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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. -
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. -
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. -
Roman Statkowski [1859-1925]Piano Music
Roman Statkowski [1859-1925]Piano Music 1 Toccata, Op. 33 3:43 Immortelles, Op. 19 12 B major 3:54 Preludes, Op. 37 13 C major 2:56 2 No. 1 in C major 1:55 14 F sharp minor 1:11 3 No. 2 in A minor 0:58 15 E flat major 1:23 4 No. 3 in G major 1:56 16 E flat minor 1:54 5 No. 4 in E minor 1:37 17 A flat major 2:35 6 No. 5 in D major 3:22 7 No. 6 in B minor 3:19 Six pièces, Op. 16 18 No. 1 Capriccio 4:11 Mazurkas, Op. 24 19 No. 2 Impromptu 4:41 8 No. 1 in E minor 2:59 20 No. 3 Valse 4:42 9 No. 2 in F minor 3:54 21 No. 4 All’antico 2:57 10 No. 3 in A minor 2:29 22 No. 5 Alla burla 3:40 11 No. 4 in G flat major 3:16 23 No. 6 Aupres de la fontaine 2:55 total duration: 66:36 Barbara Karaśkiewicz piano The Composer and his Music Roman Statkowski was born on 24 December 1859 in Szczypiorno, near Kalisz in Poland, into a family of landowners with a passion for the arts. His early fondness for music was likely nurtured within his own very musical family where he grew up in the tradition of the music salon. Roman’s maternal aunt, Stefania Wilska, was a talented pianist of high musical sensibility. His first music teachers were the established Polish musicians Antoni Sygietyński and Władysław Żeleński. -
Polish Music Culture Resources
Polish Music Culture Resources in Libraries and Archives We are happy to place in the hands of our readers this volume entitled Polish Music Culture Resources in Libraries and Archives to present the most significant Polish music collections and sources of information on the Polish music culture over the centuries. Those collections come from research centres such as: the National Library of Poland; university libraries in Kraków, Poznań, Toruń, Warsaw and Wrocław; libraries of academies and universities of music in Byd- goszcz, Gdańsk, Katowice, Kraków, Łódź, Poznań, Warsaw and Wrocław; public libraries: the Silesian Library, the Pomeranian Library and the Warsaw Public Library – Central Library of the Mazovian Voivodeship; and libraries of cultural institutions, music societies and information centres. The attached bibliography provides a summary of the major research projects imple- mented in Poland based on these collections. This publication is intended to promote the Polish musical heritage at the 2019 Congress of the International Association of Music Libraries, Archives and Documentation Centres (IAML) in Kraków. However, we hope that apart from the Congress participants it also reaches music librarians, documentalists, musicologists and historians from all over the world to help them discover and access new source materials that might be of their interest. At the Music Libraries Section of the Polish Librarians’ Association (PLA) – the Polish National Branch of IAML – we are proud to host IAML Congress in Poland for the third time. This year, we are meeting from 14-19 July at the Jagiellonian University in Kraków. The previous Congres- ses were held at the Warsaw University Institute of Musicology (1966) and at the National Lib- rary of Poland in Warsaw (2005). -
Known Also As Louis Victor Franz Saar [Lôô-Ee Veek-TAWR FRAHNZ SAHAHR]
