Legacy of Polish Music Abroad at Three Glances 波兰重获独立百年纪念

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. Her harpsichord recital at the Warsaw Philharmonic in 1912 was greeted as a triumph, performing on this occasion Bach’s Capriccio sopra la lontananza and the Prelude and Fugue in D major from the first book of Das wohltemperierte Klavier [The Well-Tempered Clavier]. In 1913, she performed a recital at the Teatr Wielki, interpreting, among others his Italian Concerto. For Warsaw residents, both performances were greeted with great enthusiasm, and the press wrote that Landowska had delivered a “top-drawer” recital. From 1923, Landowska also began making recordings, many of which now have been digitally remastered. From among her distinguished students, we may mention: the Italian harpsichordist Ruggiero Gerlin, the English pianist Cliford Curzon, the Belgian composer and harpsichordist Aimée van de Wiele and the American harpsichordist Ralph Kirkpatrick. For Manuel de Falla wrote for Landowskaa his famous Concerto for harpsichord and five instruments (performed by her for the first time in Barcelona in 1926).Also with Landowska in mind, Francis Poulenc wrote his Concert champêtre (performed for the first time in Paris in 1929). In 1933, Landowska for the first time played Bach’s Goldberg Variations during a concert, and it was probably the first such public recital of this work.

The Second World War impeded the happy course of the musician’s life. When in June 1940, the Nazi army entered Paris, Landowska had to give up teaching due to her Jewish ethnicity, only escaping certain death by emigrating to the United States. Her Parisian library, music collection and rich collection of instruments were plundered by the Germans; and after the war these items were never returned to either the owner or her heirs. After arriving in the USA, she embarked on her second career there. She also resumed intensive teaching and recording activity. In 1947, she settled in Lakeville Connecticut, and it was here that on 16 August 1959 Wanda Landowska died at the age of 75. In 1954 Landowska had given her farewell concert in New York, but shortly before her death she had also recorded Bach’s oeuvre for vinyl.

Today Wanda Landowska is deservedly considered a precursor of the historical trend pertaining to the performance of early music. Certainly not all her interpretative proposals have stood the test of time. Although she brought the concert harpsichord back to life, the one she played had little in common with original baroque instrument. Despite this fact, her harpsichord interpretations should be regarded as seminal, as they revived an interest in the original Baroque repertoire, not to mention spearheading a revived fascination with Bach and the music of other Baroque masters. Her playing was neither pedantic nor purist nor dry, but she remained close to the Romantic tradition. Her recordings were, as confirmed by audio archives, full of imaginative and colourful flights. She revived polyphonic structures with extraordinary grace, giving them spirit, and imbuing them with emotion. Although Landowska did not recognize compromises in art; and despite her great musical learning and scholarship, she never surrendered the freedom which all great artists retain. Landowska rejected the nineteenth-century ideal of the virtuoso being placed on a historical and honorary pedestal, and instead established herself as an artist-scholar who, when performing, looked to be guided by the composer and to bring their intentions to fruition. To this end, Landowska rejected the idea of technique for technique’s sake and remained solely in the service of true art.

Szymon Paczkowski ( translation Barry Keane )

Władysław Kłosiewicz — harpsichordist and conductor. He studied at the Academy of Music in Warsaw and the Accademia Musicale Chigiana in Siena. Kłosiewicz was the last student of Ruggero Gerlin (1899-1983), the assistant and closest collaborator of Wanda Landowska. He was the winner of international harpsichord competitions in Paris (1981), Paris-Dijon (1983), and Munich (1984). Since 1978, he has played with the Polish Chamber Orchestra and the Sinfonia Varsovia Orchestra; he also co-founded the Concerto Avenna and has collaborated with many prominent soloists and conductors, including Fr. Bruggen, R. Norrington, N. Harnoncourt, Ch. Hoghwood, R. Jacobs, W. Kuijken, Th. Hengelbrock, P. Muellejans, L. Duftschmidt, J. West, Y. Menuhin, H. Szeryng. He has performed in Austria, Belgium, Brazil, Czech Republic, Estonia, Finland, France, Spain, Holland, Lebanon, Luxemburg, Germany, Portugal, Russia, Switzerland, Ukraine, the USA, Hungary, Great Britain and Italy.

His solo phonographic work includes all the harpsichord works of: L. Couperin and J.Ph. Rameau; the Partitas, French suites and Goldberg Variations by J.S. Bach (Fryderyk 2000 award), the works of J.J. Froberger, the sonatas of D. Scarlatti, and the entirety of F. Couperin’s oeuvre (13 CDs, which in 2014 garnered Fryderyk and Clef d’Or awards).

