LEGACY OF POLISH MUSIC ABROAD AT THREE GLANCES 波兰重获独立百年纪念 衷心欢迎各位出席我们的音乐节。我们的初衷，是展示20世纪上半叶作曲家创作的音乐作品，其多样性和丰富的音 乐语言。这些作品或已被人们淡忘，却与波兰息息相关。对波兰音乐生活的三次巡礼式展示，可以使人们意识到，波 兰“当代”音乐遗产对于研究和普及“古代”音乐，以及对于作为“未来”音乐的爵士乐所具有的重要意义和作用。 音乐会得名于波兰作曲家布罗尼斯瓦夫•卡佩尔（Bronisław Kaper）的同名爵士乐作品——“INVITATION”，即邀约。布罗尼斯 瓦夫•卡佩尔与亨利克∙沃尔（Henryk Wars）、维克托•扬（Victor Young，爵士乐天才，在波兰完成了音乐教育，毕业于华沙音 乐学院，是传奇性的标杆确立人），同为名扬世界的艺术家，他们作品被全世界最著名的爵士音乐家演奏。然而他们与波兰的 渊源却鲜为人知。他们为爵士乐确立了良好的标杆。而这种优美的音乐形式，不仅是波兰文化的一部分，更重要的是，它是后 代音乐家创作灵感的源泉，艺术探索的基础，是波兰对于世界文化遗产的贡献。 类似的例子不胜枚举：杰出却鲜为人知的室内小提琴和钢琴音乐作品，均为20世纪上半叶与波兰相关的作曲家所作。 随着时间的流逝，这些作品被人们遗忘。利奥波德•戈多夫斯基（Leopold Godowski）、波多夫斯基（Poldowski） 、Adamowski、Niemczyk、Weinberg等音乐家，堪称是室内音乐的艺海遗珠，人们却往往将他们与其定居国家的 文化相连。 旺达•兰多芙丝卡（Wanda Landowska） - 波兰杰出女羽管建琴家，为古代音乐演奏风格研究奠定了基础。然而人们 却极少将其贡献和首创性，与当代对文艺复兴和巴洛克时期音乐的“历史性再现”尝试联系在一起。而她的波兰血统， 更是鲜为人知，而这一点恰是兰多芙丝卡本人在世界舞台上演奏波兰17世纪作曲家作品时不忘强调的。 通过音乐节的三场音乐会对这些现象进行呈现，将是对被人遗忘的波兰音乐的一次全面呈现和推广，同时也将使人们 了解到一些著名音乐作品背后鲜为人知的波兰背景。 我们相信，这三场音乐会将为各位带来丰富宝贵的艺术感受。 MARKING 100 YEARS OF POLISH INDEPENDENCE The goal of the Invitation Festival is to showcase the music of forgotten artists associated with Poland from the first half of the twentieth century, in all its diversity and richness. Three insights into the Polish musical life of this period allow us to become aware of the role and importance of Polish heritage in the field of „contemporary” music, in the researching and popularizing of „old music”, and the discerning of Jazz as the „music of the future”. The name of the project is taken from the Jazz composition by Bronisław Kaper of the same title. Bronisław Kaper, along with Henryk Wars and Victor Young (a Jazz protégé, a graduate of the Warsaw Conservatory of Music, and a legendary composer of standards), all of whom are artists whose works are performed by some of the world’s greatest jazz musicians. However, in popular perception, these Jazz artists are rarely associated with Poland. Instead, they are simply linked with really smart Jazz standards. Meanwhile, this beautiful music is not only a part of Polish culture, but a source of inspiration for future generations: the basis for artistic exploration; and a Polish contribution to the world’s cultural heritage. There are more examples, such as the fine compositions for violin and piano of little-known Polish composers from the first decades of the 20th century; largely forgotten names such as Godowski, Poldowski, Achron, Mistowski, Adamowski, Niemczyk and Weinberg - lost pearls of chamber music. Wanda Landowska, who was an outstanding Polish harpsichordist, laid the foundations for research into Old music, coupled with an informed conception of its recital. Her pioneering activities, together with her development of the „historically informed performance” of Renaissance and Baroque music, are rarely linked. What is more, Landowska’s associations with Poland have also been largely forgotten, even though Landowska would always emphasise her Polishness, particularly whenever she played the works of 17th-century Polish composers in the US. It is hoped that our Invitation Festival, held over the course of three concerts, will allow for an in-depth presentation and promotion of the hidden treasures of Polish culture in what is one the world’s most prestigious concert venues. During this festival, we shall celebrate the best of Polish culture, with Polish music that is awaiting rediscovery. What a beautiful paradox! We believe that these three concerts are delivered a richer artistic experience. Financed from the funds of the Ministry of Culture and National Heritage of Poland, within the scope of the Multiannual Program INDEPENDENT 2017-2022, as part of the “Cultural Bridges” subsidy program of the Adam Mickiewicz Institute PRESENTED BY PRO ACADEMIA NAROLENSE FOUNDATION AND NAROLARTE MUSIC PROMOTION Landowska In Memoriam October 9, 2019 | 6 PM 2019年10月9日 | 18 點 Władysław Kłosiewicz Polish Landscapes October 9, 2019 | 7:30 PM 2019年10月9日 | 19:30 點 Joanna Okoń Katarzyna Glensk Love Will Foregive You Anything October 9, 2019 | 9 PM 2019年10月9日 | 21 點 Kuba Stankiewicz Trio Kuba Stankiewicz piano Wojciech Pulcyn bass Sebastian Frankiewicz drums East China Normal University Department of Music | Shanghai 华东师范大学 East China Normal University (ECNU) 音乐学院 Department of Music 闵行校区：东川路500号 200241 Minhang Campus: 500 Dongchuan 中山北路校区：中山北路3663号 200062 Rd.,Shanghai 200241 Landowska In Memoriam Władysław Kłosiewicz harpsichord October 9, 2019 | 6 PM 2019年10月9日 | 18 點 LOUIS COUPERIN (1626 – 1661) LOUIS-NICOLAS CLERAMBAULT (1676 – 1749) – PAVANE SUITE EN DO MINEUR – PRELUDE – PRÉLUDE – PASSACAILLE – ALLEMANDE – COURANTE FRANÇOIS COUPERIN (1668 – 1733) – SARABANDE CINQUIÊME ORDRE (SELECTION) – GIGUE – ALLEMANDE “LA LOGIVIÉRE” – COURANTE CLAUDE BENIGNE BALBASTRE (1724 – 1799) – SARABANDE “LA DANGEREUSE” – LA