DOCSLIB.ORG

Polonaise Spring 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Polonaise Spring 2006 Spring 2006 The semi-annual publication of the Chopin Foundation of the United States, Inc. Chopin Foundation of the United States, Inc. Officers & Directors cÉÄÉÇt|áx Blanka A. Rosenstiel — Founder & President Spring 2006 Olga Melin — Vice President Volume XV—Number 1 Kris Lewicki — Treasurer Adam Aleksander Wegrzynek — Artistic Advisor Jadwiga “Viga” Gewert — Executive Director Directors Table of Contents Helen Belvin, George Berberian, Mercedes Ferré, Peter Goodrich, Dr. Tomasz A. Grabczak, Dr. William Hipp, Harriet Irsay, Isabel Leibowitz, Mack McCray, Message from the Founder and President 2 Edmund Sadowski, Stan Zielinski Regional Council Contacts 3 International Artistic Advisory Council Agustin Anievas, Martha Argerich, Emanuel Ax, Jeffrey N. Babcock, John Bayless, Florida Chopin Council 4 Luiz Fernando Benedini, John Corigliano, Ivan Davis, Christopher T. Dunworth, Charles Dutoit, Marian Filar, Nelson Freire, Bruno Leonardo Gelber, Gary Graff- Northwest Chopin Council 5 man, Horacio Gutierrez, Leonid Hambro, Marta Istomin, Byron Janis, James Judd, Cyprien Katsaris, Zoltan Koscis, Jacob Lateiner, Garrick Ohlsson, Paloma San Francisco Chopin Council 6-7 O’Shea, Daniel Pollack, Maurizio Pollini, Abbey Simon, Stanislaw Skrowaczewski, Michael Tilson Thomas, Charles Wadsworth, Susan Wadsworth, Krystian My Warsaw Impressions 8-9 Zimerman 2006-2007 Event Schedule 10-11 Editorial: Polonaise is published semi-annually by the Frederick Chopin, The Poet of Sound 12-14 Chopin Foundation of the United States, Inc. 1440 79th Street Causeway, Suite 117, Miami, FL 33141 Memories of 2005-2006 16 Editorial Office: 305-868-0624 • 305-865-5150 (Fax) E-mail: [email protected] • Website: www.chopin.org Scholarship Program 17-18 Publisher: Lady Blanka A. Rosenstiel Executive Editor: Jadwiga Gewert CDs and DVDs 19 Graphic Layout: William Mann Other Contributors: Walter Beaman, Helen Belvin, George Berberian, Gosia Dar- Become a Donor 20 - 21 win, Bess Kronowitz, Mack McCray, Howard Na. Photos: Jadwiga Gewert, Juliusz Multarzynski, Charles Allen Smith. Copyright © 2006 Chopin Foundation of the United States, Inc. All rights reserved. Printed by Dynacolor Graphics, Inc. 1 Message from the Founder and President Blanka A. Rosenstiel The Chopin Foundation in Miami has intensified its coopera- Personal cultivation begins with poetry, is tion with Chopin Societies across strengthened by rules of decorum and is per- the United States. We hope to con- fected by music. tinue this collaboration. We all Confucius serve the same idea of “perfecting personal cultivation” through the Dear Friends and Supporters of the beauty of Chopin’s music. Chopin Foundation of the U.S.: My dear friends and sup- porters, please continue helping us A year has already passed since to carry out our mission of assisting our Seventh National Chopin Piano young outstanding talents and of Competition, and memories from the promoting music among the public. Warsaw Competition are fading away - I would like to take this but we are busy as usual. Our finalists opportunity to express my most sin- have been performing around the country, and our events for the cere wishes to Bess Kronowitz. She next season are already booked. Our concert programs grow, as has been very instrumental on our you can see inside the magazine. We will present young out- Florida Chopin Council’ Board for standing musicians from the United States and abroad; and for the almost twenty years, and she just first time we will introduce a trio during our Free Concert Series celebrated her ninety-fifth birthday! in Florida! This season we will also launch a Cultural Exchange Dear Bessie, your dedication in Program with the Fryderyk Chopin Institute in Warsaw - a pro- helping young American pianists is gram that has been long anticipated. Young artists need more in- greatly appreciated. Your spirit, ternational exposure - on both sides of the Ocean - and we are your enthusiasm and your energy Bess Kronowitz happy to help them. are still needed here – please be During the last season the Chopin Foundation opened and healthy and active for many years to come! Happy Birthday, closed the New York Chopin Council. Legal restrictions during Bessie! registration of the new chapter made President Jerzy Stryjniak and the Board of Directors change their minds. They decided to start an independent organization with its own tax exempt num- ber. We wish the new Chopin Society of New York a bright and successful future! 