SPRING 2017 Renate Ryan - Secretary Volume XXVII / Number 2 Directors Agustin Anievas, Roberta O

Total Page:16

File Type:pdf, Size:1020Kb

SPRING 2017 Renate Ryan - Secretary Volume XXVII / Number 2 Directors Agustin Anievas, Roberta O The semi-annual magazine of the Chopin Foundation of the United States CHOPIN FOUNDATION OF THE UNITED STATES, INC. Officers & Directors Krzysztof Penderecki - Honorary Chairman Blanka A. Rosenstiel - Founder & President Olga Melin - Vice President Richard Lubman - Treasurer SPRING 2017 Renate Ryan - Secretary Volume XXVII / Number 2 Directors Agustin Anievas, Roberta O. Chaplin, Norman Edelcup, Rosa-Rita Gonzalez, Dr. William J. Hipp, Lorraine Sonnabend TABLE OF CONTENTS Artistic Advisory Committee Dr. Adam Aleksander, Agustin Anievas, Kevin Kenner, Margarita Shevchenko Message from the Founder and President .......................................... 2 Executive Director Chopin Foundation Donors and Contributors ................................... 3 Jadwiga Viga Gewert Message from the Executive Director .................................................... 4 Regional Councils Mack McCray - San Francisco Chopin Council Highlights from 2016-2017 Season ............................................................ 5 Allan Park - Northwest Chopin Council Robert Joskowiak - Virginia Chopin Council 2017-2018 Chopin Foundation Concert Season ................................ 6 Scholarship Committee Dr. Adam Aleksander, Peter Miyamoto, Tian Ying Sponsors .................................................................................................................7 Advisory Board New Acquisition for the Chopin Museum in Warsaw ................. 8-9 Bonnie Barrett - Yamaha Artist Services Joel Harrison - American Pianists Association Chopin Prizes, National & Florida State MTNA Competition ......10 Gary Ingle - Music Teachers National Association Ron Losby - Steinway & Sons Sponsor Highlight .............................................................................................11 International Artistic Advisory Council Folk Influences on the Music of Chopin & Szymanowski........ 12-15 Agustin Anievas, Martha Argerich, Emanuel Ax, Jeffrey N. Babcock, John Bayless, Luiz Fernando Benedini, John Corigliano, Ivan Davis, Chopin Foundation Council of San Francisco ...................................16 Christopher T. Dunworth, Charles Dutoit, Nelson Freire, Bruno Leonardo Gelber, Gary Graffman, Horacio Gutierrez, Marta Istomin, Byron Janis, James Chopin Foundation Council of the Northwest .................................. 17 Judd, Cyprien Katsaris, Zoltan Koscis, Garrick Ohlsson, Paloma O’Shea, Daniel Pollack, Maurizio Pollini, Abbey Simon, Michael Tilson Thomas, Charles Chopin Foundation Council of Virginia ................................................18 Wadsworth, Susan Wadsworth, Krystian Zimerman International Federation of Chopin Societies ...................................19 Editorial Polonaise is published semi-annually by the Chopin Foundation of the USA Chopin Competition Conference ..........................................................19 1440 79th Street Causeway, Suite 117, Miami, FL 33141 Scholarship Program for Young Pianists ............................................20 Editorial Office: 305.868.0624 • 305.865.5150 (Fax) E-mail: [email protected] • Website: www.chopin.org Contributions/Donations ............................................................................21 Publisher: Lady Blanka A. Rosenstiel Executive Editor: Jadwiga Viga Gewert Editor: Barbara Muze, Marketing/Development Manager Contributors: Allan Park, Robert Joskowiak, Mack McCray, Barbara Muze, Helena Houge, Mark Fountain, Beata