June 2002

  • Author By
  • Publication date June 17, 2002

Polish Music Center Newsletter Vol. 8, no. 6

Music At PIASA’s 60th Meeting

The program of the 60th Meeting of the Polish Institute of Arts and Sciences of America was especially solemn and well attended, due to its location at Georgetown University in Washington, D.C. and the involvement of Polish politicians and important personalities from the academic world (chairs and rectors of numerous universities). During the opening remarks Dr. Thaddeus Gromada, Executive Director of this organization, reminded all present that the Meeting featured the largest number of Polish scholars so far, and that it represented the continuing tightening of connections between Polish and Polonian scholars. The press was also well represented, especially that it was provided with a magnet, in the form of Zbigniew Brzezinski, vice-president of PIASA (the president, Prof. Wandycz of Yale University was serving as the most gracious and sophisticated host), and Mr. Jerzy Buzek, former prime minister of Poland.

Four concurrent sessions were held in various halls of Georgetown’s Intercultural Center, dealing with economy, culture, history, music and medicine. The two music sessions, complementing the “arts” part of the Institute’s name, were proposed by the Polish Music Center. As the author of the idea, I served as chair and speaker during a session on Polish music of the 19th and 20th century, featuring an interesting paper on Elsner’s operas by Anne Swartz of Baruch College, and two ground-breaking presentations about Zygmunt Stojowski, by Joseph Herter, choral conductor at Warsaw’s St. John The Baptist Basilica, and myself. Herter presented an overview of the life and music of this unduly forgotten composer and reminded the audience that Stojowski was among the founders of PIASA. His lecture was illustrated with slides prepared for our meeting dedicated to the life and music of the composer and presented on April 6, 2002 in Los Angeles (i.e.: the beautiful, signed photograph of the composer that I found in the Stojowski files in January 2002).

In addition, Mr. Herter – a true “musical detective” involved in the pursuit of Stojowski’s music for performance purposes – played short excerpts from Stojowski’s compositions, giving the audience a glimpse of the composer’s versatility and talent. In my talk about “Stojowski and Paderewski: A Musical Friendship” I focused on musical interactions between the two great men, and the similarities in their approaches to performance, composition, and politics. I noticed that there is a marked affinity of late-romantic stylistic traits, from tempo rubato and exaggerated expressivity, to traditional forms, genres, and tonal traits of the music. In order to prove a controversial point that Stojowski was clearly a much better pianist than Paderewski in his later years, I played excerpts from historical recordings, Stojowski’s “By the brookside” played by Paderewski and Paderewski’s “Legende” played by Stojowski. I also presented excerpts from a range of Stojowski’s texts about Paderewski and noted their old-fashioned charm – in frequent comparison of the “great master” to Orpheus, Apollo, or Titan. The rejection of composition for the sake of political activities at the outset of World War I by Paderewski and somewhat later by Stojowski deserved a comment from Hannah Arendt’s magisterial treatise The Human Condition – her praise for Vita Activa focused on the political arena as being more important than contemplative or creative lives of mere music makers. “It is hard to agree with Arendt,” I concluded, noting the tragic musical consequences of the abandonment of composition for the sake of short-lived political gains that affected the reputations of both composers as composers.

Both Stojowski papers will appear in the next issue of the Polish Music Journal, along with copies and translations of Stojowski’s essays on music (a selection was published already in vol. 4 no. 1). My choice of highlighting the life of this forgotten composer in our publications results from the wealth of newly discovered material, in the Zygmunt and Louisa Stojowski Collection, soon to be donated to the Polish Music Center. This summer the appraisal and inventory of the collection should be complete and next year the archives will be available for study by other scholars. Mr. Herter will work on a book dedicated to Stojowski and published in Polish. Other authors will be encouraged to avail themselves of this treasure trove of archival material, richly documenting the history of Polish immigrants in American musical life. The report from this session should end with a mention of the presence of the composer’s son, Henry Stojowski – who drove from New York to attend the first scholarly talks about his father’s music held in contemporary America. I asked Henry to speak in the “question” period and he had the most delightful anecdotes to offer about his life with music in a home visited by the greatest musicians and artists, whose names we only know from history books, and Mr. Stojowski had a chance of knowing the persons themselves. He had for instance, frequently encountered Paderewski and visited him in Switzerland; he remembered the musical and patriotic engagements of his father that we only now start to record and honor.