2 The Regional Councils For more information on the activities, membership and sponsorship opportunities, please contact the Regional Councils of the Chopin Foundation of the Unites States directly. Florida Chopin Council San Francisco Chopin Council Northwest Chopin Council George Berberian Mack McCray Helen Belvin, President President President Ivona Kaminska, Secretary 1440 79th Street Causeway, Suite 117 2123 26th Avenue Northwest Chopin Festival Miami, FL 33141 San Francisco, CA 94116 4957 Lakemont Blvd. SE, Suite C-4, #259 305-868-0624 415-753-5334 Bellevue, WA 98006 305-865-5150 425-829-1229 [email protected] [email protected] [email protected] The Regional Councils are branches of the Foundation, and operate under the Foundation’s charter, by-laws and IRS Tax-exemption number. Their purpose is to carry out the Foundation’s objectives at the regional levels. They plan membership drives, fundraising events, con- certs, and other special events. They retain the proceeds which they generate from fundraising and membership for their operating budget and transfer the remaining funds to help support the Foundation’s national activities. In turn, the Foundation offers assistance to the councils in help- ing them establish their organization, assisting with artists, promotional materials, etc. We are always open to new opportunities to expand our mission into new regions. If you would like to consider creating a regional council in your city, or have an idea for a collaboration, contact our Miami offices. The Chopin Foundation of the US 1440 79th Street Causeway, Suite 117 Miami, Florida 33141 (305) 868-0624 [email protected] www.chopin.org 3 Florida Chopin Council th This season was designed to present the Our Gala Dinner Dance, held on March 10 at the Hotel finalists of our 2005 National Chopin Piano Com- Inter-Continental, honored the Founder and President of the Chopin petition. Igor Lovchinsky in November and How- Foundation, Lady Blanka Rosenstiel, whose vision and enthusiasm ard Na in January mesmerized us all with their stu- have guided the Foundation and its Regional Councils since 1977. pendous performances. Sean Kennard will con- Before the dinner we enjoyed an outstanding concert by Ning An, clude this year’s Membership Series on May 21st. the first prize winner of our 2000 National Chopin Piano Competi- tion. Dancing concluded that charming event designed to raise George Berberian funds for continuous support of young talented American pianists. President George Berberian From November Concert 2005, L-R: Bess Kronowitz, Jadwiga Gewert, Lady Blanka Rosenstiel and Ning An Igor Lovchinsky, Lady Blanka Rosenstiel and Margareta DeGea Save The Dates: Membership Musicales Season 2006-2007 November 19, 2006 January 7, 2007 May 6, 2007 Events are FREE for members of the Chopin Council of Florida. All concerts include an elegant post-concert reception with the artists. March 10, 2007 Annual Gala For more information call (305) 868-0624 or e-mail [email protected] From January Concert 2006, L-R: George Berberian, Rose Kruszewski, Howard Na, and Pauline Sholk 4 Northwest Chopin Council The 2005-06 season has been a time of We are deeply grateful for the solid foundation of the N.W. Council challenging transition for the Northwest Coun- established by our past President Dr. Steven Lagerberg. We are de- cil since the resignation of our incomparable lighted that Alison Bell, Andrew Biles, Judy Baker, Jennifer Bow- and beloved founder, Dr. Steven Lagerberg. man, Jim Miles and Krystof Poraj-Kuczewski continue actively serv- We are able to present successfully the ing on the Board and we welcome our new Treasurer, Mary Chandler 2006 Chopin Festival, which received acco- and new Board members Graziella Palumbo, David Beeman, Hao lades from many quarters. Students ages 10-18 Zhang and Jin-Hwa Chon. Each one of these dedicated people con- competed on February 4, at the Sherman Clay tributes a unique talent and is key to the ongoing success of the an- Co. in Seattle and at the adjacent Mayflower nual