Paszyc, Lynne Schaefer Cover photo: Chopin Monument by Jacques Froment-Meurice (1906) Design: Rick Tuckerman, Zoom IQ Creative Marketing at Parc Monceau in Paris Copyright © Chopin Foundation of the United States, Inc. All rights reserved. MESSAGE FROM THE FOUNDER “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” Goethe’s Faust Forty-five years ago I had a dream. My We must! And we must be steadfast in our efforts to insure that funding is dream was to give American pianists the available to support young American pianists and keep Chopin’s music alive. opportunity to perform Chopin’s music at the highest level. Further, my dream In order to continue our mission we need your help: was to see American pianists supported • Teachers: Please continue to prepare your students to enter the in such a way that they could compete Competition in 2020. The specific guidelines will soon be posted on our on an international level at the Warsaw website and will mirror the rules and requirements for the International Blanka A. Rosenstiel Chopin Competition. This is how the Competition in Warsaw. Everything we do is in support of your students. Founder and President Chopin Foundation was born. To think Please give them the tools they need to succeed. For additional inspiration, that this dream has now been a reality please go with your students to the Chopin Foundation video channel on for forty years is both humbling and inspiring: humbling because so many our website so they can watch performances by the competitors from 2015. like-minded individuals and sponsors have come forward to share in this dream, and inspiring because there has never been a more urgent time for us • Chopin Lovers: Please consider supporting the Chopin Foundation today. to work to keep this dream alive. There are many sponsorship opportunities available for the upcoming Competition: Winners’ prizes, special prizes for the best mazurka, polonaise, In February of 2020, the Chopin Foundation will present the 10th National sonata and concerto - and more. As you can imagine, the cost of the Chopin Piano Competition. It may sound like a long time from now, but Competition is extraordinary, but with your generous contributions, we can believe me, it is closer than we think. Scores of young pianists all across our again help these talented young pianists reach their dreams. Please contact nation are already hard at work to master the technicalities and intricacies of us so we can discuss your sponsorship of the 2020 Competition. the required Chopin repertoire. Teachers are diligently guiding these young hearts and minds to reach their musical goals. For many, the goal will be to Please enjoy this Spring 2017 edition of the Polonaise magazine. We hope get selected to come to Miami in 2020, perform at our competition and earn you find the news and articles of interest. Deepest thanks to our dear a place among our finalists. Then it is off to Warsaw to represent the US on members and supporters. I especially thank Southern Glazer’s Wine & Spirits an international stage, just like our 2015 first prize winner Eric Lu, who made and Mr. and Mrs. Harvey Chaplin for generously sponsoring our Chopin for us proud as a top finalist in front of the whole world. Who will give these All free concert series. Together we can keep the dream alive. incredibly talented young musicians the opportunity to achieve their dreams? Blanka A. Rosenstiel 2 // POLONAISE SPRING 2017 CHOPIN FOUNDATION DONORS AND CONTRIBUTORS whoseWe visionextend and supportour havedeepest helped thanks us this year to with those our mission: to develop the next generation of great musicians! May we continue to add to this esteemed roster others