Ignacy Paderewski: Poland. (Makers of the Modern World Series)
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Być Premierem
Być premierem Materiał składa się z sekcji: "Premierzy III RP", "Tadeusz Mazowiecki", "Premierzy II Rzeczpospolitej". Materiał zawiera: - 19 ilustracji (fotografii, obrazów, rysunków), 3 ćwiczenia; - wirtualny spacer po kancelarii Prezesa Rady Ministrów wraz z opisem jej historii; - opis informacji i opinii o Tadeuszu Mazowieckim wraz ćwiczeniem do wykonania na ich podstawie; - zdjęcie, na którym przedstawiono premiera Tadeusza Mazowieckiego w 1989 r.; - galerię zdjęć premierów III RP (Tadeusz Mazowiecki, Jan Krzysztof Bielecki, Jan Olszewski, Waldemar Pawlak, Hanna Suchocka, Józef Oleksy, Włodzimierz Cimoszewicz, Jerzy Buzek, Leszek Miller, Marek Belka, Kazimierz Marcinkiewicz, Jarosław Kaczyński, Donald Tusk, Ewa Kopacz, Beata Szydło); - opis działalności politycznej premierów II RP (Wincenty Witos, Walery Sławek, Felicjan Sławoj Składkowski); - zdjęcie, na którym przedstawiono Wincentego Witosa przemawiającego do tłumu; - zdjęcie, na którym przedstawiono Walerego Sławka; - zdjęcie, na którym przedstawiono Felicjana Sławoj Składkowskiego przemawiającego do urzędników Prezydium Rady Ministrów; - ćwiczenie, które polega na poszukaniu i przedstawieniu różnych ciekawostek o życiu znanych polityków z okresu II i III Rzeczypospolitej; - propozycje pytań do dyskusji na tematy polityczne; - ćwiczenie, które polega na opracowaniu galerii premierów II RP. Być premierem Kancelaria Prezesa Rady Ministrów Laleczki, licencja: CC BY-SA 4.0 Zobacz, jak wygląda kancelaria Prezesa Rady Ministrów, miejsce pracy premiera. Źródło: PANORAMIX, licencja: CC BY 3.0. Premierzy III RP Sprawowanie urzędu premiera to wielki zaszczyt, ale i ogromna odpowiedzialność. Prezes Rady Ministrów jest zgodnie z Konstytucją RP dopiero czwartą osobą w państwie (po prezydencie, marszałakch Sejmu i Senatu), ale w praktyce skupia w swoich rękach niemal całą władzę wykonawczą. Od decyzji, które podejmuje szef rządu, zależy jakość życia wielu milionów ludzi. Znane są dzieje narodów, które pod mądrym przewodnictwem rozkwitały, a pod złym popadały w biedę i chaos. -
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. -
Paderewski, Ignacy Jan | International Encyclopedia of the First World War
Version 1.0 | Last updated 08 January 2017 Paderewski, Ignacy Jan By Andrzej Chojnowski Paderewski, Ignacy Jan Polish pianist, composer, and politician Born 06 November 1860 in Kurilovka, Russian Empire (today: Ukraine) Died 29 June 1941 in New York City, United States of America Ignacy Jan Paderewski was a virtuoso pianist. He made use of his popularity in the United States and western Europe to propagate the idea of Polish independence and state sovereignty. In 20th century Poland, he became a symbol of patriotism and devotion to the national cause. Table of Contents 1 Beginnings of Artistic Career and Political Activity 2 The First World War 3 An Independent Polish State 4 Final Years Notes Selected Bibliography Citation Beginnings of Artistic Career and Political Activity Ignacy Jan Paderewski (1860-1941) was born into a family of petty landowners. His ancestors participated in the struggle for Polish independence by taking part in the anti-Russian January Uprising (1863–1864). He maintained a firm conviction about the necessity of acting for the sake of the homeland deprived of independence, and this remains his political legacy. Paderewski’s greatest passion, however, was music. In 1887 he debuted on stage, initiating a series of successful concerts Paderewski, Ignacy Jan - 1914-1918-Online 1/4 across Europe and the Americas. Paderewski used his success to establish contact with important politicians and disseminate knowledge about the so-called “Polish question.” He chose to open his concerts with patriotic speeches, and he promoted the works of Frederic Chopin (1810–1849), another Polish composer. He also inserted into his own compositions motifs referring to Polish folk music and events from the history of Poland. -
Political Visions and Historical Scores