N.W. Chopin Festival. It has been a special pleasure and privi- Helen Belvin Hotel. On February 11, twelve finalists per- lege to work with such an outstanding Board of Directors. President formed at the historic Polish Home. The young pianists' high level of performance and under- Helen Belvin standing of the Chopinesque style surprised the jurors and delighted the enthusiastic audience. The venue was ideal for the concert, remi- Winners of the 2006 Chopin Festival: niscent of salons where Chopin performed. The Polish Home Women's Auxiliary generously donated $500 for scholarships for the winners. We were exceedingly fortunate to engage two highly re- garded jurors, Dr. Rachelle McCabe, well known concert pianist and professor of Music at Oregon State University and Dr. Milica Jelaca Jovanovic, solo recitalist, chamber musician and Assistant Professor of Piano at Western Washington University. The grand finale of the 2006 NW Chopin Festival was a dynamic and captivating pro bono master class given by Craig Sheppard, internationally
Load more

Recommended publications
  • CHRISTOPH PRÉGARDIEN CYPRIEN KATSARIS Auf Flügeln Des Gesanges Romantic Songs and Piano Transcriptions
    CHRISTOPH PRÉGARDIEN CYPRIEN KATSARIS Auf Flügeln des Gesanges Romantic songs and piano transcriptions 1 CHRISTOPH PRÉGARDIEN CYPRIEN KATSARIS Auf Flügeln des Gesanges Romantic songs and piano transcriptions FRANZ SCHUBERT (1797-1828) CLARA SCHUMANN [1] Die Forelle, Op. 32, D. 530 2:16 [9] 6 Lieder, Op. 23 3:31 FRANZ LISZT (1810-1886) No. 3: Geheimes Flüstern hier und dort [2] 6 Melodien von Franz Schubert, S. 563 3:02 FRANZ LISZT No. 6: Die Forelle (1st version) [10] Lieder von Robert und Clara Schumann, S. 569 2:26 No. 10: Geheimes Flüstern hier und dort FRANZ SCHUBERT [3] Schwanengesang, D. 957 2:46 FRANZ LISZT No. 1: Liebesbotschaft [11] Im Rhein, im schönen Strome (2nd version), S. 272 2:49 LEOPOLD GODOWSKY (1870-1938) [12] Buch der Lieder I, S. 531 2:17 [4] Transcription of Liebesbotschaft 3:31 No. 2: Im Rhein, im schönen Strome FELIX MENDELSSOHN-BARTHOLDY (1809-1847) RICHARD WAGNER (1813-1883) [5] 6 Gesänge, Op. 34 2:53 [13] 5 Gedichte für eine Frauenstimme (Wesendonck-Lieder), WWV 91 4:28 No. 2: Auf Flügeln des Gesanges No. 5: Träume FRANZ LISZT AUGUST STRADAL (1860-1930) [6] Mendelssohns Lieder, S. 547 3:28 [14] Transcription of Träume 4:30 No. 1: Auf Flügeln des Gesanges HUGO WOLF (1860-1903) ROBERT SCHUMANN (1810-1856) [15] Anakreons Grab 2:52 [7] Liederkreis, Op. 39 1:16 BRUNO HINZE-REINHOLD (1877-1964) No. 12: Frühlingsnacht [16] 10 Piano Pieces after Hugo Wolf Lieder 2:54 CLARA SCHUMANN (1819-1896) No. 6: Idylle after Anakreons Grab [8] 30 Lieder und Gesänge von Robert Schumann 1:18 No.
    [Show full text]
  • Performance Commentary
    PERFORMANCE COMMENTARY . It seems, however, far more likely that Chopin Notes on the musical text 3 The variants marked as ossia were given this label by Chopin or were intended a different grouping for this figure, e.g.: 7 added in his hand to pupils' copies; variants without this designation or . See the Source Commentary. are the result of discrepancies in the texts of authentic versions or an 3 inability to establish an unambiguous reading of the text. Minor authentic alternatives (single notes, ornaments, slurs, accents, Bar 84 A gentle change of pedal is indicated on the final crotchet pedal indications, etc.) that can be regarded as variants are enclosed in order to avoid the clash of g -f. in round brackets ( ), whilst editorial additions are written in square brackets [ ]. Pianists who are not interested in editorial questions, and want to base their performance on a single text, unhampered by variants, are recom- mended to use the music printed in the principal staves, including all the markings in brackets. 2a & 2b. Nocturne in E flat major, Op. 9 No. 2 Chopin's original fingering is indicated in large bold-type numerals, (versions with variants) 1 2 3 4 5, in contrast to the editors' fingering which is written in small italic numerals , 1 2 3 4 5 . Wherever authentic fingering is enclosed in The sources indicate that while both performing the Nocturne parentheses this means that it was not present in the primary sources, and working on it with pupils, Chopin was introducing more or but added by Chopin to his pupils' copies.