who would join us in support of our mission. * Bruce Mencher * Sheila Brauchler FOUNDER * Avis Lee Neiman * Jasper & Carol Brock Lady Blanka A. Rosenstiel * Sabrina Noto Linda Brumagin * Dr. Jose & Maria Perez-Rivas GRAND BENEFACTORS * Andrzej Bytnar * Tiana Pierce * Harvey & Roberta Chaplin * Peter Capua * Ralph & Elizabeth Piotrovsky Richard Appelbaum * Dr. Carlos J. & Mrs. Carmen Dominguez * Kay Carpenter & B G Carter Gray & Sons Jewelers * Luis & Esther Pujol James Campbell * Keith & Agnes Gray * Buddy & Dina Cohen * Greater Miami Convention & * Daisy Richardson Miriam Castellanos Mark & Brenda Fountain Lucette Comer Visitors Bureau * Hedy Ringger & Jolanta Bak Edith Cubas Funding Arts Network * Barbara Cooper Lynn University * Carlos Rivas & Maria C. Aguilera Elyse Freedman * Marvin & Isa Leibowitz * Carmen Cuenca Piano Music Center /Tony Siciliano Miriam Rodriguez Walter Frohlich * Richard & Terry Lubman Sophie Dabrowska Southern Glazer’s Wine & Spirits * Carole Romer & William Nigh Marina Garrett * Eldris De La Torre Village of Key Biscayne BENEFACTORS * Andrew Rosenthal Margaret Gaub Wendy Erickson Yamaha Artist Services * Ruby Bacardi * Alicja Schoonover Eva Granatowski * Olga Figueras Dr. Bao-Tran Doan & Dolores Seidon Chuck Greif FOUNDATIONS/TRUSTS * Edith Hall Friedheim Bac Hai Nguyen * Peter & Lisa Seite Elyse Haberman Audrey Love Charitable Foundation * Roberto & Maritza Friedman * Norman Edelcup * Margaret Seroppian Marilynn Hagler Bachelor Foundation * Ariel Garcia & Ursula Zolnierska * Rosa-Rita Gonzalez * Daniel & Ilanit Setton Pedro Hernandez Rosenstiel Foundation * Zbigniew & Raquel Jarosz * Iga Henderson * Cecily Silberman Petrina Hurlbert Florman Family Foundation * Margarita Garcia * Paul and Beatriz Hicks * Charles & Sandra Simon Judith Hutchinson Louis Leibowitz Charitable Trust * Pamela Jo Garrison * Dr. William & Frankie Hipp * Clara Sredni Jose & Liannette Marquez * Lenore Gaynor GOVERNMENT GRANTS * Norman & Margaretha Leathers * Zygmunt Staszewski Teresa Mestre * Gerry Gibson City of Coral Gables * Janine Lennox * Barbara Stephens Claire Morga * Marcia Green Miami-Dade County * Olga & David Melin * Richard & Margarita Tonkinson Li Chiung Moyant * David & Lucille Godnik Department of Cultural * Renate Ryan * Duane & Liliana Treeman Patricia Navajas * Iga Henderson Affairs and Cultural Affairs
Recommended publications
  • Print 110774Bk Levitzki
    110774bk Levitzki 8/7/04 8:02 pm Page 5 Mischa Levitzki: Piano Recordings Vol. 3 Also available on Naxos ADD Gramophone Company Ltd., 1927-1933 RACHMANINOV: CHOPIN: @ Prelude in G minor, Op. 23, No. 5 3:22 Great Pianists • Levitzki • 3 8.110774 1 Prelude in C major, Op. 28 0:55 Recorded 21st November 1929 2 Prelude in A major, Op. 28, No. 7 0:55 Matrix Cc 18200-1a; Cat. D 1809 3 Prelude in F major, Op. 28, No. 23 1:24 Recorded 21st November 1929 RCA Victor, 1938 Matrix Bb 18113-3a; Cat.DA1223 LEVITZKI: 4 Waltz No. 8 in A flat major, Op. 64, No. 3 3:00 # Waltz in A major, Op. 2 1:46 CHOPIN Recorded 19th November 1928 Recorded 5th May 1938; Matrix Cc 14770-1; Cat.ED18 Matrices BS 023101-1, BS 023101-1A (NP), Ballades, Preludes BS 023101-2, BS 023101-2A (NP); Cat. 2008-A 5 Waltz No. 11 in G flat major, $ Arabesque valsante, Op. 6 3:23 and Waltzes Op. 70, No. 1 2:26 Recorded 5th May 1938; Recorded 19th November 1928 Matrices BS 023100-1, BS 023100-1A (NP), Matrix Cc 14769-3; Cat.ED18 BS 023100-2, BS 023100-2A (NP), BS 023100-3, 6 Ballade No. 3 in A flat major, Op. 47 6:26 BS023100-3A (NP); Cat. 2008-B Recorded 22nd November 1928 Broadcasts LEVITZKI Matrices Bb 11786-5 and 11787-5; Cat.EW64 26th January, 1935: 7 Nocturne No. 5 in F sharp major, CHOPIN: Arabesque valsante Op. 15, No.
