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Materiały Prasowe
MATERIAŁY PRASOWE Grudzień 2018 MLEKOVITA jest największą firmą mleczarską, największym producentem i eksporterem nabiału w Europie Środkowo-Wschodniej. To najcenniejsza marka produkcyjnego sektora polskiej gospodarki, zwycięzca w kategorii „Produkty żywnościowe” w Rankingu Najcenniejszych Polskich Marek. MLEKOVITA jest firmą ze 100% kapitałem polskim, która na potęgę – największą polską grupę mleczarską, zarówno pod względem wielkości przerobu mleka, jak i sprzedaży produktów mlecznych, i największego polskiego eksportera produktów mleczarskich – wyrosła z małej spółdzielni, jaką była na początku swojego istnienia, sięgającym okresu przedwojennego. Zakład w Wysokiem Mazowieckiem, który powstał w 1928 roku, zatrudniał 30 osób i zajmował się wyłącznie produkcją serów i masła. Największy autorytet branży mleczarskiej. Menedżer z wieloletnim doświadczeniem i wyjątkową intuicją biznesową, skuteczny strateg, prekursor innowacyjnych rozwiązań. Twórca sukcesu marki MLEKOVITA – kieruje firmą ponad trzy dekady. To on w 1992 r. opracował jej logo i nadał nazwę MLEKOVITA, wyróżniając się tym samym z szeregu okręgowych spółdzielni mleczarskich i wskazując branży nowatorski kierunek rozwoju. Dzięki jego efektywnemu zarządzaniu firma stała się najcenniejszą marką polskiego sektora produkcyjnego oraz największą grupą mleczarską w Europie Środkowo-Wschodniej. Aktywnie zaangażowany w rozwój i promocję polskości oraz patriotyzmu gospodarczego. Laureat licznych prestiżowych nagród i tytułów, w tym państwowych (m.in. Brązowego Krzyża Zasługi, Złotego Krzyża -
Emily Jackson, Soprano Kathryn Piña, Soprano Mark Metcalf, Collaborative Pianist
Presents Emily Jackson, soprano Kathryn Piña, soprano Mark Metcalf, collaborative pianist Friday, April 23, 2021 ` 8:30 PM PepsiCo Recital Hall Program Cuatro Madrigales Amatorios Joaquín Rodrigo (1901-1999) 1. ¿Con qué la lavaré? 2. Vos me matásteis 3. ¿De dónde venís, amore? 4. De los álamos vengo, madre Ms. Piña Three Irish Folksong Settings John Corigliano (b. 1938) 1. The Salley Gardens 2. The Foggy Dew 3. She Moved Thro’The Fair Ms. Jackson Dr. Kristen Queen, flute Selections from 24 Canzoncine Isabella Colbran (1785-1845) Benché ti sia crudel T’intendo, si mio cor Professor Mallory McHenry, harp In uomini, in soldati from Cosi fan tutte W. A. Mozart (1756-1791) Ms. Piña Er Ist Gekommen in Sturm und Regen Clara Schumann Die Lorelei (1819-1896) O wär ich schön from Fidelio Ludwig van Beethoven (1770-1827) Ms. Jackson Of Memories and Dreams Patrick Vu (b. 1998) 1. Spring Heart Cleaning 2. Honey 3. Iris 4. On the Hillside *world premiere* Ms. Piña Patrick Vu, collaborative pianist Selections from Clarières dans le ciel Lili Boulanger (1893-1918) Parfois, je suis triste Nous nous aimerons tant Ms. Jackson Tarantelle Gabriel Fauré (1845-1924) Ms. Jackson and Ms. Piña This recital is given in partial fulfillment of the requirements for a Bachelor’s Degree of Music with a vocal emphasis. Ms. Piña is a student of Dr. James Rodriguez and Emily Jackson is a student of Professor Angela Turner Wilson. The use of recording equipment or taking photographs is prohibited. Please silence all electronic devices including watches, pagers and phones. -
Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(S): Elisabeth A
Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(s): Elisabeth A. Fraser Source: Oxford Art Journal, Vol. 21, No. 1 (1998), pp. 89-103 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/1360698 . Accessed: 13/03/2011 09:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Oxford Art Journal. http://www.jstor.org Uncivil Alliances: Delacroix, the Private Collector, and the Public Elisabeth A. Fraser Eugene Delacroix was probablythe most controversialartist of the Bourbon Restorationperiod in France. -
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. -
The Voice of Poland – Najlepszy Głos”