In the years 1993-2017 he was attached to the Warsaw Chamber Opera, during which time he was the conductor of the Baroque Musicae Antiquae Colegium Varsoviense Early Music Orchestra. He compiled, edited and oversaw the first Polish stage performances of Claudio Monteverdi’s „L’Orfeo”, „Il Ritorno d’Ulisse in Patria”, and „L’Incoronazione di Poppaea”, as well as his vespers „Vespro della Beata Vergine”. He also directed G.F. Haendel’s operas „Imeneo”, „Rinaldo”, „Giulio Cesare” and „Ariodante”, as well as many other Baroque operatic works (including the first opera, J. Perri’s „Euridice” dated to 1600), as well as hundreds of oratoria, and symphonic and chamber concerts. In the years 1987 - 2004, he was Professor of the Harpsichord and the Interpretation of Pre-Classical music at the Universitaet für Musik und darstellende Kunst in Graz, Austria. He currently lectures at the Fryderyk Chopin University of Music in Warsaw.

Polish Landscapes

Joanna Okoń violin Katarzyna Glensk piano

October 9, 2019 | 7:30 PM 2019年10月9日 | 19:30 點

PIOTR MASZYNSKI (1855 – 1934) ROMANS WACŁAW NIEMCZYK (1907 – ?) VALSE CAPRICE STANISŁAW LIPSKI (1880 – 1937) IMPROVISATION OP.10 ALFRED MISTOWSKI (1872 – 1964) GIGUE ADAM WIENIAWSKI (1879 – 1950) ORIENTALE POLDOWSKI (REGINE WIENIAWSKI) (1879 – 1932) TANGO TYMOTEUSZ ADAMOWSKI (1858 – 1943) MAZUR JOSEPH ACHRON (1886 – 1943) HEBREW MELODY MIECZYSŁAW WEINBERG (1919 – 1996) RHAPSODY ON MOLDAVIAN THEMES OP 47 NR 3 Works restored

It is hard to account for the reason why some music pieces are remembered when others are forgotten, or indeed why sometimes composers fall out of favour with performers, whereas others remain lights forever shining in the firmament. No ready explanation will ever fully account for this injustice. And perhaps it is better left like this. Without delving into what is a complicated mechanism which directs the collective memory, when it comes to music, states of forgottenness or restoration ebb and flow. Indeed, in terms of this evening’s concert, the entire exploration of old music grew out of the dreams of revival. This was the dream of one person being able to "mine" the "neglected" canon, looking to do away with the cliché of the so-called "fixed repertoire". Tonight celebrates the neglected canon, and many such gems are also awaiting discovery. When on 29 April 1943 Joseph Achron died at the age of 57, Arnold Schoenberg in his obituary referred to Achron as "one of the most underrated composers of our time". He expressed the hope that Achron’s music would remain a part of the living repertoire. However, precisely the opposite obtained. Achron's works would remain forgotten for several decades.

A similar fate was met by other artists who should today occupy a prominent place among the assemblage of Poland’s most renowned composers; figures such as Mieczysław Weinberg, and the group "kleine Meister", whose outstanding achievements should be remembered because of the challenging historical context in which they forged their artistic lives. The fates of these "Pleiades of the compositional world" were also mixed. Indeed, their fates reflected both the personal calculations that people made at the time, and the historical turmoil in which they lived. Joseph Achron, born near Suwałki, grew up in a time when the tsarist rule of Russia had spread from the Vistula to Vladivostok. He would emigrate in later life to the United States. Tymoteusz Adamowski, a Warsaw native, chose a similar path. Wacław Niemczyk distinguished himself as an insurgent and cultural activist in occupied Poland only to flee to England in 1946, keeping his intentions a secret even from his closest family. Mieczysław Weinberg, whereas, in the dramatic circumstances of September 1939, fled the Nazi onslaught to the Soviet Union. The youngest daughter of the great Henryk, largely unconcerned with totalitarian ideologies, Irena Regina Wieniawski led what could be described as an unfettered and serene life in the West. The activities of her cousin, Adam, saw his life being led along diametrically opposite lines, living as he did in a time before Poland had regained its independence, and then having lived through the interwar period and the early post-war ‘PRL’ years. Stanisław Lipski and Piotr Maszyński, in turn, made their mark by developing music pedagogy and building their reputation as concert performers during the Second Polish Republic. Alfred Mistowski also added to the artistic exuberance of those times, although we happen to know relatively little about his live.

The eleven composers whose pieces make up this evening’s concert program do not belong to one stylistic group. That said, they do share traits and features: a clear rooting in nineteenth-century traditions, and a musical language which steers clear of revolutionary and avant-garde gestures. Nonetheless, there is no over-arching individual virtuosity that may be noted. After all, they are representatives of different generations. The oldest of them, Piotr Maszyński, was born in 1855, during the period when Liszt performed his first Piano Concerto under the direction of Hector Berlioz for the first time. The youngest of our composers, Mieczysław Weinberg, was born six days before Ignacy Jan Paderewski had assumed the office of Prime Minister of the reborn Polish Republic. And so, they were shaped by various creative schools, educational profiles, artistic and life experiences. Yet maybe one trait holds sway over the rest, and which is readily discernible in these eleven songs, which is their having drawn on the traditions of folk music, in all its variety and possibilities.