    [Show full text]
  • Chopin: Visual Contexts
    Interdisciplinary Studies in Musicology g, 2011 © Department of Musicology, Adam Mickiewicz University, Poznań, Poland JACEK SZERSZENOWICZ (Łódź) Chopin: Visual Contexts ABSTRACT: The drawings, portraits and effigies of Chopin that were produced during his lifetime later became the basis for artists’ fantasies on the subject of his work. Just after the composer’s death, Teofil Kwiatkowski began to paint Bal w Hotel Lambert w Paryżu [Ball at the Hotel Lambert in Paris], symbolising the unfulfilled hopes of the Polish Great Emi­ gration that Chopin would join the mission to raise the spirit of the nation. Henryk Siemiradzki recalled the young musician’s visit to the Radziwiłł Palace in Poznań. The composer’s likeness appeared in symbolic representations of a psychological, ethnological and historical character. Traditional roots are referred to in the paintings of Feliks Wygrzywalski, Mazurek - grający Chopin [Mazurka - Chopin at the piano], with a couple of dancers in folk costume, and Stanisław Zawadzki, depicting the com­ poser with a roll of paper in his hand against the background of a forest, into the wall of which silhouettes of country children are merged, personifying folk music. Pictorial tales about music were also popularised by postcards. On one anonymous postcard, a ghost hovers over the playing musician, and the title Marsz żałobny Szopena [Chopin’s funeral march] suggests the connection with real apparitions that the composer occasional had when performing that work. In the visualisation of music, artists were often assisted by poets, who suggested associations and symbols. Correlations of content and style can be discerned, for ex­ ample, between Władysław Podkowinski’s painting Marsz żałobny Szopena and Kor­ nel Ujejski’s earlier poem Marsz pogrzebowy [Funeral march].
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Biografia Olejniczak
    JANUSZ OLEJNICZAK Nato a Breslavia, ha studiato a Varsavia e Łódź con Luiza Walewska, Ryszard Bakst e Zbigniew Drzewieck, poi a Parigi e in Svizzera con Witold Małcużyński. Si è diplomato alla High School of Music di Varsavianel 1974 nel corso di Barbara Hesse-Bukowska, e ha continuato gli studi con Victor Merzhanov a Varsavia e Paul Badura-Skoda a Essen (1977-78). Fu il più giovane vincitore premiato all’ottavo International Fryderyk Chopin Piano Competition nel 1970; venne inoltre premiato al Concorso internazionale Alfredo Casella a Napoli. Janusz Olejniczak ha suonato nelle più importanti sale concerto di Europa, delle Americhe, di Asia e Australia, tra cui la Filarmonica di Berlino, il Teatro Colón di Buenos Aires, la Salle Pleyel di Parigi, la Suntory Hall di Tokyo, il Lincoln Center di Washington, la Tonhalle di Düsseldorf, il Concertgebouw di Amsterdam. Per quattro anni ha insegnato alla Music Academy di Cracovia. Ha anche fatto parte di numerose giurie nelle competizioni di piano, e ha presieduto corsi di perfezionamento in Canada, Giappone, Colombia, e all’Accademia Mozart di Salisburgo. Il suo repertorio è centrato sull’opera di Chopin, Bach, Schubert, Schumann e Liszt. È famoso anche per le sue interpretazioni delle opere del ventesimo secolo, tra cui Debussy, Ravel (Concerto in G), Prokofiev, Messiaen, Henryk Mikołaj Górecki, Wojciech Kilar, e Witold Lutosławski. È un appassionato di musica da camera, e sono note le sue apparizioni in orchestre dirette da Witold Rowicki, Andrzej Markowski, Kazimierz Kord, Antoni Wit, Jerzy Maksymiuk, Tadeusz Strugała, Charles Dutoit, Andrzej Borejko, Grzegorz Nowak, Jacek Kaspszyk, Marek Pijarowski, Marek Moś e molti altri.