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Crafted Financial Planning & Wealth Creation Solutions
    CRAFTED FINANCIAL PLANNING & WEALTH CREATION SOLUTIONS Saturday 28 July 7.30pm Federation Concert Hall Hobart MASTER 8 MASTER Marko Letonja conductor TCHAIKOVSKY Simon Trpcˇeski piano Symphony No 6, Pathétique Adagio – Allegro non troppo BERLIOZ Allegro con grazia Roméo et Juliette, Love Scene Allegro molto vivace Duration 18 mins Finale (Adagio lamentoso – Andante) LISZT Duration 46 mins Piano Concerto No 2 Adagio sostenuto assai – Allegro agitato This concert will end at approximately assai – Allegro moderato – Allegro 9.30 pm. deciso – Marziale, un poco meno Allegro – Un poco meno mosso – Allegro animato Duration 21 mins INTERVAL Duration 20 mins 03 6294 0000 | UNICAWEALTH.COM.AU Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 26 27 Hector Berlioz (1803-1869) Roméo et Juliette: symphonie ‘If you ask me which of my works I prefer, dramatique, Op 17 the answer is that of most artists: the love Second Part: Love Scene scene in Roméo et Juliette.’ No wonder Berlioz was proud of this section, where we hear the young Capulet revellers ‘…I settled on the idea of a symphony leave the ball and the orchestra take Marko Letonja is Chief Conductor and Macedonian pianist Simon Trpcˇeski has with chorus, soloists and choral recitative centre stage for one of the composer’s Artistic Director of the Tasmanian Symphony performed with many of the world’s leading on the sublime and perennial theme of finest movements, the Adagio.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • 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.
    [Show full text]
  • LEGACY: REBECCA PENNEYS PLAYS CHOPIN CHOPIN Piano
    LEGACY: REBECCA PENNEYS PLAYS CHOPIN CHOPIN Piano Sonata No. 3. Nocturnes, op. 27. Waltz in A♭, op. 34/1. Berceuse. Scherzo No. 3 & • Rebecca Penneys (pn) • FLEUR DE SON 58045 (Blu-ray: 56:28) & Comments on piano playing and Chopin At first, I was startled to see that the music on this Chopin recital was interspersed with short segments of spoken commentary by the pianist, Rebecca Penneys, who is not only a performer but a top-level piano teacher of long standing. Within a few minutes I realized that Penneys’ remarks are central to understanding how she plays Chopin so beautifully and to such moving effect. She speaks of being transported as she plays, raised to a level of effortless ease that is like floating. Her teaching method, which she calls “Motion and Emotion,” attempts to impart a technique to her students that combines the greatest physical ease and least stress with the freedom to find one’s own expressive voice. I was delighted to discover in these comments that Penneys believes in playing music from the inside, a phrase too vague to really communicate what her performance style is all about but clear enough to point in the right direction. It’s not enough to say that her Chopin is poetic or Romantic; there are many aspects that involve a deep—in fact, lifelong—mastery of the instrument. Born in 1946, she began her piano studies in Los Angeles at three and appeared with the LA Philharmonic at 11—it’s a testimony to her performance philosophy that in her 70s Penneys displays undiminished technique and rapt attention.
    [Show full text]
  • UPAM:Exultate Program Notes FINAL
    UPAM/Exultate Concert Program Notes with Katya Grineva-soloist Byron Duckwall Conductor / Cello Program Notes Byron Duckwall Nocturne in Eb Opus 9 no. 2 - FRÉDÉRIC CHOPIN 1810-1849 The Nocturne in E flat major is a charming bagatelle that did more for the popularity of Chopin than all his other works. It has been aptly described as “delicate thoughts that delight us with their sweetness and charm.” Chopin composed three Nocturnes during the years 1830-1831 just as he turned 21. It is an example of a rare sense of stylistic purity. The title nocturne means “night-music,” but that term suggests the character of the music rather than defining a specific musical form. Already evident in this nocturne is the phenomenal rhythmic freedom that will characterize Chopin’s mature work: the left hand maintains a steady 12/8 pulse, while the right hand introduces the graceful main idea and then embellishes that theme through a series of increasingly ornate and fluid repetitions. It displays a masterful use of a single kind of wondrously subtle accompaniment. The nocturne is not in the expected ternary form, but proceeds simply through the extension of its lovely opening theme to a great climax, which Chopin marks con forza. This sudden eruption of expression leads to a concise apotheosis... and just as suddenly is broken off and stilled. Fantaisie Impromptu in C# minor Opus 66 - FRÉDÉRIC CHOPIN Chopin composed the Fantasie Impromptu around 1834 at 24 years old and never much cared for it. It was published only after the composer’s death, contrary to his express wish that all unpublished works and sketches should be burned.