Tymoteusz Adamowski and Stanisław Lipski are forever linked to the rhythms and formulas of Polish national dances, and also the melodic and harmonic phrases known from folk stylizations. The lively Mazurian dance of Adamowski rolls along at a brisk tempo. It could even be described as fiery. The composer emphasized in his Mazurian dance the characteristic features of the Polish national dance; the tone gives the music a rhythm, shifting the accent to the second part of the bar, and with a line that is sharply outlined with respect to the opening motif. The middle part of this stylized miniature gives a strong sense of the lulling and melancholic Kujawiak dance. The spirit of the Mazurian dance, in turn, is guided by the central framework of Stanisław Lipski’s Improvisation, Opus 10. Following an enigmatic beginning, in this unbound composition by the student of Władysław Żeleński, the mood of an inspired "romance" is proposed, one that is both sweet and idyllic. Lipski harmoniously guides the listener along a path that sometimes turns quite violent, and then veers off in an unexpected direction. But at the end of this path (at the center of Improvisation), the song of the Polish Mazurian dance is to be found.

A sentimental, sweet and carefree spirit dominates the gentle romance of Piotr Maszyński. Consistently, the melodic narrative of this miniature is led by the violin, although the piano contributes to the specific "splendor" of the whole. What is more, the composer looked to balance the early sweetness of the piece with a slightly more serious, opaque fragment; but at the end of the original, a sentimental motif reasserts itself, one which accords with the repertoire of that period. When in 1923 Irena Wieniawska (going by the artistic pseudonym of Poldowski) composed her Tango, little did she realise the impact it would have on the world of music. Since it had originated from the dubious dens and joints of Montevideo and Buenos Aires, it was associated mainly with the entertainment of the urban proletariat; as such, introducing tango to ballrooms was controversial and widely questioned. A decade earlier, The Times had made much of the obscenity of tango; and Pope Pius X had also made his condemnatory opinions known to one and all; being as it was a dance that oozed sinful sexuality. However, in the 1920s, nothing could prevent the growing popularity of tango: even the great Rudolf Valentino danced the tango in The Four Horsemen of the Apocalypse.

When composing the Tango, Wieniawski, the composer of melodies to the lyrical wonders of French poetry (including the works of the poet Paul Verlaine), made recourse not only to fairly typical melodic phrases and the rhythm of Argentinian dance, but also to dissonance, coarseness, and intriguing timbre: all the while implying that the tango is not a “quaint piece” for young ladies from good homes. Maybe Poldowski was simply looking to be provocative and ruffle feathers, and this despite the passionate sweetness to be found in the middle episode. She certainly did not look to avoid erotic associations with this musical piece. Inspiration with an exotic land, maybe of eastern provenance, suggests the title of the work Orientale by Adam Wieniawski, which was composed in 1930. Here the moods of the work enjoy a paradoxical relationship with the musical culture of the Iberian Peninsula, most discernible in the uneasy final rhythm that endows the whole piece with its original hue. Of note also are Orientale’s harmony (without it the timbre of the piece would not be so exotic) and the intriguing melodic lines. Also fascinating is how the violin and piano complement and counterpoint one another. In contrast to this miniature piece, there is Alfred Mistowski’s Gigue, a simple, almost naïve musical piece, which is a typical "imagining" of a dance genre from centuries ago, perhaps even a baroque piece viewed through the lenses of the early twentieth century. Based on practically one idea, Gigue - being both light and condensed - seems like a miniature best played in one single sweep. Where Mistowski looked askance at the old music, Niemczyk evoked a sentiment and longing for an epoch that had seen its end (and destruction) with the outbreak of the First World War – an end which had bid farewell to the world of the Viennese waltz. Wacław Niemczyk’s Valse caprice was a celebration of virtuosity. Although the main theme may be associated with the bourgeois waltz, the virtuoso gesture of the beginning, clearly suggests the wider context. And so the theme of the waltz is intertwined with the technical difficulties of the title caprice.

This longing for a lost world of Jewish Eastern European towns and the culture of their inhabitants is also reflected in the sounds of Joseph Achron's music. This outstanding composer, who studied under Anatoly Liadov both at the Saint Petersburg Conservatory and later in the United States, had made his first musical steps under the guidance of his father in Warsaw. The 1911 Hebrew Melody was inspired by a melody which he had heard as a child in his local synagogue in Warsaw. Today the same Hebrew Melody can be found in the repertoire of every self-respecting violinist. As a student of Leopold Auer, Acher was fully aware of the possibilities of the violin; and he knew how to encapsulate the violin’s qualities in his compositions. At the beginning of the piece, the cadences take on a soothing sound, whereas in the centre of the piece these cadences take on aspects of virtuosity and drama, only to adorn the theme with pastel hues in the final part. In the full grandiosity of the Hebrew Melody, the violin and piano parts are given equal treatment, combining to create the colors of the piece. Both instruments "paint" a sound picture depicting the beauty and mysticism of Jewish music. Though the unjustly forgotten works of Joseph Achron have been revisited by performers in recent years, this revival has been eclipsed by the renaissance of Mieczysław Weinberg. Today it can be clearly seen that the pigeon-holing of Weinberg, composer of The Lady Passenger, as an epigone of Dmitri Shostakovich was entirely unjust. It is true to say, however, that the gifted young composer, who had escaped the Holocaust by fleeing to the Soviet Union, did find himself in the orbit of Shostokovich's influence: they enjoyed a close friendship for many years; and at one point Weinberg simply owed Shostokovich his life.