    [Show full text]
  • Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
    Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms.
    [Show full text]
  • A/L CHOPIN's MAZURKA
    17, ~A/l CHOPIN'S MAZURKA: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH--F. BUSONI, D. SCARLATTI, W. A. MOZART, L. V. BEETHOVEN, F. SCHUBERT, F. CHOPIN, M. RAVEL AND K. SZYMANOWSKI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial. Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Jan Bogdan Drath Denton, Texas August, 1969 (Z Jan Bogdan Drath 1970 ALL RIGHTS RESERVED TABLE OF CONTENTS Page INTRODUCTION . I PERFORMANCE PROGRAMS First Recital . , , . ., * * 4 Second Recital. 8 Solo and Chamber Music Recital. 11 Lecture-Recital: "Chopin's Mazurka" . 14 List of Illustrations Text of the Lecture Bibliography TAPED RECORDINGS OF PERFORMANCES . Enclosed iii INTRODUCTION This dissertation consists of four programs: one lec- ture-recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the per- former to project music of various types and composed in different periods. The first program featured two complete sets of Concert Etudes, showing how a nineteenth-century composer (Chopin) and a twentieth-century composer (Szymanowski) solved the problem of assimilating typical pianistic patterns of their respective eras in short musical forms, These selections are preceded on the program by a group of compositions, consis- ting of a. a Chaconne for violin solo by J. S. Bach, an eighteenth-century composer, as. transcribed for piano by a twentieth-century composer, who recreated this piece, using all the possibilities of modern piano technique, b.
    [Show full text]
  • Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin's Mazurkas by Monika Zaborowsk
    Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Monika Zaborowski, 2013 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member iii Abstract Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member One of the major problems faced by performers of Chopin’s mazurkas is recapturing the elements that Chopin drew from Polish folk music. Although scholars from around 1900 exaggerated Chopin’s quotation of Polish folk tunes in their mixed agendas that related ‘Polishness’ to Chopin, many of the rudimentary and more complex elements of Polish folk music are present in his compositions. These elements affect such issues as rhythm and meter, tempo and tempo fluctuation, repetitive motives, undulating melodies, function of I and V harmonies. During his vacations in Szafarnia in the Kujawy region of Central Poland in his late teens, Chopin absorbed aspects of Kujaw performing traditions which served as impulses for his compositions.
    [Show full text]
  • Yoshiko Hirata
    Program About the Performers Polonaise in A-flat Major, Op. 53 Tomasz Robak Tomasz Robak “Heroique” Polish-American pianist Tomasz Robak began playing Nick-named the “Heroic Polonaise” and sometimes referred to as the the piano at age six. Currently, Mr. Robak is pursuing a “Drum Polonaise,” this piece is one of Chopin’s most popular works. Bachelor of Music in Piano Performance degree at The majestic composition takes advantage of the piano’s wide range of Rice University’s Shepherd School of Music, studying notes, and the tempos vary from free, sweeping melodies to rapid under Dr. Robert Roux. Mr. Robak is a graduate of scales. Whitney M. Young Magnet High School and the Merit School of Music in Chicago. During his high school Scherzo No. 1 in B minor, Op. 20 years, Mr. Robak was a laureate of local (CPS) and A dark, dramatic composition, this piece begins at a lightning-quick state (NFSHSA) piano competitions. One of his most important teachers pace. A slower middle section in B Major is followed by a virtuosic in recent years was Abraham Stokman from the Music Institute of ending including ten-note chords and arpeggiated flights spanning Chicago, who led him through a very successful college audition season. nearly the entire keyboard. In early 2008, Mr. Robak was featured on Chicago’s 98.7 WFMT program “Introductions” where his performance of a work of Chopin has been Polonaise-Fantasie, Op. 61 Mio Nakamura rebroadcast on several occasions. He has performed at various venues including Duncan Recital Hall at Rice University, Lilly Hall at the This work opens with a polonaise-style section boasting complex University of Indianapolis, Nichols Hall in Evanston, Merit School of harmonies and many key changes.