REGULAMIN GŁOSOWANIA SMS „The Voice of Poland – Najlepszy głos” I. Postanowienia wstępne 1. Organizatorem głosowania SMS „The Voice of Poland – Najlepszy głos”, zwanego dalej Głosowaniem lub Serwisem, jest Telewizja Polska S.A., z siedzibą przy ul. Woronicza 17 w Warszawie (kod pocztowy: 00-999), wpisana do rejestru przedsiębiorców Krajowego Rejestru Sądowego pod numerem KRS 0000100679, prowadzonego przez Sąd Rejonowy dla m.st. Warszawy, XIII Wydział Gospodarczy Krajowego Rejestru Sądowego, NIP 521-04-12-987, REGON 010418973, której kapitał zakładowy wynosi 266 596 500 zł złotych (zwana dalej Organizatorem). 2. Głosowanie jest organizowane na obszarze Rzeczypospolitej Polskiej, w okresie od dnia 7 listopada do 28 listopada 2015 roku. Zgłoszenia w Głosowaniu są przyjmowane od dnia 7 listopada do 28 listopada 2015 roku. w przedziałach czasowych określonych poniżej w niniejszym regulaminie. 3. Osoba przystępująca do Głosowania staje się jego Uczestnikiem i tym samym akceptuje wszystkie postanowienia Regulaminu. 4. Uczestnikiem Głosowania (zwanym dalej "Uczestnikiem"), może być osoba fizyczna, zamieszkała na terytorium Rzeczypospolitej Polskiej, będąca właścicielem karty SIM/USIM jednego z operatorów sieci telefonii komórkowej działających na terenie Rzeczypospolitej Polskiej (w dalszej części zwanych „Operatorem”) lub osoba, która została upoważniona przez właściciela karty SIM/USIM do wzięcia udziału w Głosowaniu używając należącego do niego numeru telefonu. 5. Organizator ponosi odpowiedzialność za treść i formułę Głosowania. 6. Głosowanie nie jest grą hazardową w rozumieniu przepisów ustawy z dnia 19 listopada 2009 roku o grach hazardowych (Dz. U. z 2009, Nr 201, poz.1540 z póź. zm). 7. Udział widzów w Głosowaniu odbywa się poprzez oddanie głosu za pośrednictwem wiadomości SMS Premium. Widz, który oddał tak głos staje się Uczestnikiem Głosowania. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
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. -
Vente De Musique.Qxp
127 128 *127 [MOMIGNY (Jérôme-Joseph de)]. PORTRAIT, dessin original au fusain, avec rehauts de gouache [vers 1820] ; médaillon ovale de 15 x 13 cm., sur papier in-4. 1.000/1.200 CE BEAU DESSIN ANONYME SERAIT LE SEUL PORTRAIT CONNU DE CE MUSICIEN ET THÉORICIEN ; l’artiste se présente de face et tient un violon. Né à Philippeville en 1766, il est mort à Tours en 1856 ; organiste à douze ans à Saint-Omer, il est à Lyon en 1785, puis se réfugie en Suisse à la Révolution. Il revint à Paris en 1800, y fondant un magasin de musique où il édita ses propres ouvrages. Auteur de sonates pour piano et de quatuors de violon, il fut absorbé par l’idée d’opérer une réforme profonde de la théorie musicale. Protégé par Lacépède, il exposa son système dans une séance de l’Académie, le 17 décembre 1808, suscitant de vives oppositions. Il a publié un Cours complet d’harmonie et de composition d’après une théorie neuve et générale de la musique (1806, 3 vol., dédiée à Talleyrand) et La seule vraie théorie de la musique (1821). Il a aussi rédigé le second volume de musique de la grande Encyclopédie Méthodique (1818), où il a développé notamment la théorie du Phrasé, tant dans l’exécution que dans la notation et la lecture des œuvres musicales. L’inscription sous le dessin a été retouchée. *128 NICOLO (Nicolas ISOUARD dit).MANUSCRIT MUSICAL autographe signé pour Aladin, ou la lampe merveilleuse ; 4 pages in-folio. 1.000/1.200 RARE MANUSCRIT. -
Old Master Paintings a Private Selling Exhibition Old Master Paintings a Private Selling Exhibition
OLD MASTER PAINTINGS A PRIVATE SELLING EXHIBITION OLD MASTER PAINTINGS A PRIVATE SELLING EXHIBITION LOCATION Christie’s New York 20 Rockefeller Plaza New York, NY 10020 VIEWING January 22–February 7, 2016 Monday-Saturday, 10am-5pm Sunday, 1pm-5pm CONTACTS Ben Hall Deputy Chairman, Old Master Paintings 212 636 2121 BHall @christies.com François de Poortere Head of Department, Old Master Paintings 212 636 2469 [email protected] Thomas Baston, (British, active c. 1721) Nicolas Bertin (Paris 1668-1736) Nicolas Henry Jeurat de Bertry A view of Her Majesty’s Ship Royal Sovereign Moses defending the daughters of Jethro (Paris 1728-after 1796) inscribed and signed ‘To His RoyL. HIGHNSPRINCE GEORGE of oil on panel A manual, a quill, a conch shell, a snake in a jar and objects DENMARK / Lord High ADMIRAL of GREAT BRITIAN, IRELAND, / and 19¼ x 27⅞ in. (49 x 70.8 cm.) on a table above a globe, books, musical instruments, of all Her…ons in GENERAL And / of all Her Majies… / THIS PIECE OF PARchment Drawing A VIEW / of Her Majies SHIP ... SOVERAIGN / this IN COLLABORATION WITH: sheet music and other objects is most humbly Dedicated / By his Most / Faithful Servant ThoBaston’ Derek Johns Ltd signed ‘Jeurat de Bertry / pxit. En 1775.’ (lower center, on the sheet music) (lower center) 12 Duke Street, St James’s, London SW1Y 6BN oil on canvas penschilderij on parchment +44 (0) 20 7839 7671 35¼ x 46⅜ in. (89.5 x 117.5 cm.) 13 x 11¾ in. (33 x 29.8 cm.) [email protected] IN COLLABORATION WITH: IN COLLABORATION WITH: Robilant + Voena Rafael Valls Ltd 1 Lumley Street, 5th Floor, London W1K 6TT 11 Duke Street, St. -
The Image of Mary of the Miraculous Medal: a Valiant Woman
Joyce C. Polistena The Image of Mary of the Miraculous Medal: A Valiant Woman Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012) Citation: Joyce C. Polistena, “The Image of Mary of the Miraculous Medal: A Valiant Woman,” Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012), http://www.19thc- artworldwide.org/summer12/joyce-polistena-the-image-of-mary-of-the-miraculous-medal. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Polistena: The Image of Mary of the Miraculous Medal: A Valiant Woman Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012) The Image of Mary of the Miraculous Medal: A Valiant Woman by Joyce C. Polistena “Gentlemen, whether you like it or not, the feeling for religion has in the last six years regained a power which no one could have foreseen.”[1] A member of France’s Chamber of Deputies made this surprising declaration in 1837, noting the dramatic religious revival that had taken place in France in recent years. One particular religious event, a Mariophanic occurrence, may have contributed to this phenomenon. It also led to a new iconography for the Virgin Mary (fig. 1). This is the subject of my article, in which I attempt to show how a new, potent image of the Virgin became popular because it emerged at a propitious moment, politically, and because new technologies helped to widely propagate it. Fig. 1, Anon., Catherine Labouré’s Vision of the Miraculous Medal, ca. -
CHOPIN and JENNY LIND
Icons of Europe Extract of paper shared with the Fryderyk Chopin Institute and Edinburgh University CHOPIN and JENNY LIND NEW RESEARCH by Cecilia and Jens Jorgensen Brussels, 7 February 2005 Icons of Europe TABLE OF CONTENTS 1. INTRODUCTION 2 2. INFORMATION ON PEOPLE 4 2.1 Claudius Harris 4 2.2 Nassau W. Senior 5 2.3 Harriet Grote 6 2.4 Queen Victoria 7 2.5 Judge Munthe 9 2.6 Jane Stirling 10 2.7 Jenny Lind 15 2.8 Fryderyk Chopin 19 3. THE COVER-UP 26 3.1 Jenny Lind’s memoir 26 3.2 Account of Jenny Lind 27 3.3 Marriage allegation 27 3.4 Friends and family 27 4. CONCLUSIONS 28 ATTACHMENTS A Sources of information B Consultations in Edinburgh and Warsaw C Annexes C1 – C24 with evidence D Jenny Lind’s tour schedule 1848-1849 _______________________________________ Icons of Europe asbl 32 Rue Haute, B-1380 Lasne, Belgium Tel. +32 2 633 3840 [email protected] http://www.iconsofeurope.com The images of this draft are provided by sources listed in Attachments A and C. Further details will be specified in the final version of the research paper. All rights reserved. Copyright © 2003 Icons of Europe, B-1000 Brussels, Belgium. Filed with the United States Copyright Office of the Library of Congress, Washington, D.C. 1 Icons of Europe 1. INTRODUCTION This paper recapitulates all the research findings developed in 2003-2004 on the final year of Fryderyk Chopin’s life and his relationship with Jenny Lind in 1848-1849. Comments are invited by scholars in preparation for its intended publication as a sequel to the biography, CHOPIN and The Swedish Nightingale (Icons of Europe, Brussels, August 2003). -
4 Classical Music's Coarse Caress
The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.