However, in spite of his close association with the revered composer, Weinberg’s compositional style was forged on the basis of its own idiomatic musical language. Weinberg composed the Rhapsody on Moldovian Themes, Opus 47 in 1949. In the then Soviet Union, artistic freedom was a best-forgotten notion, and composers were forced to follow the rigid guidelines of party officials, sentinels of the prevailing ideological orthodoxy. However, Rhapsody was no banal "production-line" piece which accorded with the aesthetics of socialist realism. Indeed, Weinberg quite ostentatiously used what can directly be associated with the music of Moldova or Bessarabia (his mother’s family home). But these characteristic melodic phrases or typical "chants", associated with Jewish folklore, merged with the musical material, thus creating a universal context for these same melodies. Weinberg tried to balance the whole so that they would not give the impression of being coarse quotes. Rhapsody on Moldavian Themes - a piece full of blushes, and making recourse to sharp contrasts - exists today in two versions: the orchestral (Op. 47 No. 1); and for violin and piano (Op.47 No. 3). The premiere of the orchestral version took place with great success in 1950: the chamber version was presented to the public in February 1953 by David Oistrakh.

Apparently there was also a version of Rhapsody for violin with an orchestral accompaniment. However, we would fail to find this in Op. 47 No. 2. Instead here we may find the suite of Polish melodies. So it seems that Weinberg was a composer who in time would both fascinate and intrigue. But puzzles and intriguing questions will always remain. In the space occupied by violin composition in the late 19th and first half of the 20th century, it is possible to rediscover other such noteworthy pieces. Perhaps the coming years will see more fascinating works being revived, and we will find ourselves asking less about the forgotten works of collective memory, and celebrating what is a substantial musical legacy.

Marcin Majchrowski (Polskie Radio [Polish Radio]) Joanna Okoń violin

Joanna Okoń is an artist who hails from a family of esteemed musical traditions. As a child she performed recitals on concert stages, playing with her mother, the pianist Alina Jasielska-Okoń.

She is a graduate of the Fryderyk Chopin Music Academy in Warsaw, where she completed her Masters under the supervision of prof. Janusz Kucharski; and post-graduate studies led by prof. Jan Stanieda. In 2012 Okoń completed her artistic apprenticeship under the guidance of Prof. Konstanty Andrzej Kulka.

Okoń honed her craft and ear under the tutelage of the renowned violinist Marina Yashvili and during the annual International Orchestra Institute Attergau (Austria), where for several summer seasons she studied under such conductors as Sir Neville Marriner, Fabio Luisi, Shandor Vegh, Leopold Hager, and Heinrich Schiff. In 1991 she would win 1st prize at the Young Violinist competition in Warsaw, and in 1993, achieve 6th prize at the National Violin Competition in Elbląg. She has performed twice at the Karol Szymanowski International Music Festival in Zakopane and The International Festival of Contemporary Music in Kobe (Japan).

Okoń has participated in the musical project „Myths”, organized by Jeunesses Musicales, and performed at the Little Theatre in Warsaw and the Witkacy Theatre in Zakopane. She has collaborated with such famous music groups as: Warszawscy Soliści Concerto Avenna [The Warsaw Soloists Concerto Avenna] under the artistic direction of Andrzej Mysiński and the Sinfonia Varsovia Orchestra, with which she continues to perform as a violinist.

As a member of Sinfonia Varsovia Orchestra, Okoń has participated in renowned festivals in Gstaad (the Yehudi Menuhin Festi- val), Montreux, La Roque d ‚Antheron, Aix-en-Provence, Schleswig Holstein and many others, working with such conductors as Lorin Maazel, Charles Dutoit, Valery Gergiev, Emmanuel Krivine, Andres Mustonen, Krzysztof Penderecki , Marc Minkowski, Jerzy Semkow, Jerzy Maksymiuk, Grzegorz Nowak. During these concerts Okoń accompanied such soloists as Martha Ar- gerich, Boris Berezovsky, Renaud Capucon, Augustin Dumay, James Galway, Nigel Kennedy, Mischa Maisky, Anne-Sophie Mutter, Maria Joao Pires, Ivo Pogorelic, Piotr Anderszewski, and Rafał Blechacz.