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music London’s Symphony Orchestra Celebrating LSO Members with 20+ years’ service. Visit lso.co.uk/1617photos for a full list. LSO Season 2016/17 Free concert programme London Symphony Orchestra LSO ST LUKE’S BBC RADIO 3 LUNCHTIME CONCERTS – AUTUMN 2016 MOZART & TCHAIKOVSKY LAWRENCE POWER & FRIENDS Ten musicians explore Tchaikovsky and his The violist is joined by some of his closest musical love of Mozart, through songs, piano trios, collaborators for a series that celebrates the string quartets and solo piano music. instrument as chamber music star, with works by with Pavel Kolesnikov, Sitkovetsky Piano Trio, Brahms, Schubert, Bach, Beethoven and others. Robin Tritschler, Iain Burnside & with Simon Crawford-Phillips, Paul Watkins, Ehnes String Quartet Vilde Frang, Nicolas Altstaedt & Vertavo Quartet For full listings visit lso.co.uk/lunchtimeconcerts London Symphony Orchestra Living Music Monday 19 September 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT Leif Ove Andsnes Beethoven Piano Sonata No 18 (‘The Hunt’) Sibelius Impromptus Op 5 Nos 5 and 6; Rondino Op 68 No 2; Elegiaco Op 76 No 10; Commodo from ‘Kyllikki‘ Op 41; Romance Op 24 No 9 INTERVAL Debussy Estampes Chopin Ballade No 2 in F major; Nocturne in F major; Ballade No 4 in F minor Leif Ove Andsnes piano Concert finishes at approximately 9.25pm 4 Welcome 19 September 2016 Welcome Kathryn McDowell Welcome to this evening’s concert at the Barbican Centre, where the LSO is delighted to welcome back Leif Ove Andsnes to perform a solo recital, and conclude the critically acclaimed LSO Artist Portrait series that he began with us last season.
    [Show full text]
  • Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades
    Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades William Rothstein There is a style of music which may be called natural, because it is not the offspring of science or reflection, but of an inspiration which sets at defiance all the strictness of rules and convention. I mean popular music, and especially that of the peasantry. How many exquisite compositions are born, live and die, among the peasantry, without ever having been dignified by a correct notation, without ever having deigned to be confined within the absolute limits of a distinct and definite theme. The unknown artist who improvises his rustic ballad while watching his flocks, or guiding his ploughshare, and there are such even in countries which would seem the least poetical, will experience great difficulty in retaining and fixing his fugitive fancies. He communicates his ballad to other musicians, children like himself of nature, and these circulate it from hamlet to hamlet, from cot to cot, each modifying it according to the bent of his own individual genius. It is hence that these pastoral songs and romances, so artlessly striking or so deeply touching, are for the most part lost, and rarely exist above a single century in the memory of their rustic composers. Musicians completely formed under the rules of art rarely trouble themselves to collect them. Many even disdain them from very lack of an intelligence sufficiently pure, and a taste sufficiently elevated to admit of their appreciating them. Others are dismayed by the difficulties which they encounter the moment they endeavor to discover that true and original version, which, perhaps, no longer retains its existence even in the mind of its author, and which certainly was never at any time recognised as a definite and invariable type by any one of his numerous interpreters...