The second session that I proposed for the PIASA Metting was dedicated to Ignacy Jan Paderewski and Marcellina Sembrich. Chaired by distinguished historian, Prof. Anna Cienciala (of Kansas University, hence her frequent references to the Mid-west), the session included three papers. I presented Paderewski’s portraits in poetry – citing the florid and exaggerated language of Paderewski worshippers, against the background of Paderewski’s 1906 recordings of Chopin, Beethoven, and Liszt. The reading seems to have been a success, but it slowed down the presentation of the poetry and the discussion of its content so much that I decided to refer the public to the Polish Music Journal vol. 4 no. 1 where the article appeared in entirety, including all 13 poems, known so far. If our readers find more Paderewski-themed poetry, we will be very grateful for copies. The second paper during the session, presented again by an amateur music historian, with a B.A. degree in vocal arts, Mr. Stephen Herx, was dedicated to Marcellina Sembrich-Kochańska. Mr. Herx did as thorough a job of locating Sembrich documents and clippings in American libraries as did Mr. Herter in the case of Stojowski.

The final paper, by eminent historian Mieczysław Biskupski, newly elected to chair the Polish Studies program at Central Connecticut University (after the untimely death of Prof. Stanislaus Blejwas), was the most controversial. Bringing Sembrich and Paderewski together, Biskupski presented a thesis that Paderewski was instrumental in the destruction of the singer’s charitable committee gathering funds for Polish victims of the war because he wanted his own committee to be the only one in the field, and because he opposed the pro-Austrian orientation of Sembrich’s well-established and active committee. Furthermore, he accused Stojowski of serving as Paderewski’s right hand and using some dirty tactics in order to get members of Sembrich’s committee to step down. This action took place in the 1915-1917 and is documented in various Polish American archives. Mr. Herter is now given a task of verifying this information and making sure that his portrayal of Stojowski is well balanced. The fact that Sembrich was a God-mother of one of Stojowski’s sons, and that Paderewski shared the honor, as well as that all three musicians frequently collaborated in musical and charitable endeavours seems to contradict Prof. Biskupski’s thesis that greatly aggravated a part of the audience. The discussion that ensued was most lively and dramatic, continuing afterwards in the hallways. Thus, the Polish Institute, yet again served as a locus of scholarly debates that will result in the progress of knowledge. [reported by Maja Trochimczyk]

News

Polish Grammy: Fryderyk Awards

This year’s Fryderyki winners in classical music categories are:

  • Composer Wojciech Kilar for “Missa pro pace” in the contemporary music category.
  • European Fine Arts Trio for Chopin and Debussy Piano Trios for chamber music.
  • Collegium Vocale for their renditions of early music by Wacław z Szamotuł and Marcin Leopolita.
  • Reissue of Paderewski playing from piano rolls housed in the archives of the National Library in Warsaw.

Chopin Festival In Duszniki

The Annual International Chopin Festival in Duszniki-Zdrój will take place in August. Pianist Piotr Paleczny, director of the annual Chopin Festival for the last ten years, gives an extensive interview with Józef Kański in the 17 February issue of Ruch Muzyczny. It will be the 57th International Chopin Festival held in Duszniki-Zdrój, where Chopin spent many of his youthful years. This year’s festival to be held August 2-10th will mark the 200th anniversary of the existence of Chopin’s “dworek” (manor).

The festival this year will feature pianists: Dominique Merlet, Nelson Freire, Alexy Nasiedkin, Denis Matsujev (winner of the previous Tchaikovsky Competition) and the winner of this year’s Tchaikovsky event. Mr. Paleczny reported that the 120th birthday of Karol Szymanowski will also be celebrated during the Chopin Festival with the appearance and recital by British pianist Martin Roscoe, who has recorded all of Szymanowski’s piano works. He also said he hoped that the new piano sensation Piotr Anderszewski will also be present.

Paderewski Lecture Afterthoughts

The first Annual Paderewski Lecture, featuring composer-pianist Zygmunt Krauze, with the participation of the Polish Folk Dance Ensemble Krakusy, took place on 3 May 2002, 8 p.m., at the Alfred Newman Recital Hall, USC Campus, Los Angeles. In addition to the review in the Los Angeles Times the Lecture was reported in Nowy Dziennik (Przegląd Polski), News of Polonia, and in USC Chronicle.