In 2018, Joanna Okoń and a „Pan Ton” quartet performed with David Krakauer at the International Festival of Jewish Music in Krakow, playing the quintet „Dybuk”, which had been composed by Wlad Marhulets especially for this occasion. With the pianist Katarzyna Glensk, Okoń has recorded unknown Polish works, which were subsequently released as a CD by the Ana- gram recording label.

An important place in the artist’s life is pedagogical activity, as well as participating in concerts for children and young people organized by the National Philharmonic. Katarzyna Glensk piano

Katarzyna Glensk is a talented Polish pianist, who performs both as a soloist and chamber musician. She has performed in the United States, Russia and in many European countries. She has worked with the Chamber Stage of the National Philharmonic in Warsaw, and regularly performs Chopin recitals. Glensk is also a frequently invited performer at music festivals.

Her father Teodor gave Katarzyna her first piano lessons. At the age of 6, she began studying at the Frederyk Chopin State Mu- sic School in Opole. She later studied at the Fryderyk Chopin Academy of Music in Warsaw, attending piano classes conducted by Prof. Bronisława Kawalla and chamber music classes conducted by Prof. Maja Nosowska. Glensk continued her educa- tion with postgraduate studies under the tuition of Prof. Jan Ekier and Prof. Bronisława Kawalla. She honed her piano craft as a scholarship holder to Dartington College of Music and Arts followed by a scholarship to Trinity College of Music in London.

Glensk has won many awards and distinctions, including first prize at the 7th International Competition of Chamber Duets in honour of L. Janaček (Brno). She was also the recipient of the L. Smith Duo Prize (London) – both of which were in a duet with Ewa Mizerska, the first being the the Chopin Prize (London), and second prize in the E. Schumann Duo Prize competition for Lieder (London).

In a duet with Ewa Mizerska, Glensk performed the Polish premiere of Krzysztof Meyer’s Opus 99 Sonata for Cello and Piano. This piece was placed on the monographic album dedicated to the works of the Polish composer, released by the Toccata Classics label in London. For the Year of Chopin, the pianist recorded a CD which featured selections of the revered composer’s oeuvre. The artist has worked with celebrated violinists such as Henryka Trzonek (Duo Kreisler) and Joanna Okoń, with whom Glensk recorded in 2018 a CD featuring unknown compositions by Polish composers. Love Will Foregive You Anything Love Will Foregive You Anything

Kuba Stankiewicz Trio Kuba Stankiewicz piano Wojciech Pulcyn bass Sebastian Frankiewicz drums

October 9, 2019 | 9 PM 2019年10月9日 | 21 點

HENRYK WARS NA PIERWSZY ZNAK | FIRST SIGN VICTOR YOUNG ALONE AT LAST HENRYK WARS MIŁOSC CI WSZYSTKO WYBACZY | LOVE WILL FORGIVE YOU ANYTHING VICTOR YOUNG LOVE LETTERS BRONISŁAW KAPER BLUE LOVEBIRD HENRYK WARS OVER AND OVER AND OVER HENRYK WARS NIC O TOBIE NIE WIEM | KNOWING NOTHING ABOUT YOU VICTOR YOUNG BEAUTIFUL LOVE Looking to the Future – Jazz Straight from Poland

Young, Kaper and Vars: being given the jazz treatment. You think you’ve heard all this before? Nothing could be farther from the truth!

The film-jazz trilogy of Kuba Stankiewicz, whose concert „summation” will headline the program this evening, is an unprece- dented exploration of the shared histories of Polish and American phonography.

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A few years ago, in an interview which took place as part of the launch of the 3-CD album compilation „The Music of Victor Young”, Kuba Stankiewicz recalled an anecdote featuring the celebrated master of Polish jazz saxophonist Janusz Muniak: (...) He told me - Stankiewicz recalled - that his favorite tune was „Beautiful Love”. He joked: „Old friend, it sounds like a Russian folk melody; how could they write something like that in America?” When I first began listening to Young’s music, I looked to follow his path and in so doing I discovered the fascinating story of his life; so these Muniak jokes began to take on a deeper meaning. Young was from here - that’s why you can hear his Russian, Polish, Slavic melodies.

There is no doubt that the celebrated Hollywood composer, Victor Young, was an American by birth (Chicago born), choice and conviction. He chose to never speak about his Polish roots. He was born probably in 1899 (various sources give different dates) as Abe Jabłoń to a family of Polish Jews who had hailed from Mława. After the untimely death of his mother, his father, a traveling musician in an operatic orchestra, sent him to his grandparents in Warsaw, where he began studying at the Warsaw Conservatory (violin and composition), and later: going by the name of Wiktor Jung, he made his debut at the Warsaw Philhar- monic. Soon after, he was giving concerts in St. Petersburg for Tsar Nicholas II. When the Bolshevik Revolution broke out, he returned to Warsaw, where he completed his studies, and also witnessed Poland’s regaining of independence. In 1920, he left for Paris, and from there he traveled to the United States, where he would remain for the rest of his life.

