Seven Gates: the Music of Poland Explored
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE MAGAZINE of INTEKNATIONAL FOLK DANCING 650 U^ ^Etk
F November 1977 r THE MAGAZINE OF INTEKNATIONAL FOLK DANCING 650 u^ ^etk. T^OHce TNE littAZIIIE OF INTEIIN tTIONtl FOLK OANCma November 1977 Vol 34, Ho. 9 TABLE OF CONTENTS OFFICIAL PUBLICATION OF THE FOLK DANCE FEDERATION OF CALIFORNIA, INC. TREASURER'S BALL.................1 EDITOR.........................Linda Horn ASSOCIATE EDITOR.................Max Horn Making a Polish Bodice...........2 DANCE RESEARCH EDITOR...Dorothy Tamburini COSTUME RESEARCH EDITOR.....Eleanor Bacon Folk Arts of Poland..............5 BUSINESS MANAGER.................Max Horn Easy Does It!....................8 NOVEMBER CONTRIBUTORS Fiesta de Sonoma.................9 Miriam Lidster Ruth Miller Vera Jones Virginia Wilder Food in the Polish Manner.......10 Mona Verzi Ruth Ruling Larry Miller_________ Vi Dexhelmer Let's do Squares................12 FEDERATION OFFICERS Polish Folk Dance...............15 (North) Dance Descriptions: PRESIDENT...................Raymond Olson ^ilald RzMzoiAJ-ilU (Poland)......18 24013 Fairlands Road, Hayward, CA 94541 Kujawiak t*3 (Poland).........20 VICE PRESIDENT..............Bruce Wyckoff TREASURER........................Al Lisin Poland, a land of Changing RECORDING SECRETARY.....Genevieve Pereira Boundaries........24 DIRECTOR OF PUBLICATIONS.........Max Horn DIRECTOR OF EXTENSION...........Walt Lang DIRECTOR OF PUBLICITY.......Leonore Fifer Kolo Kalendar...................26 HISTORIAN.....................Leona Faoro (South) Party Places....................27 PRESIDENT......................Ed Feldman Council Clips...................30 -
Poland, the Knight Among Nations;
POLAND THE KNIGHTAMONG NATIONS pw£ ZRAV* POLAND THE KNIGHT AMONG NATIONS NICHOLAS COPERNICrs THE FATHER OF MODERN ASTRON.MV. (This view of the Polish astronomer, (who w;is the first to propound the theory that the earth moves aroun 1 the sun) surrounded by the scientists and other worthies of his time, is reproduced from a rare old si pel em ing made in 1843, at the celebration of the three- hundredth anniversary of his death.) POLAND THE KNIGHT AMONG NATIONS LOUIS ifc VAN NORMAN With an Introduction by Helena Modjeska a illustrated n ^ * At i New Yohk Chicago Toronto Fleming H. Revell Company London and Edinburgh Copyright, 1907, by •FLEMING H. REVELL COMPANY All rights reserved SECOND EDITION New York: 158 Fifth Avenue Chicago : 80 Wabash Avenue Toronto : 15 Richmond St., W. London : 21 Paternoster Square Edinburgh : 100 Princes Street TO MY WIFE who taught me all the noble qualities of the Poles and made me very hopeful of their national destiny INTRODUCTORY fine characteristic I have especially ONEnoted in the American people. As a gen- eral rule, they are not led to an opinion by the verdict of any other nation. Of recent years, particularly, their popular verdicts have been based upon their own independent judg- ment, and some of these verdicts have afterwards been accepted by the whole world. They were the first to "discover" Sienkiewicz. They did not accept him on the claims of French, or Ger- man, or English criticism. By their own native perception they knew he was great, and now the whole world has accepted their judgment. -
Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms. -
Premio Corso Salani 2015
il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica- -
Art Sports the Music of Poland Covers the Diverse Aspects of Music Insert Picture and Musical Traditions That Have Originated in Poland
Healing Initiative Leadership Linkage (HILL) Student Magazine: Country Name World without Borders Monthly update: <Date> Current News Host Editor Country Editor: Insert picture Type the matter……………. Music Art Sports The Music of Poland covers the diverse aspects of music Insert picture and musical traditions that have originated in Poland. Artists Football is the most from Poland, include popular sport in Poland. famous classical composers like Frédéric Chopin, Witold Over 400,000 Poles play Lutosławski, Krzysztof Penderecki, Karol football regularly, with Szymanowski or Henryk Górecki, world-renowned pianists millions more playing like Arthur Rubinstein, Ignacy Jan Paderewski, Krystian occasionally. The first Zimerman as well as the traditional, regionalised folk professional clubs were musicians that create a rich and lively music scene, which founded in the early has developed over the course of history a variety of music genres and folk dances such 1900s, and the Polish as mazurka, polonaise, krakowiak, polska, oberek and poezja national football śpiewana (sung poetry) team played its first international match in 1921. There are hundreds of professional and amateur football teams in Poland; which are organized into the national 1st league, 2nd level, 2 regional 3rd levels, 8 regional 4th levels, 19 regional 5th leagues and a variety of other lower level leagues. Additionally, there are the Polish Cup and Polish Supercup competitions Youth Excellence & Leader: What is catching the attention of your youth? Conferences Healing Initiative -
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. -
Kunstbericht 2011 Kunstbericht
