techniques and textures within a single place in Chopin’s absence, or the gossip spread by motivation in undertaking to write a life of Chopin was etude. In this he followed a principle described by J. Marie d’Agoult which infuriated George Sand, a conflict to sabotage Chopin’s fame and to present himself in Milstein as “a maximum of notes in the minimum of which may have led their partners to join the fray out public as a loyal friendix. In fact, Belotti’s opinion seems time.”4 Liszt’s pieces make use of the full range of his of a sense of loyalty. In 1835 Chopin ignored Liszt’s to take a page from Jane Stirling’s letters to Ludwika instrument, and he likes to build up a big volume of invitation to visit Switzerland, addressed to him and Jędrzejewiczowa: “You will be very disappointed with

POLONAISE SPRING 2013 // 11 [Liszt’s] book [on Chopin], which has already come did not understand the intimate beauty of Chopin’s half of 19th century and beyond. Liszt popularised out.” Stirling’s comment on Liszt’s Life of Chopin was last works: the Polonaise-fantaisie, the Barcarole, Chopin’s term of żal or soulful sorrow as a key to the that “he is spitting on the plate to discourage anyone and I was wary of what I saw as their morbid tone. character of Chopin’s music, an interpretive concept from having a taste.” She could not understand why Now I admire them unreservedly [...] I would argue which remains current to this today (cf. my bilingual Liszt left Chopin’s piano philosophy out of his book, they are not only perfect, but also very harmonious, album Chopin: The Man and his Music, 1810-2010). and added that Liszt was a “vain and mean” person.x showing noble inspiration and artistic proportion, We cannot legitimately lay all the blame for failing to We know that Liszt wrote to Ludwika and they are in every way worthy of Chopin’s magical understand Chopin’s work or committing biographical Jędrzejewiczowa from Pilsen on 14 November 1849, genius. Nobody compares to him...”xii On 20 June errors on Liszt’s doorstep, as other contemporaries asking her twelve questions on details of Chopin’s 1833, Liszt wrote sincerely to F. Hiller: “Do you know and near-contemporaries were equally culpable life, which Jane Stirling answered. Still, Liszt was not Chopin’s marvellous etudes?”xii Chopin appreciated on both counts. The absurd critical attacks on exactly scrupulous in terms of biographical accuracy, Liszt’s interpretation of his works but remained Chopin’s music in England, Germany and France publishing some erroneous details, such as the silent or vaguely ironic about Liszt own compositions. are an excellent case in point, showing remarkable claim that Prince Antoni Radziwiłł helped Mikołaj In a letter to J. Fontana dated 11 September 1841, incomprehension and lack of insight (I have recently Chopin finance Chopin’s education. The Chopin family Chopin wrote: “One day he [Liszt] will be a Member compiled those attacks in the big volume Chopin and believed that Liszt’s treatment of Chopin was neither of Parliament – perhaps even King of Abyssinia or his Critics. An Anthology up to World War I, edited by patronising nor envious, and Jane Stirling seems to the Congo – but where it comes to motifs from his I. Poniatowska, NIFC 2011). Later accounts testify share this view. compositions, those are destined to languish in to Liszt’s extremely warm attitude towards Chopin. As far as Liszt’s book itself is concerned, two diaries...”xiv – an uncharitable opinion considering Marie Walewska remembered that in 1868 in Rome opposing critical positions emerged, one romantic, that by that time Chopin could only know Liszt’s work Liszt always used to improvise “using Chopin’s the other positivist. The former praised Liszt refined composed before 1841. We may suppose that a degree canvas,” and that he spoke admiringly about the metaphors and the homage he paid to a friend. of rivalry was involved. We know that Chopin was an subtlety of sentiment in Chopin’s music. He treated The latter accused him of factual inaccuracies and extremely touchy and sensitive individual, and Liszt, Chopin’s music with care and veneration when giving pomposity (Julian Fontana could be counted among though hailed as the “king” of the piano, probably piano lessons in 1884-86. When speaking of Kessler’s Liszt’s critics on that score). This pattern of critical did not relish the prospect of Chopin’s values etudes, Liszt noted: “Chopin and I liked to play them reception continued when the life was published gaining ascendance and possibly overshadowing in the 1830s.”xvi Late in his life, Chopin reported from in Polish in 1873. In Kronika Rodzinna [The Family his own fame. Scotland to his family saying that Mrs Sartoris (Fanny Chronicle], the two artists were compared to “Two Liszt was perfectly aware of Chopin’s greatness, Kemble) is aware of his weakness through common gods, each enshrined on a sun of his own,” and the both as a pianist and composer. It would be going friends Dessauer and Liszt. Perhaps when the time book itself was described as “exuding poetry and too far to accuse him of purposely twisting facts for memories came, any rancour had gone? love.” On the other hand, J. Kleczyński’s review for to undercut Chopin’s fame, or to claim that he was Historical accident set the stage for a marvellous Bluszcz [The Ivy] focused on factual corrections of increasingly hostile to his rival even after Chopin’s relationship when Chopin and Liszt met in Paris like Liszt’s errors.xi death, as Belotti does. A romantic artist that he was, two geniuses from different planets. In the 1830s, the Liszt’s book can in no way be considered a proper perhaps Liszt found literature more important than city was a pianistic Mecca, where they each showed biography. Instead, it is a series of studies on Chopin dull fact in being able to penetrate outward behaviour the extreme capabilities of the piano – its power and and his music as a quintessentially romantic and and give a glimpse of the psyche. The specific role of virtuosity as well as its poetry and subtlety. True men Polish phenomenon. At the time of writing, Liszt Princess Wittgenstein must also be borne in mind; of the 19th century, they shared a love for art and was oblivious of the artistic quality of Chopin’s cyclic under her pen, Liszt’s ideas waxed extremely poetic, romantic passion which placed artists on a par with genres – his concertos, sonatas or Polonaise fantasias e.g. in the description of the sunrise which symbolises the Creator. • xv – a position which he later recanted. When writing of a the return of Chopin’s vital forces after his illness. (This article was originally printed in “Chopin in the planned new edition in a letter dated 1 January 1876, It goes without saying that Liszt influenced the World” no 24/2011.) Liszt confessed to Princess Wittgenstein: “In 1849 I reception of Chopin’s music during the second