He had a strong work ethic, and would end up writing scores for over 300 films. He was nominated for an Oscar 22 times (though he won only once, and posthumously - for best original score for the „Around the World in 80 Days” (1956). A few of his melodies became chart hits and it was jazz artists who imbued these songs with the glitz of immortality. The most notable example was the song „Stella by Starlight” from the movie „The Uninvited” (1944), about which Kuba Stankiewicz has this to say: the [movie] was shot exactly at the same time when the Warsaw Uprising was in its throes. Who would have been thinking about such matters then? Miles Davis was 18 years’ old at the time. Probably one day he went to the cinema, saw the movie, liked the song and thought: „Nice tune, maybe I should learn to play it?”. And so he did, and „Stella by Starlight” would become his trademark tune.

Jazz artists playing cinematic and musical melodies has been a frequent and fruitful practice, and has contributed to the as- sembly of the Great American Songbook. That said, Kuba Stankiewicz, a contemporary artist with his own take on tradition, has striven to achieve something more. To this end, he has looked the music of Polish emigres in America so as to remind people just how complex and fascinating the history of Polish emigration in the 20th century was.

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For most of Young’s adult life, Poland was a closed chapter. He did not visit Poland after World War II, and did not cultivate relationships with other Polish immigrants. Family members mentioned that one of the few people with whom he spoke Polish was the dazzling Bronisław Kaper, who was a few years his junior. But from his friendship with Kaper, we can imagine that he must have yearned for his homeland, especially when we see that Kaper was a staunch Polish patriot and a lover of Polish culture.

Bronisław Kaper was born in 1902 to a well-established Warsaw-Jewish family. He studied law at Warsaw University (which he completed at his parents’ insistence, yet never practiced), and composition and piano at Warsaw Conservatory. He commit- ted his life to music around the time of his graduation, focusing in particular on cabaret songs. He left for Berlin to pursue an apprenticeship as a cabaret performer; as Berlin was where the cabaret scene was most vibrant (this performative art would not become popular across Europe until the 1930s). However, he was forced to flee Germany when Hitler came to power, the next destination being Paris. There he met the legendary film producer, Louis B. Mayer, who liked the radio-song „Ninon”, performed by Jan Kiepura - a hit that Kaper had written together with Walter Jurmann for the famous tenor. Mayer - at that time the undisputed King of the Dream Factory - took both young men with him to America.

Kaper spent the best part of 50 years in Hollywood, and wrote music for 150 films: in 1954 he won an Oscar for „Lili” in the category Best Music, Scoring of a Dramatic or Comedy Picture. He also became a one-man institution as an informal ambassa- dor of Polish culture. His house was an open salon for Polish artists looking for support in their careers, and he spent a fortune on long-distance telephone calls to friends left behind the Iron Curtain. Kaper would only visit Poland in the 1960s. He died in 1983.

Kaper’s most famous melodies - „On Green Dolphin Street”, „Invitation” or the already mentioned „Ninon” - are considered as standards today. No day passes where somewhere in the world, in a concert hall or small club, jazz artists do not fail to include these pieces in their repertoire. Hardly anyone knows - also in Poland! - that these compositions have something in common with Poland, but... is it not true that the best music knows no borders? ,,,

The life story of Henryk Warszawski (born 1902) – in Poland better known as Henryk Wars, and in the USA as Henry Vars – is a story replete with Hollywood glamour. He remains Warsaw’s most famous composer, who enjoyed a stellar reputation even before the outbreak of World War II. His songs are the songbook of his homeland, and have become a part of popular culture. Vars was one of the first leaders of a jazz band in Warsaw; he was the composer of musical hits, and was a well-known composer of film scores. He was also a soldier who fought gallantly against the Germans in the defence of Poland in September 1939, being subsequently captured and taken prisoner. He soon escaped from captivity and managed to get as far as Lviv in today’s Ukraine, where he founded the Big Band. He joined the Polish Army of Gen. Anders, with whom, as the head of the orchestra, Vars travelled half of the world; and in 1946 he settled in the USA.

Thanks to the reputation which Bronisław Kaper enjoyed in Hollywood, Vars, as a Polish composer and yet another Jewish exile, could count on an easy entry into show business; but this was a new beginning for a man who was well into his 40s. Wars arranged and composed film and TV music, and he also wrote songs for popular singers. He died in Los Angeles in 1977, not having gained wide-spread fame or amassed a fortune, but having achieved a modest prosperity and respect amongst artistic circles in the City of Angels. From our Polish perspective, it was his work that has survived best the passage of time. I think everyone in Warsaw knows the melodies of Wars: „Love Forgives Everything”, „Ah, How Nice”, „At the First Sign” ... These ev- ergreens, often played and sung on radio and television, and also in theaters and cabarets, have captured and enhanced the image of a pre-war idyll. Such is the power of music, to help picture a world that may have only ever existed in the imagination.