Kunstbericht-2011-FX.indd 1 Kunstbericht 2011 Kunstbericht 06.06.12 08:14 2011 Kunstbericht 2011 Bericht über die Kunstförderung des Bundes Struktur der Ausgaben Förderungen im Detail Service Glossar zur Kunstförderung Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kunstsektion, 1010 Wien, Minoritenplatz 5 Redaktion Alexandra Auth, Herbert Hofreither, Robert Stocker Cover Christina Brandauer Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko Herstellung Druckerei Berger, Horn Inhalt Vorwort Seite 5 I Struktur der Ausgaben Seite 7 II Förderungen im Detail Seite 81 III Service Seite 139 IV Glossar zur Kunstförderung Seite 263 V Register Seite 297 Kunstbericht 2011 5 Vorwort Der Kunstbericht 2011 ist mehr als nur ein Geschäftsbericht. Er stellt nicht nur transpa- rent Zahlen und Fakten dar, er zeigt vor allem die Bandbreite der Kunstförderung und den Erfolg des künstlerischen Schaffens in der Literatur, am Theater, in der Musik, im Film, in der bildenden Kunst sowie die Arbeit der regionalen Kulturinstitutionen. Gemeinsam können wir auf ein gutes Jahr für die Kunst zurückblicken: nationale und internationale Preise für den österreichischen Film, die Umsetzung der Kinodigitalisie- rung für die Programmkinos, ein vielbeachteter Beitrag Österreichs bei der Kunstbiennale in Venedig, weitere Stärkung des zeitgenössischen Kunstschaffens und die nachhaltige © Hans Ringhofer Umsetzung der Nachwuchsförderung und Kulturvermittlung. Um eine kontinuierliche Tätigkeit zu ermöglichen, bedarf es eines stabilen Budgets. Trotz der Konsolidierung des Staatshaushaltes, die zu Kürzungen in einigen Ressorts geführt hat, ist es uns im Bereich der Kunst und Kultur gelungen, die Budgets und die Ausgaben stabil zu halten. Darin drückt sich das klare Bekenntnis zur Verantwortung des Staates für die Förderung von Kunst aus. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Henryk Górecki's Spiritual Awakening and Its Socio
DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1 -
Perceptual and Semantic Dimensions of Sound Mass
PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5 -
1 a Polish American's Christmas in Poland
POLISH AMERICAN JOURNAL • DECEMBER 2013 www.polamjournal.com 1 DECEMBER 2013 • VOL. 102, NO. 12 $2.00 PERIODICAL POSTAGE PAID AT BOSTON, NEW YORK NEW BOSTON, AT PAID PERIODICAL POSTAGE POLISH AMERICAN OFFICES AND ADDITIONAL ENTRY SUPERMODEL ESTABLISHED 1911 www.polamjournal.com JOANNA KRUPA JOURNAL VISITS DAR SERCA DEDICATED TO THE PROMOTION AND CONTINUANCE OF POLISH AMERICAN CULTURE PAGE 12 RORATY — AN ANCIENT POLISH CUSTOM IN HONOR OF THE BLESSED VIRGIN • MUSHROOM PICKING, ANYONE? MEMORIES OF CHRISTMAS 1970 • A KASHUB CHRISTMAS • NPR’S “WAIT, WAIT … ” APOLOGIZES FOR POLISH JOKE CHRISTMAS CAKES AND COOKIES • BELINSKY AND FIDRYCH: GONE, BUT NOT FORGOTTEN • DNA AND YOUR GENEALOGY NEWSMARK AMERICAN SOLDIER HONORED BY POLAND. On Nov., 12, Staff Sergeant Michael H. Ollis of Staten Island, was posthumously honored with the “Afghanistan Star” awarded by the President of the Republic of Poland and Dr. Thaddeus Gromada “Army Gold Medal” awarded by Poland’s Minister of De- fense, for his heroic and selfl ess actions in the line of duty. on Christmas among The ceremony took place at the Consulate General of the Polish Highlanders the Republic of Poland in New York. Ryszard Schnepf, Ambassador of the Republic of Po- r. Thaddeus Gromada is professor land to the United States and Brigadier General Jarosław emeritus of history at New Jersey City Universi- Stróżyk, Poland’s Defense, Military, Naval and Air Atta- ty, and former executive director and president ché, presented the decorations to the family of Ollis, who of the Polish Institute of Arts and Sciences of DAmerica in New York. He earned his master’s and shielded Polish offi cer, Second lieutenant Karol Cierpica, from a suicide bomber in Afghanistan. -
4996256-0Ced98-635212041628.Pdf
SOLI ARTIST’S NOTE when the writing is at the edge of what is playable, it is always possible, and the struggle There is nothing like the experience of being can even add to the content. Sonata for Solo Violin, Sz. 117 (1944) Béla Bartók (1881-1945) completely alone on stage, just with my violin. 1 I. Tempo di ciaccona [14.12] It is the ultimate soul-baring communion both The recording process was extraordinarily 2 II. Fuga. Risoluto, non troppo vivo [5.00] with myself and with the audience. And it is intense, not only because I was alone in the 3 III. Melodia. Adagio [8.36] no coincidence that many of the works written hall. The emotional rawness of the material 4 IV. Presto. [6.09] for solo violin explore the depths of our shared took its toll each day, so in the evening, to play human experience through this intense medium. a Kurtag miniature was a wonderful balm. I Three Miniatures for Solo Violin (2001) George Benjamin (b.1960) 5 I. A Lullaby for Lalit [3.52] would like to say an enormous thank you to Nick 6 II. A Canon for Sally [2.29] For musicians, composers and performers alike, Parker and Mike Hatch who produced and 7 III. Lauer Lied [3.16] sound is our medium. Through sound we must engineered this disc, and for the invaluable express everything we wish to communicate. support they gave during the recording sessions. 8 Cadenza (1984) Krzysztof Penderecki (b.1933) [10.05] The works on this disc take the violin to its From Four Lauds Elliott Carter (1908-2012) expressive limits.