Krakusy with M. Pasternak, consul K. Kasprzyk, M. Trochimczyk and Z. Krauze.

In the report published in the Californian monthly, Dr. Zbigniew Petryka wrote not only about the “academic” part of the lecture (commenting on the informative and educational content of Krauze’s introduction to Polish avant-garde, shocking for many Californian Poles), but also about the “social” aspect – the quality of our reception prepared by Polka Restaurant of Eagle Rock, and the entertainment provided by children of the Polish Folk Dance Ensemble Krakusy, who sang Polish folk songs during the event. The report was illustrated with photographs by Jacek Nowaczyński, some of which are reproduced below. The report in News of Polonia appeared both in Polish and in English, so that no segment of Polish American population would be left without knowing what a significant cultural event it was. The next lecture in 2003 will hopefully be given by Ewa Podleś, a famed contralto.

Zygmunt Krauze with Wanda Wilk

 

Krakusy with choreographer, Maciej Pasternak.

 

Chopin Society Elections

The Frederic Chopin Society in Warsaw, which has a membership of six hundred, held its election last year. Kazimierz Gierzod, former director of the Chopin Academy, remained as president with Bronisław Kawalla and Józef Stompel as vice- presidents. They are elected for five years and the officers and board members are the official organizers of the International Chopin Piano Competition, which is also held every five years.

Łukaszewski Web Site

Composer Paweł Łukaszewski, whose name was frequently mentioned in the past issues of the Newsletter, informs us that he has now his own web site with his biography, list of works, and assorted news about his musical career and activities. The site is located at: http://www.republika.pl/lukaszewskip/

Antisemitism Conference

The West Virginia University History Department will host a conference on antisemitism in 19th and 20th-century Poland: June 17-18 at the Clarion Hotel Morgan. Entitled ‘Antisemitism and Its Opponents in Modern Poland,’ the conference will feature presentations by a dozen leading historians and social scientists from the United States and Poland.The conference, funded by the National Council for Eurasian and East European Research as part of a collaborative research project directed by Professor Robert E. Blobaum, is free and open to the public. The conference program is available on the web at http.www.as.wvu.edu/history (scroll down and click “Collaborative Research Project on Antisemitism and Its Opponents in Modern Poland”). For further information, please contact Professor Blobaum (rblobau@wvu.edu) or call 304-293-2421, x5241.

Reported by Mara Kozelsky, Graduate Assistant, Skalny Center for Polish and Central European Studies, University of Rochester / 101 Harkness Hall – Box 270147 / Rochester, NY 14627-0147 / kozm@mail.rochester.edu / phone: (716) 275-9898

Obituaries

Czesław Halski, Polish musicologist and music critic, who had been living abroad since 1940, died on 17 November in London. He was the author of the book, “Folk and National Dances in Poland. Their origin and development.” He also wrote a book on Paderewski (in Polish), as well as numerous articles and music reviews.

Aniela Rubinstein, widow of pianist Artur Rubinstein, died in Paris 4 January at age 93.

Awards

Szymanowski Prize 2001

The Szymanowski Prize for 2001 was awarded to three people in Poland. Chairman of the jury, Szymanowski specialist, Teresa Chylinska, made the announcement: Zofia Helman for her research into the music of Szymanowski, Jerzy Katlewicz for promoting the music of Szymanowski in Poland and abroad and conductor Jan Krenz for his artistic and faithful renditions of Szymanowski’s works, as well as for his orchestral transcriptions of Szymanowski’s “Masques,” Second String Quartet and three Lullabies.