Saar C Louis Victor Saar C LOO-uss VICK-tur SAR C (known also as Louis Victor Franz Saar [lôô-ee veek-TAWR FRAHNZ SAHAHR]) Saar C Mart Saar C MART SAHAHR Saari C Tuula Saari C TÔÔÔÔ-lah SAHAH-rih Saariaho C Kaija Saariaho C KAHIH-yah SAHAH-rihah-haw C (known also as Kaija Anneli [AHN-neh-lih] Saariaho) Saavedra C Ángel Pérez de Saavedra C AHN-hell PAY-rehth day sah-VAY-drah Sabaneyev C Leonid Sabaneyev C lay-ah-NYITT sah-bah-NAY-eff C (known also as Leonid Leonidovich [lay-ah-NYEE-duh-vihch] Sabaneyev) Sabata C Victor de Sabata C VEEK-tohr day sah-BAH-tah C (known also as Vittorio de Sabata [veet-TOH-reeo day sah-BAH-tah]) Sabater C Juan María Thomas Sabater C hooAHN mah-REE-ah TOH-mahss sah-vah-TEHR C (known also as Juan María Thomas) Sabbatini C Galeazzo Sabbatini C gah-lay-AHT-tso sahb-bah-TEE-nee Sabbatini C Giuseppe Sabbatini C joo-ZAYP-pay sah-bah-TEE-nee Sabbatini C Luigi Antonio Sabbatini C looEE-jee ahn-TAW-neeo sahb-bah-TEE-nee Sabbato sancto C SAHB-bah-toh SAHNK-toh C (the Crucifixion before Easter Sunday) C (general title for individually numbered Responsoria by Carlo Gesualdo [KAR-lo jay-zooAHL- doh]) Sabin C Robert Sabin C RAH-burt SAY-binn Sabin C Wallace Arthur Sabin C WAHL-luss AR-thur SAY-binn Sabina C Karel Sabina C KAH-rell SAH-bih-nah Sabina C sah-BEE-nah C (character in the opera La fiamma [lah feeAHM-mah] — The Flame; music by Ottorino Respighi [oht-toh-REE-no ray-SPEE-ghee] and libretto by Claudio Guastalla [KLAHOO-deeo gooah-STAHL-lah]) Sabio C Alfonso el Sabio C ahl-FAWN-so ell SAH-veeo Sacchetti C Liberius Sacchetti C lyee-BAY-rihôôss sahk-KAY-tih Sacchi C Don Giovenale Sacchi C DOHN jo-vay-NAH-lay SAHK-kee Sacchini C Antonio Sacchini C ahn-TAW-neeo sahk-KEE-nee C (known also as Antonio Maria Gasparo Gioacchino [mah-REE-ah gah-SPAH-ro johahk-KEE-no] Sacchini) Sacco C P. -
Polish Opera in the Second Half of the Nineteenth Century
De musica disserenda III/1 • 2007 • 37–46 BETWEEN UTILITARIAN AND AUTONOMOUS: POLISH OPERA IN THE SECOND HALF OF THE NINETEENTH CENTURY GRZEGORZ ZIEZIULA Polska Akademia Nauk, Warszawa Izvleček: Varšavska premiera Moniuszkove ope- Abstract: The Warsaw premiere of Moniuszko’s re Halka (1858) je odprla pot do bolj ambicio- Halka (1858) opened the way to more ambitious znih opernih del na Poljskem. Opere, ki so bile operatic works in Poland. Operas written to- napisane proti koncu stoletja, med njimi Livia wards the end of the century, among them Livia Quintilla Zygmunta Noskowskega in Philaenis Quintilla by Zygmunt Noskowski and Philaenis Romana Statkowskega, so bile premišljen izraz by Roman Statkowski, were deliberate state- umetniške avtonomije. Pripravile so osnovo za ments of artistic autonomy. They prepared the operno ustvarjalnost generacije Karola Szyma- ground for the operatic compositions of the nowskega. generation of Karol Szymanowski. Ključne besede: zgodovina opera, Poljska, 19. Keywords: history of opera, Poland, 19th cen- stoletje, Stanisław Moniuszko, Zygmunt Nosko- tury, Stanisław Moniuszko, Zygmunt Noskowski, wski, Roman Statkowski, Karol Szymanowski Roman Statkowski, Karol Szymanowski Textbooks on music history tend to represent the composer Stanisław Moniuszko (1819– 1872) as the creator of Polish national opera. In reality, his personal attitude to the role of the bard, composing “to uplift people’s hearts”, was somewhat ambivalent. In spite of his sincere patriotic commitment, he was aware that the public for which he wrote did not have a refined taste or sophisticated aesthetic needs. A caustic remark from one of his letters conveys some of his feelings: “[…] Meyerbeer works for the Parisian theatre, I for local consumption – and that, as anyone would admit, is not a place where you can spread your wings.”1 Leaving aside the question of the scope of Moniuszko’s talent, this statement makes us aware of the distance between his artistic aspirations and the actual possibilities presented by the local “opera market”. -