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The idea of Kuba Stankiewicz showcasing the music of Young, Kaper and Vars is wonderful in its simplicity and - being in op- position to current trends in popular music and jazz - remains avant-garde on its own terms. Interpretations by the pianist are based on the beauty of the original melodies, and on the subtle sound and balanced expression of jazzy swing. If you looking for elements which distinguish Stankiewicz’s piano craftsmanship, they are undoubtedly the heavenly, lyrical introductions to ballads. No one can play jazz on the piano quite so tenderly. From the large group of outstanding Polish jazz pianists playing today, only Stankiewicz approaches each sound and note with such meticulousness, thoughtfulness and sensitivity.

Welcome to what will be an unforgettable evening, featuring unique interpretations of the music of Young, Kaper and Vars!

Adam Domagała Kuba Stankiewicz piano

Kuba Stankiewicz has been one of Poland’s leading jazz pianists for many years. In the second half of the 1980s he played with the Jan Ptaszyn Wróblewski band, and then with the Zbigniew Namysłowski quintet and a quartet, which resulted in the albums Open and Song of Innocence). In the years 1987-1990 he studied pianoforte at the Berklee College of Music in Boston, where he was awarded the Oscar Peterson Prize. He was also the semi-finalist of the prestigious Thelonious Monk Institute Of Jazz International Piano Competition in Washington. From his time in America, it is also worth recalling Stankiewicz’s work with the orchestra of the legendary clarinettist and bandleader, Arti Shaw.

After returning to Poland, Stankiewicz established a quartet with Henryk Miśkiewicz, Adam Cegielski and Cezary Konrad, and in 1993 he recorded the Northern Song album (chosen as album of the year by the readers of Jazz Forum). Following this, he co-established the Traveling Birds formation with Darek Oleszkiewicz, Piotr Wojtasik, Piotr Baron, Cezary Konrad, which led to the recording of the almbums Traveling Birds Quintet in 1994 and Return To The Nest in 1995), albums which consolidated his strong position on the Polish music scene. Among other musicians with whom he has played, noteworthy of mention are: Scott Hamilton, Art Farmer (with whom Stankiwiecz collaborated on the album Art In Wroclaw), Sheila Jordan, Janusz Muniak, Tomasz Szukalski and Anna Maria Jopek.

At the end of the nineties, Kuba Stankiewicz composed the nostalgic album entitled Ulice wielkich miast [Streets of Great Cities] based on the lyrics of Agnieszka Osiecka, who had passed away in 1997. This was followed up a few years later by the unpre- cedented The Chopin Songbook (with jazz interpretations of the great composer’s songs in both Polish and English editions), which was performed at the Jazz Jamboree festival in 2003, and again in a series of performances in 2010 as part of the Chopin Year (including the Chopin and his Europe festival in Warsaw). In 2012, Kuba Stankiewicz recorded the original Spaces album, which was nominated in 2013 for the Wrocław Music Award, and a FRYDERYK award Album of the Year in the Jazz Music category; and in the same year he released a solo album with his own interpretations of the film scores of Wojciech Kilar.

In 2014, in a Los Angeles studio, together with Peter Erskine and Darek Oleszkiewicz, Stankiewicz recorded the musical pieces of Victor Young, and the album was subsequently released by Warner Classics. In 2015, Stankiweicz performed series of concerts promoting the album across the USA.

Although the piano style of Kuba Stanskiewicz is based on classical American models, it often opts for the Romantic lyric over dynamic extremes. It remains grounded however in pure jazz, embedded in convincing timing, and one that is open to partners. In recent years, Stankiewicz has been increasingly involved in pedagogical activities (in 2009 he defended his doctorate at the Academy of Music in Wrocław, and in January 2016 he received a postdoctoral degree in the field of Musical Arts and Instru- mental Studies). He is also a highly respected creator of music computer programs. Wojciech Pulcyn bass

A double bass player and session musician. Pulcyn has collaborated with some of Poland’s most renowned musicians, including Ewa Bem and Michał Urbaniak. He has also worked with the young stars of the Polish jazz scene, such as guitarist Rafał Sarnecki. and pianist Michał Tokaj. Pulcyn is a graduate of the Jazz Department at the Fryderyk Chopin University of Music and the Police College Jazz School of Warsaw, where he studied under the tutelage of Professor Zbigniew Wegehaupt.

Wojciech has collaborated with ethnic music bands, such as The Warsaw Village Band, Ogrody Alamut and the Bartosz Niedźwiecki Quartet. Wojciech has recently performed to great acclaim at the New Radio Polish Folk Music Festival. Inspired by his interest in folk music and classical music, Wojciech conceived the project entitled the “Kurpie Etnophonies – a tribute to Karol Szymanowski and Władysław Skierokowski”. This recording was a reinterpretation of Szymanowski’s “Kurpie Songs” and a tribute to Władysław Skierkowski, a Polish scholar and a celebrated exponent of Polish folklore.