12 // POLONAISE SPRING 2013 i S. Gut, Frédéric Chopin et Franz Liszt: Une amitié à sens unique in: Sur les traces de Chopin, textes réunis par D. Pistone, Paris 1984. ii P. Badura-Skoda, Chopin und Liszt, Österreichische Musikzeitschrift XVII (1962) No 2, p. 62. About the Author iii S. Gut, Frédéric Chopin et Franz Liszt, op. cit., p. 65. iv D. Ollivier (ed.), Correspondance de Liszt et de la comtesse d’Agoult, vol. 1-2, Irena Poniatowska, Professor of Paris 1933-34, vol. 1, p. 159. Musicology, is a Visiting Professor v J.-J. Eigeldinger, Liszt rend compte du concert de Chopin (1841): coup de force et at several universities in Poland - enterrement de première classe, in: L’univers musical de Chopin, Fayard University of Poznan, Jagiellonian University in Krakow, the Warsaw 2000 [Polish translation : 2010]. Academy of Music - and abroad. vi B. Sydow (ed.), Korespondencja Fryderyka Chopina, vol. 1-2, Warszawa 1965, vol. She has chaired the Programme 2, p. 346-47. Unfortunately, precise information on F. Liszt’s visit to Chopin family Board of the National Fryderyk in Warsaw in 1843 is missing (cf. J. Siwkowska, Nokturn czyli rodzina Fryderyka Chopin Institute in Warsaw Chopina i Warszawa w latach 1832-1881 [Nocturne or Frédéric Chopin’s family and since 2001. Warsaw in 1832-1881] vols. 1-2, Warszawa 1986-88, vol. 1, p. 257-69). Prof. Poniatowska has written vii B. Sydow (ed.), Korespondencja Fryderyka Chopina, op. cit., vol. 2, p. 357. several books, including History viii G. Belotti, Okoliczności powstania pierwszej monografii o Chopinie, in: Rocznik and Interpretation of Music. Research on the Music of the 17th, 18th and 19th Chopinowski No 7 (1969), p. 24. Centuries (Cracow 1993) and over 100 articles for leading worldwide music ix Ibid. p. 29. periodicals. She is also an Editor of several cyclic musicological publications, x H. Wróblewska-Straus, Listy Jane Wilhelminy Stirling do Ludwiki and for the interdisciplinary yearly Barok published by Warsaw University Jędrzejewiczowej, in: Rocznik Chopinowski No 12 (1980), p. 140. since 1994. During 1962-72 she worked as an Editor for Polish Scientific Publishers, PWN, and from 1972-91 as PWN’s Director of the 20th-century xi Kronika Rodzinna 1873 No 24, p. 369; J. Kleczyński - review of F. Liszt’s Fryderyk composers department. Chopin [in Polish], in: Bluszcz 1874, No 2, p. 14-15. xii Letter dated 1.01.1876, vid: La Mara (ed.) Franz Liszts Briefe, vol. 1-8, Leipzig Among her major editorial achievements are the critical edition of Maria Szymanowska’s 25 Mazurkas (Hildegard Publishing Co., 1993), the facsimile 1893-1905, vol. 8, p. 122-23; vide also S. Gut Franz Liszt, Paris 1989, p. 255. edition of Chopin’s 24 Preludes Op. 28 with an introduction in Polish, French xiii B. Sydow (ed.), Korespondencja Fryderyka Chopina, op. cit., vol. 1, p. 227. and English (Biblioteka Narodowa, Warsaw 1999), and a source edition of the xiv Ibid., vol. 2, p. 34. Polonaise Brillante Op. 4 for violin and piano by Henryk Wieniawski (Henryk xv F. Liszt, Fryderyk Chopin, Warszawa 1874 [1873], trans. F. Faleński. Wieniawski Music Society, Poznań 2000). xvi M. Walewska, Genialny przyjaciel Chopina (Chopin’s Genius Friend) in: Biesiada Prof. Poniatowska’s wide interests are not limited to piano music. Literacka 1903 No 29, p. 54-55; W. Jerger Franz Liszts Klavierunterricht von 1884- She addresses major methodological and theoretical issues, such as 1886 dargestellt an den Tagesanzeichnungen von August Göllerich, Regensburg musical history from Baroque to modernity and nationality versus tradition. 1975, p. 46, 143. xvii B. Sydow (ed.), Korespondencja Fryderyka Chopina, op. cit., vol. 2, p. 268.