Stručná Historie Polské Hudby
Krótka historia muzyki polskiej (cz. 2) A Short History of Polish Music (part II) Eine kurze Geschichte der polnischen Musik (II. Teil) Struèná historie polské hudby (2. díl) 9 Redaguje zespół / editorial staff: Artur Bielecki (konsultant muzyczny / musical consultant) Przemysław Jastrząb (redaktor graficzny / graphics editor) Piotr Karpeta (konsultant muzyczny / musical consultant) Edyta Kotyńska (redaktor naczelna / editor-in-chief) Poszczególne opisy opracowali / descriptions written by: Beata Krzywicka (BK) Ryszard Len (RL) Mirosław Osowski (MO) Wacław Sobociński (WS) Krystyna Szykuła (KSz) Fotografia / photography: Jerzy Katarzyński (JK) Przekłady na języki obce / translations: Anna Leniart Kateøina Mazáèová Dennis Shilts Korekta: kolektyw autorski / Proof-reading: staff of authors Kopie obiektów wykonali / copies of objects: Pracownia Reprograficzna Biblioteki Uniwersyteckiej we Wrocławiu (Tomasz Kalota, Jerzy Katarzyński, Alicja Liwczycka, Marcin Szala) Wszystkie nagrane utwory wykonuje chór kameralny Cantores Minores Wratislavienses / All recordings of works performed by the Cantores Minores Wratislavienses chamber choir www.cantores.art.pl Skład i druk: Drukarnia i oficyna wydawnicza FORUM nakład 800 egz. ISBN 83-89988-00-3 (całość) ISBN 83-89988-09-7 (vol. 9) © Wrocławscy Kameraliści & Biblioteka Uniwersytecka we Wrocławiu, Wrocław 2005 Wrocławscy Kameraliści Cantores Minores Wratislavienses PL 50-156 Wrocław, ul. Bernardyńska 5, tel./fax + 48 71 3443841, www.cantores.art.pl Biblioteka Uniwersytecka we Wrocławiu PL 50-076 Wrocław, -
September 2015
DEALER INFORMATION SERVICE: NO. 284 SEPTEMBER 2015 • CUT-OFF DATE FOR RECEIPT OF ORDER: THURSDAY 2OTH AUGUST • SHIP-OUT DATE: WEDNESDAY 26TH AUGUST REPRESENTING TODAY’S • NATIONAL ‘ON SALE’ DATE: FRIDAY 28TH AUGUST GREAT LABELS THIS MONTH'S HIGHLIGHTS Download this month's information here: http://www.selectmusic.co.uk/ USERNAME: dealer / PASSWORD: select Select Music and Video Distribution Limited 3 Wells Place, Redhill, Surrey RH1 3SL Tel: 01737 645600 Fax: 01737 644065 Index Please click on a label below to be directed to its relevant page. Thank you. CDs Arco Diva ...............................................................................................................................................page 7 BIS .......................................................................................................................................................page 5 BR Klassik ..............................................................................................................................................page 7 Bridge ...................................................................................................................................................page 9 Cantaloupe Music ....................................................................................................................................page 9 Capriccio .............................................................................................................................................page 10 Carpe Diem ............................................................................................................................................page -
Concerning Women's Musical Output in Poland Between the Two World