    [Show full text]
  • SPRING 2013 Allan Park – Northwest Chopin Council VOLUME XXIII/NUMBER 1 Scholarship Committee TABLE of CONTENTS Dr
    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,
    [Show full text]
  • USHMM Finding
    http://collections.ushmm.org Contact [email protected] for further information about this collection MARIAN FILAR [1-1-1] THIS IS AN INTERVIEW WITH: MF - Marian Filar [interviewee] EM - Edith Millman [interviewer] Interview Dates: September 5, and November 16, 1994, June 16, 1995 Tape one, side one: EM: This is Edith Millman interviewing Professor Marian Filar. Today is Septem- ber 5, 1994. We are interviewing in Philadelphia. Professor Filar, would you tell me where you were born and when, and a little bit about your family? MF: Well, I was born in Warsaw, Poland, before the Second World War. My father was a businessman. He actually wanted to be a lawyer, and he made the exam on the university, but he wasn’t accepted, but he did get an A, but he wasn’t accepted. EM: Could you tell me how large your family was? MF: You mean my general, just my immediate family? EM: Yeah, your immediate family. How many siblings? MF: We were seven children. I was the youngest. I had four brothers and two sis- ters. Most of them played an instrument. My oldest brother played a violin, the next to him played the piano. My sister Helen was my first piano teacher. My sister Lucy also played the piano. My brother Yaacov played a violin. So there was a lot of music there. EM: I just want to interject that Professor Filar is a known pianist. Mr.... MF: Concert pianist. EM: Concert pianist. Professor Filar, could you tell me what your life was like in Warsaw before the war? MF: Well, it was fine.
    [Show full text]
  • Fourteenth United Nations Congress on Crime Prevention and Criminal
    Fourteenth 29 January 2021 United Nations Congress on Crime Prevention and English only Criminal Justice Kyoto, Japan, 7–12 March 2021 Item 5 of the provisional agenda* Multidimensional approaches by Governments to promoting the rule of law by, inter alia, providing access to justice for all; building effective, accountable, impartial and inclusive institutions; and considering social, educational and other relevant measures, including fostering a culture of lawfulness while respecting cultural identities, in line with the Doha Declaration ** Background documents received from individual experts Białystok Legal Studies Prepared by Sławomir Redo __________________ * A/CONF.234/1/Rev.1. ** The designations employed, the presentation of material and the views expressed in the paper do not necessarily reflect the views of the United Nations Secretariat and do not imply the expression of any opinion whatsoever concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. V.21-00585 (E) *2100585* UNIWERSYTET W BIAŁYMSTOKU WYDZIAŁ PRAWA BIAŁOSTOCKIE STUDIA PRAWNICZE BIAŁYSTOK 2018 VOLUME 23 nr 3 Advancing Culture of Lawfulness: Towards the Achievement of the 2030 Agenda BIAŁOSTOCKIE STUDIA PRAWNICZE VOLUME 23 nr 3 Editor-in-Chief of the Publisher Wydawnictwo Temida 2: Cezary Kosikowski Chair of the Advisory Board of the Publisher Wydawnictwo Temida 2: Emil W. Pływaczewski Advisory Board: Representatives of the University of Białystok: Stanisław Bożyk, Leonard Etel, Ewa M. Guzik-Makaruk, Adam Jamróz, Dariusz Kijowski, Cezary Kosikowski, Cezary Kulesza, Agnieszka Malarewicz-Jakubów, Maciej Perkowski, Stanisław Prutis, Eugeniusz Ruśkowski, Walerian Sanetra, Joanna Sieńczyło- Chlabicz, Ryszard Skarzyński, Halina Święczkowska, Jaroslav Volkonovski, Mieczysława Zdanowicz.
    [Show full text]