POLONAISE SPRING 2013 // 13 The Chopin Foundation of the United States Chopin Scholarship Program for Young Pianists - Rules, Requirements, Repertoire and How To Apply

The purpose of the Scholarship is to support and encourage young, talented Up to ten (10) renewable scholarships of $1,000 are awarded each year on a American pianists through up to four years of preparation for the National Chopin competitive basis to outstanding young American pianists who demonstrate a Piano Competition of the United States, which is held every five years in Miami, FL; special affinity for the interpretation of Frédéric Chopin’s music. In addition, the the next competition is in 2015. In addition to receiving substantial cash prizes, the Scholarship Committee may grant half-awards of $500 to qualified applicants. top winners of this competition are fully sponsored to participate in the Preliminary A half-award may be granted to an applicant only once while in the Program. Round of the prestigious International Chopin Piano Competition in Warsaw, Poland.

Eligibility Procedure The Scholarship Program is open to all qualified American pianists (US citizens or Applicants must submit a formal application (download at chopin.org), along with: legal residents) not younger than 14 and not older than 17 years of age on April 15 (1) Statement of career goals. in their first year of application. (2) Two (2) references from piano teachers or performers. (3) Two (2) copies of a DVD recording of Chopin’s works as required for Years 1 to 4, as above, recorded in one session. The recording must be of Renewal & Repertoire professional quality, but cannot be edited. The DVDs must be clearly labeled with the applicant’s name, address and works performed. Please indicate The scholarships are renewable for up to four years as long as the recipient the edition used for each piece. The recording must be certified for accuracy continues to study piano, maintains satisfactory academic progress, and each by a qualified person such as a teacher or audio technician. year submits for evaluation a DVD of an unedited performance of Chopin’s works according to the following required repertoire: (4) Proof of current school enrollment/statement of being homeschooled. (5) Non-refundable $25.00 application fee (check or money order only). Year 1: 2 Etudes, 2 Nocturnes, and your choice of: a Ballade or Barcarole in (6) Optional: Attach additional page(s) to list significant repertoire studied. F-sharp Major Op. 60 or Fantasia in F Minor Op. 49 Place an asterisk (*) by works performed in public. Attach copies of programs/reviews, if possible. Year 2: 6 consecutive Preludes from Op. 28 played in order, 2 Waltzes, and 2 Mazurkas