    [Show full text]
  • Fonoteka Umfc Muzyka Polska – Katalog
    FONOTEKA UMFC MUZYKA POLSKA – KATALOG 1. Do korzystania ze zbiorów uprawnieni są wyłącznie studenci i pracownicy UMFC. 2. Katalog ułożony jest w porządku alfabetycznym według nazwisk kompozytorów. 3. Nawigacja ułatwiona jest za pomocą paska zakładek (bookmarks – pasek po lewej stronie czytnika). Najbardziej popularni kompozytorzy mają własne zakładki, w obrębie twórczości F. Chopina dodatkowo zastosowano podział według form muzycznych i obsady. Wszystkie te struktury są dostępne poprzez rozwinięcie odpowiedniej zakładki. Niezależnie od tego można skorzystać z narzędzia wyszukiwania – skrót klawiszowy [Ctrl+F]. 4. W zamówieniu należy podać jedynie sygnaturę płyty. Mieści się ona w prawym górnym rogu każdej karty. 5. Katalog jest rozwiązaniem tymczasowym. Aktualizacja ma miejsce raz w roku. A ADAM Z WĄGROWCA CD 5996 6047 Opera omnia = [Dzieła wszystkie] : [37 utworów] / Rostislaw Wygranienko, organy 58’27” Acte Préalable, 2008 CD 5996 ; 6047 ADAM Z WĄGROWCA CD 5188 Canzona / Il Tempo 3’06” DUX, 2004 CD 5188 ADOLPHO CD 3395 Vesperae in F : [CATB, Vno I et II, Cor I et II et Org] / Rev. Tomasz Jarosz CSsR, celebrans ; Musica Sacra ; Bennonitae Cantantes ; Clementinum ; kier. muz. Piotr Wilczyński Acte Préalable, 2002 CD 3395 AJDINOVIĆ Jacek Wiktor CD 4899 Arrière-pensée du temps : for violin, cello and piano / Agata Jeleńska, skrzypce ; Karol Marianowski, wiolonczela ; Anna Forma, fortepian 12’45” Festiwal Warszawska Jesień 2005 : CD 7/7 CD 4899 AJDINOVIĆ Jacek Wiktor CD 5282 [Kwartet smyczkowy nr 2] = String Quartet No. 2 : Futurum / Camerata String Quartet 17’28” [Warszawska Jesień 2006] Polmic, 2007 CD 5282 AJDINOVIĆ Jacek Wiktor CD 5481 Kyrie : Missa solemis 2007 / A. Kapla, sopran ; K. Otczyk, mezzosopran ; M. Nerkowski, baryton ; W.
    [Show full text]
  • Michael Spring Director Subject: FY 2018-2019 Hannibal Cox, Jr
    Date: June 20, 2018 To: Members Cultural Affairs Council From: Michael Spring Director Subject: FY 2018-2019 Hannibal Cox, Jr. (HCJ) Cultural Grants Program Recommendations The FY 2018-2019 award recommendations for the Hannibal Cox, Jr. Cultural Grants Program will be computed using the established funding formula for this program. The program’s FY 2018-2019 total allocation and the recommended grant award amounts per Grantee will be presented to the Council for final review later this summer, after all of the “Spring Cycle” grants program panels have convened. Final grant awards are contingent upon the availability of funds in the Department’s FY 2018-2019 budget, which is subject to the County’s Budget as adopted in September 2018. RECOMMENDATION It is recommended that the Council approve the funding of 22 grants for the FY 2018-2019 Hannibal Cox, Jr. Cultural Grants Program. BACKGROUND The Hannibal Cox Jr. Cultural Grants Program Panel, chaired by Council member Monty Trainer, convened on June 7, 2018 to review 22 applications requesting a total of $660,000. The panel recommended funding all 22 applications. The Hannibal Cox, Jr. Cultural Grants Program provides funding and technical assistance support to mid-sized semi- professional and professional arts, scientific and historical organizations with a full-time presence in Miami-Dade County of presenting, performing or exhibiting a year-round season of cultural activities. Grants are awarded to not- for-profit, tax-exempt organizations with annual operating budgets of $100,000 or more. The Hannibal Cox, Jr. Cultural Grants Program is designed to assist groups in reaching their long range goals by encouraging a proposal focusing on organization development and institution building.
    [Show full text]