Founded in 1944, the Institute for Western Affairs is an interdis- Political visions ciplinary research centre carrying out research in history, political and historical scores science, sociology, and economics. The Institute’s projects are typi- cally related to German studies and international relations, focusing Political transformations on Polish-German and European issues and transatlantic relations. in the European Union by 2025 The Institute’s history and achievements make it one of the most German response to reform important Polish research institution well-known internationally. in the euro area Since the 1990s, the watchwords of research have been Poland– Ger- many – Europe and the main themes are: Crisis or a search for a new formula • political, social, economic and cultural changes in Germany; for the Humboldtian university • international role of the Federal Republic of Germany; The end of the Great War and Stanisław • past, present, and future of Polish-German relations; Hubert’s concept of postliminum • EU international relations (including transatlantic cooperation); American press reports on anti-Jewish • security policy; incidents in reborn Poland • borderlands: social, political and economic issues. The Institute’s research is both interdisciplinary and multidimension- Anthony J. Drexel Biddle on Poland’s al. Its multidimensionality can be seen in published papers and books situation in 1937-1939 on history, analyses of contemporary events, comparative studies, Memoirs Nasza Podróż (Our Journey) and the use of theoretical models to verify research results. by Ewelina Zaleska On the dispute over the status The Institute houses and participates in international research of the camp in occupied Konstantynów projects, symposia and conferences exploring key European questions and cooperates with many universities and academic research centres. -
An Attempt to Define Ignacy Jan Paderewski's Performing Style
An Attempt to Define Ignacy Jan Paderewski’s Performing Style by Prof. Lidia Kozubek Prof. Lidia Kozubek, concert pianist and one of Poland’s most prominent piano educators, is well known to music lovers in nearly all European countries as well as in Africa, both Americas, Asia, Australia and New Zealand. Besides concertizing and recording music, Prof. Kozubek is a faculty member of the Warsaw Academy of Music. She has also taught a number of piano students in other countries (such as Japan, Norway, Taiwan and Philippines just to mention a few) as a visiting professor or lecturer. For her artistic and educational achievement Prof. Kozubek received highly regarded national distinctions from Polish government, including the Chevalier Cross “Polonia Restituta.” An inquiry as to who was Paderewski seems to be a good starting point for a discussion of the pianist’s performing style. Paderewski was without doubt a personality of his times. Even among the greatest contemporary musicians, Paderewski remains a phenomenon. He had extraordinary combination of virtues, a multitude of talents and, above all, personal charm, unusual honesty and decency. All of these qualities allowed him to be highly successful in a variety of fields. Paderewski was simply an exceptional human figure. The legend surrounding his pianism is justified not only by his musical genius, but also by the richness of his character, which certainly had an impact on his performing style. As a composer, Paderewski was not always appreciated, but he definitely had a solid theoretical background and developed a strong individual style in which the “Polish tone” is easily found. -
)22 Jan Molenda
Acta Poloniae Historica 63 - 64, 1991 PL ISSN 0001 - 6829 Jan Molenda THE FORMATION OF NATIONAL CONSCIOUSNESS OF THE POLISH PEASANTS AND THE PART THEY PLAYED IN THE REGAINING OF INDEPENDENCE BY POLAND The regaining of independence by Poland in 1918 has been since then hotly discussed, though the discussions are becoming less sharp now that the generations which fought for it and could argue about their respective merits are going off. This does not mean that the importance of those events is less appreciated at present than it used to be. Just the opposite, looking back seventy years we increasingly realize that the revival of Poland had for many spheres of national life a significance that went far beyond 1918 and even beyond the prewar Poland. Indeed the recovery of statehood by this country must be regarded as one of the most far-reaching events not only in the 20th century but in Poland’s whole history. The fact that since the mid-19th century many other nations have won independence makes us seek far-reaching and universal reasons for this phenomenon which was spread over a long time. It had to do first of all with the shaping up of modern nations and with the growth of national consciousness, until then restrict ed to only some circles but now being the feature of many strata of society. “TO WIN THE SOUL OF THE POLISH PEOPLE FOR POLAND” —BEING THE MAIN PROBLEM IN THE PERIOD AFTER PARTITIONS The national consciousness of Polish society did not appear evenly in all its members. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