Year 3: 1 Sonata and 1 of the following Polonaises: Andante Spianato and Grand DEADLINE: Polonaise in E-flat Major Op. 22or Polonaise in F-sharp Minor Op. 44 or Application, along with all attachments listed above, must be received by April 15. Polonaise-Fantaisie in A-flat Major Op. 61 Scholarships will be granted June 15.

Year 4: 1 of Chopin’s two Concertos – all movements SEND THIS APPLICATION TO: The Chopin Foundation of the United States, Inc. Any applicant not awarded a scholarship may reapply the following year, submitting Attn: Scholarship Committee a new DVD of the music of his/her choice from the repertoire required for the year 1440 79th Street Causeway, Suite 117, Miami, FL 33141 in which he/she was not accepted. Reapplication is allowed only once while in Phone: (305) 868-0624 • Fax: (305) 865-5150 the Program. Web: www.chopin.org • Email: [email protected]

14 // POLONAISE SPRING 2013 2013 CHOPIN PRIZE WINNERS Did You Know? We Award “Chopin Prizes” at the MTNA Piano Competition! JUNIOR PIANO CATEGORY John Wang, New Orleans, LA; Student of Shearon Horton, Austin, TX The Chopin Foundation of the USA awards a “Chopin Prize” for the best performance of a Chopin work to finalists in Junior and Senior categories of the Music Teachers National Association’s Piano Performance Competitions. The winners are selected by the Competitions’ adjudicators at the MTNA Competitions Finals and announced at their respective Winners Announcement ceremonies. Piano competition entrants are not required to perform a work by Chopin as part of their competition program; however, the Chopin SENIOR PIANO CATEGORY

Prizes are awarded exclusively to those finalists who do. Anna Vertypolokh, Canada/Columbus, GA; Student of Alexander Kobrin, Columbus, GA

MTNA Junior Piano Competition - $500 cash MTNA Senior Piano Competition - $1,000 cash (or a $1000 stipend as a First Year Recipient in the Chopin Foundation’s four-year Scholarship Program for Young American Pianists) No Chopin Prize is awarded in the Young Artist Piano Competition; 2013 FIRST PRIZE WINNER however, the best USA finalist in this category is invited by the Chopin IN THE YOUNG ARTISTS PIANO CATEGORY Foundation to perform a two-performance recital in South Florida. Conlan Miller from Provo, UT; Student of Irene Peery-Fox, Provo, UT Conlan will be performing two Congratulations & keep up your good work! concerts in South Florida within the Chopin for All FREE Concert Series on January 18 & 19, 2014.