Wojciech Pulcyn also composes music for theatre. In 2000 he composed a piece for a play based on the novel Transatlantyk, by Witold Gombrowicz; a play directed by Waldemar

Śmigasiewicz, which was staged at the Montownia Theater in Warsaw. Currently Wojciech is a double bass player, with the National Theatre in Warsaw.

In 2013, together with the pianist Bogdan Hołownia Pulcyn, Pulcyn recorded the album Śpiewnik

Henryk Warsa [The Songbook of Henryk Wars] commemorating the legacy of the pioneer of Polish jazz. With this material, Pulcyn and fellow musicians went on tour. This year, Wojciech participated in the recording of three more albums, in association with Witold Janiak, Kazimierz Jonkisz and Mariusz Lubomski.

Current projects are: – Energy, Kazimierz Jonkisz – The Rafał Sarnecki Quartet – The Piotr Bocian Cieślikowski Trio – “Jazz and Friends” by Barbara Wrzesińska and Borys Janczarski – Mariusz Lubomski, Weronika Grodzew and the Szymanowski combo – The Kuba Stankiewicz Quartet, with Bogdan Hołownia on piano and Daniel Kramer. – Performing with the National Theatre in Warsaw – The Henryk Wars songbook, with Bogdan Hołownia– The Kuba Stankiewicz Quartet, with Bogdan Hołownia on piano and Daniel Kramer. – Performing with the National Theatre in Warsaw – The Henryk Wars songbook, with Bogdan Hołownia Sebastian Frankiewicz drums

A drummer, graduate of the Faculty of Jazz and Popular Music in Katowice in the class of dr Adam Buczek. The winner of many national jazz competitions, including: Jazz Juniors, Jazz on the Odra; and The Jazz Standards Festival in Siedlce.

In the years 2000/01/02 he was a scholarship recipient of the Minister of Culture and National Heritage. He has performed at festivals in Europe (London, Paris, Crest, Vienna, Moscow, St. Petersburg, Budapest, Stockholm, Copenhagen, Zagreb, Kiev, Minsk, Vilnius) and beyond (Beijing, Winnipeg, Algiers, Tangier, Irkutsk, Mexico City, Havana, Tel Aviv, Cairo).

Frankiewicz’s career achievements include working with artists of the Polish music scene; artists such as: Urszula Dudziak, Grażyna Auguścik, Lora Szafran, Dorota Miskiewicz, Aga Zaryan, Monika Borzym, Kayah, the Bisquit band, Michał Urbaniak, Jansz Muniak, Wlodzimerz Nahorny, Wojciech Młynarski, Grzegorz Karnas, Mariusz Bogdanowicz, Kuba Stankiewicz.

Frankiewicz has also work with foreign performers such as: Kevin Mahogany, Patricia Barber, Mark Thomas.

In 2013, the album Pathfinder by the band Nowicki / Święs / Frankiewicz was nominated for a Fryderyk award in the Best Album category.

Frankiwicz’s musical language can be described as ‘hybrid’, resulting from his fascination with music genres such as old and modern, improvised, pop, as well as Polish folk. LEGACY OF POLISH MUSIC ABROAD AT THREE GLANCES 波兰音乐海外遗产的三次巡礼

presented by: partners: Pro Academia Narolense Foundation Consulate General of the Republic of Poland ul. Palacowa 1/3 in Shanghai 37-610 Narol, Poland CHIPOLBROK [email protected] Musical Orient (Beijing) Culture & Arts Co., Ltd. NAROLARTE Music Promotion Dżwięki Sztuki - Polsko-Chińska Fundacja ul. Dąbrowskiego 85/30 Wymiany Kulturalnej 02-503 Warsaw, Poland [email protected] Stowarzyszenie Autorów ZAiKS Związek Artystów Wykonawców STOART festival coordination: Furnel Travel International sp. z o.o. Bogusław Kłosiewicz art director | web & graphic design: special thanks to: Yiguang Shen texts: Monika Karpińska Szymon Paczkowski Chi-Chi Ude (blazer) Adam Domagała Ewa i Jermiusz Glensk Marcin Majchrowski Włodzimierz Pigła translation: Konstanty Kłosiewicz Barry Keane Alina Jasielska-Okoń Zbigniew Wytrykowski photography: Antoni Grzymała Honorata Karapuda Joanna Popowicz Katarzyna Maćkowska www.invitationfestival.pl CHIPOLBROK LEGACY OF POLISH MUSIC ABROAD AT THREE GLANCES

ALFRED MISTOWSKI WANDA LANDOWSKA

PIOTR MASZYNSKI ADAM WIENIAWSKI POLDOWSKI TYMOTEUSZ ADAMOWSKI JÓZEF ACHRON MIECZYSŁAW WEINBERG

STANISŁAW LIPSKI WACŁAW NIEMCZYK HENRYK WARS

VICTOR YOUNG BRONISŁAW KAPER LEGACY OF POLISH MUSIC ABROAD AT THREE GLANCES www.invitationfestival.pl