“Why Are Our Women- Composers So Little Known?” Concerning Women’s Musical Output in Poland Between the Two World Wars IWONA LINDSTEDT Institute of Musicology, University of Warsaw Email: [email protected] This publication has been financed from the funds of the Ministry of Science and Higher Education allocated for the promotion and dissemination of science under agreement 730/P-DUN/2019. Open Access. © 2019 Iwona Lindstedt, published by Sciendo. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. “Why Are Our Women-Composers So Little Known?” Concerning Women’s Musical Output in Poland Between the Two World Wars Musicology Today • Vol. 16 • 2019 DOI: 10.2478/muso-2019-0004 ABSTRACT – Klechniowska Anna Maria – “a modern trend”; – Markiewiczówna Władysława – “writes mostly for Polish women-composers of the interwar period (1918–1939) have piano and chamber ensembles”. not been the subject of adequate research so far. We only have some contributory publications and general surveys dedicated to their output. This paper presents the initial results of a study that aims at creating a This list was supplemented with the names of a few more multi-sided, in-depth picture of women-composers’ work, including dance, popular song and operetta composers, such as: their participation in local and international music life as well as their [Wanda] Vorbond-Dąbrowska, [Fanny] Gordonówna, as achievements in the field of composition, the styles and genres practised by well as [Helena] Karasińska, daughter of Adam Karasiński, selected representatives of this milieu. The paper also discusses the reception who wrote the then popular waltz entitled François. -
Fryderyk Chopin (1810-1849)
Der Verein Polnischer Ingenieurinnen und Ingenieure in Österreich Präsentiert 60. Konzert der Reihe „Musik und Technik” POLNISCHE KOMPONISTEN Dienstag, den 13. Oktober 2015 um 19.00 Uhr Wissenschaftliches Zentrum der Polnischen Akademie der Wissenschaften in Wien - König Jan III Sobieski Saal Boerhaavegasse 25, 1030 Wien PROGRAMM: FRYDERYK CHOPIN (1810-1849) - 3 Waltzes op.34 ( 9' ) op.34 As-Dur, a-Moll, F-Dur; - 3 Waltzes op.64 ( 8' ) op.64 Des-Dur, Cis-Moll, As-Dur; - 2 Nocturnes op.32 ( 7' ) H-Dur, As-Dur FRANCISZEK KSAWERY BRZEZIŃSKI (1867-1944) - Polnische Suite für Klavier op.4 ( 8' ) STANISŁAW MONIUSZKO (1819-1878) - 3 Waltzes ( 8' ) JÓZEF WIENIAWSKI (1837-1912) - II Impromptu op.34 ( 4' ) TEODOR LESZETYCKI ( 1830-1915) - Chromatischer Waltz op.22( 3' ) Pause 15 Minuten BOLESŁAW GRODZKI (1865-1923) - 3 Poeme für Klavier op.67 ( 6' ) ROMAN STATKOWSKI (1859- 1925) - 3 Piacettes polonaises op.9 ( 9' ) KAROL SZYMANOWSKI (1882-1937) - 9 Präludien op.1 ( 14' ) IGNACY JAN PADEREWSKI (1860-1941) -Krakowiak fantastyczny H-dur (4') - Menuett G-Dur (4') MARCIN DOMINIK GŁUCH - Musische Überraschung - ( 16' ) (MARCIN DOMINIK GŁUCH – am Klavier) Vin d’honneur Ehrenschutz: Europäische Föderation Polnischer Wissenschaftlich-Technischer Vereine im Ausland www.polish-engineers-europe.org Marcin Dominik Głuch – Lebenslauf Pianist, Komponist und Dirigent, geboren am 7. Mai 1973 in Warszawa, Polen. 1997 schloss Marcin Dominik Gluch mit Auszeichnung sein Studium an der Fryderyk Chopin Musikakademie in Warschau ab. Von 1997 bis 2004 Dozent an der " Performing Arts School " in Göteborg. 2004 bis 2006 Klavierbegleiter des Balletts de Monte Carlo in Monaco. Zusammen mit der Ballettkompanie Auftritte unter anderem in Shanghai Grand Theatre, Tianqiao Opera House in Peking, Auditorium de Dijon, Grand Theatre Massenet in St.