POLONAISE SPRING 2013 // 15 INTERNATIONAL FRYDERYK CHOPIN PIANO COMPETITION Oct 2 – 22, 2015 in Warsaw, Poland International Chopin Piano Competition is one of the oldest music competitions in the world – one of great, international prestige. It was founded by Prof. Jerzy Żurawlew (1887-1980), an extraordinary Polish pianist, teacher and composer. Musical News & Notes The first competition took place between January 23 and 30, 1927 in the Warsaw Philharmonic. From that year on, the competition was organized in the Warsaw FOR YOUNG PIANISTS Philharmonic every five years, that is in 1932 and 1937. World War II interrupted the five-year-cycle and the competition in 1942 could not be organized. The first competition after the war (the 4th Competition) took place in 1949 in Nowogrodzka & PIANO TEACHERS Street in the hall of the Roma Theatre – one of very few surviving buildings in Warsaw. The 4th Competition became the central point of the celebrations of the 100th anniversary of Chopin’s death. The next competition was held in 1955, after a 6-year break, due to the rebuilding of the Warsaw Philharmonic. Since 1955 THE IX INTERNATIONAL PADEREWSKI PIANO COMPETITION the Competition has been taking place in the Philharmonic every 5 years with no Nov 3 – 17, 2013, Bydgoszcz, Poland further interruptions. Application deadline: May 15, 2013 More information at www.konkurs.chopin.pl/en. This Competition commemorating Ignacy Jan Paderewski, a remarkable Polish pianist, virtuoso, composer, politician, and statesman, is open to pianists of all nationalities, born between 1981 and 1997. Application and more information at www.konkurspaderewskiego.pl/en Did you know? Polonaise Dance The dance started at the coronation ceremony of the King of Poland, Henryk Valois in 1574. NATIONAL CHOPIN PIANO COMPETITION OF THE USA In a slow, stately procession, the richly clad Feb 21 – Mar 1, 2015, Miami, FL aristocratic couples bowed deeply to the king The National Chopin Piano Competition of the U.S. is designed to offer performance when passing the throne. The ladies and opportunities and financial support for young American pianists at career-entry gentlemen would exchange courtly bows to level and to enable the top Prize Winners to take part in the Preliminary Round each other while moving gracefully across the for the International Chopin Piano Competition in Warsaw, Poland. The expenses grand royal ballroom to the accompaniment related to the participation in the Preliminary Round auditions in Warsaw, including of dignified music. “La Polonaise” dance was airfare and hotel accommodation, will be covered by the Chopin Foundation of the and is the most elegant and majestic of all United States. The Competition is open to pianists holding U.S. citizenship (native Polish national dances. For over four hundred born or naturalized). years, “La Polonaise” ruled supreme at court Previous First Prize Winners of this Competition are not eligible. functions of almost all European nations. It has been a favorite form of composition More information at www.chopin.org/competition for some of the world’s greatest composers, including Bach, Beethoven, Schuman, Liszt and Tchaikovsky. To the world, however, “La Polonaise” is associated with Frédéric Chopin.

16 // POLONAISE SPRING 2013 CONTRIBUTIONS Please be generous and join us in our mission

YES, I want to help. The Chopin Foundation of the United States, Inc., is a national non-profit Enclosed is my tax-deductible donation of: organization headquartered in Miami, FL, and dedicated, since 1977, to the support of young American rising-star classical musicians through scholarships, performance opportunities and international exchange $ programs. The Foundation also offers these talented young pianists a chance to compete in the National Chopin Piano Competition of the USA, held in Miami PLEASE CONTACT ME ABOUT: APPLY MY DONATION TO: every five years. The Chopin Foundation is committed to making classical music accessible to ALL by presenting a FREE Concert Series in two locations In-kind contribution General Programming in South Florida. Our mission is carried out on the West Coast by councils in San Francisco and Seattle. The Chopin Foundation is a member of the National Planned Giving Endowment Fund Music Council and the International Federation of Chopin Societies. Estate Planning Opportunity Competition Fund

With your support, young talented American artists will receive the Scholarship Fund encouragement they need and the recognition they deserve. Thanks to your generosity, the music of Frédéric Chopin will be kept alive, enriching our lives and preparing new generations of classical music lovers.

Here’s What Your Contribution Helps Fund: • National Chopin Piano Competition of the USA, coming next in 2015

• “Chopin for All” FREE Concert Series in South Florida

• Four-year Scholarship Program for Young American Pianists, ages 14-17

• Winners Exchange Program with European counterparts Donations to the Chopin Foundation of the United States are tax-deductible to the extent permitted by law. The Foundation is a non-profit corporation qualified under Section 501(c)(3) of the Internal Revenue Code. • Semi-annual Polonaise magazine, sent to all major music schools and music teachers across the USA; Chopin Societies around the world; our The Chopin Foundation of the United States Scholarship Recipients, Young Pianists and Competition Applicants; 1440 79th Street Cswy, Suite 117; Miami, FL 33141 and our Members

POLONAISE SPRING 2013 // 17 CHOPIN FOUNDATION OF THE UNITED STATES 1440 79TH STREET CAUSEWAY, SUITE 117 MIAMI, FLORIDA 33141