LUGEAC – LA TENDRE FANCHON – LA D’HÉRICOURT – LA CASTELMORE FRANÇOIS COUPERIN LES FASTES DE LA GRANDE ET ANCIENNE MÉNÉSTRANDISE – I ACTE – LES NOTABLES ET JURÉS – II ACTE – LES VIÉLEUX ET LES GUEUX – III ACTE – LES JONGLEURS – IV ACTE – LES INVALIDES – V ACTE – DÉSORDRE ET DÉROUTE DE TOUTE LA TROUPE The Custodian of the Holy Grail “It would be hard to forget any of her performances. This wise and sensitive woman held an extraordinary sway over her audiences. She dazzled people with both her charisma and the music she performed. It always seemed that Madame Landowska needed to take a few minutes to walk the twenty steps to the instrument waiting for her in the middle of the stage. When she sat at her instrument, she would join her hands as if in prayer, stroke them, turn her eyes to heaven; at this moment everyone in the hall felt that she was in communion with Bach, that she was listening to his instructions and encouragement. When playing, dressed in a black flowing gown, her spirit almost hovered over the harpsichord. Indeed, she looked like a custodian of the Holy Grail.“ That is how a performance of Wanda Landowska – probably the most famous harpsichord player of the 20th century – was described – not without a hint of irony – by the esteemed and influential American music critic and musicologist, Harold C. Schonberg, when in 1949 he wrote a number of articles for the New York press covering Landowska’s series of concerts, during which she performed the whole of Bach’s “Das wohltemperierte Klavier” [The Well-Tempered Clavier]. It was Landowska who was the first among the interpreters of Bach’s music, who flourished at the turn of the 19th and 20th centuries, to begin performing the keyboard music of the Leipzig cantor once again on the harpsichord – an instrument to which Bach had devoted numerous of his works, much like Händel, Scarlatti, Couperin and others. Inspired by the notion of ​​historicism, a desire to restore the compositions of the former masters; in keeping with the sound in which they were first performed, Landowska brought the harpsichord to concert halls. By doing so, Landowska not only re-established the harpsichord as an instrument for the performance of Baroque works, but also reconceived it as a modern instrument, offering new and unexpected audial possibilities to her contemporary composers. Landowska was born on 5 July 1897 in Warsaw where she would study piano at the Warsaw Conservatory under Jan Kleczyński and Aleksander Michałowski. From Warsaw she went to Berlin to study composition with Heinrich Urban. There she met the well-known folklorist and writer, Henryk Lew, her future husband, with whom in 1909 she wrote the popular book Musique ancienne. She also went with Lew to Paris, where she was employed as a lecturer at the renowned Schola Cantorum. In France, she eventually turned to performing early music. The Pleyel Company built a concert harpsichord for her, on which she played in 1911 during the Bach Festival in Eisenach – the city of Bach’s birth. At that time, Landowska’s interpretations were hailed as astonishing, and her style of play inspired a heated discussion between proponents of the “new” historical trend and “tradition academic” in the field of pianism. Landowska soon won plaudits for her innovation. She not only became famous, but – most importantly – renewed an interest in baroque music, having restored to concert performance a large part of the largely forgotten historical repertoire. She repeated her success at Eisenach a year later during the 6th Bach Festival in Wrocław, organized at that time by the New Bach Society. In 1913, Landowska was offered a chair at Berlin’s Hochschule für Musik, where she would teach until 1919. Thus, this remarkable Polish woman became the first harpsichord lecturer in Germany and the most-respected authority on the keyboard interpretations of Jan Sebastian Bach, setting the standard in this field for the next half century. After a short sojourn in Basel, where she also taught, in 1920 Landowska returned to Paris for good. There she continued to work as a teacher, this time at École Normale de Musique; until in 1925 she founded her own École de Musique Ancienne in Saint-Leu-la Forêt in the outskirts of Paris. She opened her school in the presence of the renowned French pianist, Alfred Cortot. But Landowska – most importantly – would continue to perform over the course of the next twenty years; and these artistic journeys would lead her to the most far-flung corners of the earth. Although she became a citizen of the world, she was always eager to return to Warsaw. Thanks to these visits, Polish audiences could experience Landowska’s fascinating interpretation of the music of old masters, and above her masterly performances of Bach.