Wstęp W 2020 R. Mija Sto Lat Od Utworzenia Ligi Narodów I Podjęcia Przez Nią Działalności. W Dniu 10 St
STUDIA PRAWNICZE KUL 2 (82) 2020 https://doi.org/10.31743/sp.11754 ANNA PRZYBOROWSKA-KLIMCZAK * Członkostwo Polski w Lidze narodów – asPekty Prawne Wstęp W 2020 r. mija sto lat od utworzenia Ligi Narodów i podjęcia przez nią działalności. W dniu 10 stycznia 1920 r. wszedł w życie Pakt Ligi Na- rodów ustanawiający podstawy prawne funkcjonowania organizacji1. Powstanie Ligi Narodów rozpoczęło nowy etap w procesie instytucjona- lizacji stosunków międzynarodowych, zapoczątkowanym w drugiej po- łowie XIX w. i związanym z tworzeniem organizacji międzynarodowych, które zajmowały się sprawami współpracy w określonych dziedzinach, głównie o charakterze technicznym, nie wkraczając w relacje polityczne między państwami członkowskimi2. Postanowiono bowiem powołać do życia organizację o kompetencjach ogólnych, w celu „rozwoju współdzia- łania narodów oraz zapewnienia im pokoju i bezpieczeństwa” (pream- buła Paktu). Duże straty ludzkie i materialne poniesione przez państwa podczas I wojny światowej spowodowały, że idea utworzenia organizacji, która zapobiegałaby w przyszłości wybuchowi wojny, uzyskała poparcie * Prof., dr hab., Uniwersytet Marii Curie-Skłodowskiej w Lublinie, e-mail: aprzybo- [email protected], https://www.orcid.org/0000-0002-9670-4103 1 Tekst Paktu Ligi Narodów stanowił część pierwszą Traktatu pokoju między Mocar- stwami Sprzymierzonemi i Skojarzonemi a Niemcami, Wersal, 23 czerwca 1919 r., Dz. U. z 1920 r. nr 35 poz. 200; Pakt został w nim opublikowany pod tytułem Umowa Związ- ku Narodów. 2 J. Menkes, A. Wasilkowski, Organizacje -
Looking Westwards
Founded in 1944, the Institute for Western Affairs is an interdis- Looking westwards ciplinary research centre carrying out research in history, political The role of the Institute for Western Affairs science, sociology, and economics. The Institute’s projects are typi- in the construction of the Lubusz Land concept cally related to German studies and international relations, focusing On local historical policy and collective on Polish-German and European issues and transatlantic relations. memory in Gorzów Wielkopolski The Institute’s history and achievements make it one of the most Cultural heritage against a background important Polish research institution well-known internationally. of transformation in 1970s and 1980s Western Since the 1990s, the watchwords of research have been Poland– Ger- Poland many – Europe and the main themes are: Polish interest in the early medieval past • political, social, economic and cultural changes in Germany; of Kołobrzeg • international role of the Federal Republic of Germany; The Greater Poland Uprising in the French and British daily press • past, present, and future of Polish-German relations; • EU international relations (including transatlantic cooperation); Rosa Luxemburg against war • security policy; Literary fiction and poverty. The example of Gustav Freytag’s novel Soll und Haben • borderlands: social, political and economic issues. The Institute’s research is both interdisciplinary and multidimension- Coming to terms with the West German 68ers in the writings of the 85ers al. Its multidimensionality can be seen in published papers and books The manuscript of the letter of the Polish on history, analyses of contemporary events, comparative studies, bishops to the German bishops and the use of theoretical models to verify research results. -
The War to End War — the Great War
GO TO MASTER INDEX OF WARFARE GIVING WAR A CHANCE, THE NEXT PHASE: THE WAR TO END WAR — THE GREAT WAR “They fight and fight and fight; they are fighting now, they fought before, and they’ll fight in the future.... So you see, you can say anything about world history.... Except one thing, that is. It cannot be said that world history is reasonable.” — Fyodor Mikhaylovich Dostoevski NOTES FROM UNDERGROUND “Fiddle-dee-dee, war, war, war, I get so bored I could scream!” —Scarlet O’Hara “Killing to end war, that’s like fucking to restore virginity.” — Vietnam-era protest poster HDT WHAT? INDEX THE WAR TO END WAR THE GREAT WAR GO TO MASTER INDEX OF WARFARE 1851 October 2, Thursday: Ferdinand Foch, believed to be the leader responsible for the Allies winning World War I, was born. October 2, Thursday: PM. Some of the white Pines on Fair Haven Hill have just reached the acme of their fall;–others have almost entirely shed their leaves, and they are scattered over the ground and the walls. The same is the state of the Pitch pines. At the Cliffs I find the wasps prolonging their short lives on the sunny rocks just as they endeavored to do at my house in the woods. It is a little hazy as I look into the west today. The shrub oaks on the terraced plain are now almost uniformly of a deep red. HDT WHAT? INDEX THE WAR TO END WAR THE GREAT WAR GO TO MASTER INDEX OF WARFARE 1914 World War I broke out in the Balkans, pitting Britain, France, Italy, Russia, Serbia, the USA, and Japan against Austria, Germany, and Turkey, because Serbians had killed the heir to the Austrian throne in Bosnia. -
Wincenty Witos – Współtwórca Niepodległej Uniwersytet Kardynała Stefana Wyszyńskiego Fundacja Dialogu Kultur I Religii Muzeum Niepodległości
Wincenty Witos – współtwórca Niepodległej Uniwersytet Kardynała Stefana Wyszyńskiego Fundacja Dialogu Kultur i Religii Muzeum Niepodległości Temat badawczy: Sen, który się ziścił - interdyscyplinarne spojrzenie na odzyskanie niepodległości przez Polskę w 1918 roku Janusz Gmitruk Wincenty Witos – współtwórca Niepodległej Redakcja naukowa Tadeusz Skoczek Warszawa 2017 Seria wydawnicza: Twórcy Państwowości Polskiej pod redakcją Tadeusza Skoczka ISBN 978-83- 65439-20- 8 Wydawnictwo Muzeum Niepodległości Muzeum Niepodległości jest instytucją kultury Samorządu Województwa Mazowieckiego Spis treści Wstęp .................................................................................................... 9 Witos w życiu i historii ......................................................................... 13 „Kto rządzi w gminie…” ...................................................................... 17 Premier pierwszego rządu dzielnicowego ............................................ 23 W niepodległej Polsce .......................................................................... 31 Rząd Obrony Narodowej ...................................................................... 39 Wincenty Witos a konkordat ................................................................. 67 Na czele rządów „większości polskiej” ................................................ 73 Wincenty Witos i Władysław Reymont ................................................ 81 Zakończenie ......................................................................................... -
Ojcowie Niepodległości
OJCOWIE NIEPODLEGŁOŚCI PIŁSUDSKI DMOWSKI PADEREWSKI WITOS KORFANTY DASZYŃSKI FATHERS OF INDEPENDENCE Autorzy wystawy: dr Zofia Fenrych, Mateusz Lipko Współpraca: Grzegorz Czapski, Maciej Frycz, Paweł Miedziński, Magdalena Ruczyńska, dr Paweł Skubisz, prof. Włodzimierz Suleja Redakcja i tłumaczenie: Grażyna Waluga Projekt wystawy: Krzysztof Drumiński, Jakub Walkowicz (2code.pl) Odbudowa państwa Prezentujemy następujące postaci: polskiego po 123 latach Józef Piłsudski, Roman niewoli była wydarzeniem Dmowski, Ignacy Jan przełomowym. Wysiłek wielu Paderewski, Wincenty Witos, Polaków, trud i ofiara Wojciech Korfanty poniesiona na frontach i Ignacy Daszyński. I wojny światowej oraz Jest wśród nich artysta, są dyplomaci, żołnierze i politycy, aktywne działania a także działacze społeczni. Reprezentowali różne poglądy polityczne, różnili się dyplomatyczne przynależnością społeczną i religią, urodzili się pod doprowadziły do narodzenia różnymi zaborami. Mimo to potrafili zjednoczyć się wokół jednego, się II Rzeczypospolitej. nadrzędnego celu: NIEPODLEGŁOŚCI. Nie oznaczało to, że we wszystkim byli zgodni i we wszystkim wzorowo Liderami tego procesu byli współdziałali. tytułowi Ojcowie Pozostali wierni własnym poglądom, ale wykorzystując sprzyjające warunki zewnętrzne, poprowadzili Polaków Niepodległości. ku WOLNOŚCI. Stanisław Bagieński, Rozbrajanie Niemców przed Główną Komendą na placu Saskim w Warszawie, 1939, olej na płótnie / Muzeum Wojska Polskiego w Warszawie Stanisław Bagieński, The disarming of Germans in front of the Headquarters at Saski