Publications & Books

Review Of Polish Music History Series

Dr. Sandra P. Rosenblum, of Belmont, Massachusetts, a renowned Chopin expert, has reviewed the Polish Music History Series for the current issue Notes – Journal of the Music Library Association. The review focuses on the most recent addition to the series,After Chopin: Essays in Polish Music and presents an overview of the earlier titles. Dr. Rosenblum writes:

This richly textured collection of essays, employing diverse historical and analytical methodologies, considers the three Polish composers of the greatest international significance over two centuries: Chopin, Szymanowski, and Lutoslawski (p. 12) and topics of Music and National Identity. Trochimczyk’s Introduction: Music for the Nation or the Nation for Music? and her notes to the historical essays of Pt. I provide valuable orientation and background. In 100 Years of Defining Chopin, essays by Polish composers published between 1899 and 1970 represent stages in Chopin reception in his homeland. Some exemplify a Polish tradition of constructing Chopin’s identity… (p. 2), of which an important component was the reclaiming of their native son—born of a French father and Polish mother, but resident of Paris for approximately half his life—as a Pole and as the creator of Polish music… The seven modern contributions (Downes, Zielinski, Klein, Trochimczyk, Helman, Cooley) are challenging and engaging, each offering some new understanding of its topic… The variety of significant subject matter and recurring themes—including issues of Polish national culture, the methodological richness, and the originality of thought make this volume an important source for anyone seriously interested in Polish music.

Of the five books published prior to Dr. Trochimczyk’s essay collection, Dr. Rosenblum favored the study of Karol Szymanowski by Teresa Chylińska:

This life and works is notable for its extensive extracts from the composer’s correspondence, which reveals much about his changing psychological moods and thoughts about his recent compositions, and from his articles about music, which became an increasing part of his productivity and influence on Polish music culture after 1920. Szymanowski’s life was not unproblematic and Chylinska presents it with sensitivity and perception. She also includes contextual information about his works, with critical reactions to first performances and important performers, including those in the United States… A worklist and a very good bibliography conclude this engaging and significant addition to the literature on Szymanowski, who has recently gained recognition as ‘an outstanding artist and a great humanist’ of the twentieth century (p. 293).

Wieniawski Study Published

A new book, “Henryk Wieniawski. Composer and Virtuoso in the Musical Culture of the XIX and XX Centuries.” Edited by Maciej Jabłoński and Danuta Jasińska. Poznań, 200l, 334 pages. This book includes 17 articles (in English or German by various authors) who participated in the music conference on Wieniawski in April 2000. Jan Steszewski wrote the foreword. It also contains a “Chronology of the Concert Performances of Henryk Wieniawski 1835-1880” and a supplement of Wieniawski’s discography is included.

Wilk Book Prizes 2002: Call For Proposals

The second edition of the Wilk Book Prize for Research in Polish Music will be held in 2002. Submissions are welcome from the publishers or authors (two copies of the book). The rules below describe the conditions of this Prize. The deadline this year is extended to July 31, 2002.

  1. All books published outside of Poland by scholars who are not normally based in Poland are acceptable. Polish scholars on sabbatical or fellowship abroad are not eligible. Books by non-Polish authors published in Poland and in Polish are not eligible.
  2. Submissions may be forwarded by the authors, publishers or third parties.
  3. The submitted book should be published within the past 5 years (first edition of the competition in 2000) and 3 years (thereafter).
  4. The books may be published in English, German, or French.
  5. The authors should be professional scholars, who hold a doctorate or have equivalent experience and are professionally active in the field of Polish music.
  6. The jury is chaired by the Stefan and Wanda Wilk Director of the Polish Music Center and consists of invited scholars who specialize in Polish music, especially those from Poland.
  7. The Competition is held biennally in even years (2000 and so forth).
  8. The submissions (2 copies of the book) must be received on or before June 30th of the year of the Competition.
  9. The award will be given by November 30 of the year of the competition, preferably during a national meeting of a major professional society.
  10. The award will consist of a $2,000 cash prize and a certificate of award.
  11. In the case of a tie, or a larger number of deserving books in the competition the jury will divide the award into two or three prizes of equal cash value. However, preference will be given to awarding one prize.
  12. The jury reserves the right of not awarding the prizes if no submissions are deemed acceptable. All the decisions of the jury are final.
  13. All entries should be addressed to the Wilk Book Prizes in Polish Music, Polish Music Center, Thornton School of Music, University of Southern California, Los Angeles, CA 90089-0851.

Discography

by Wanda Wilk

Godowski On Hyperion

Two new discs to “Sing Along” with Chicago Polkas has just released “Sing Along with Stas,” a total of 24 Polish songs and a song sheet with text is included. The other is “Mattie Madura’s “Polish Wedding Album.” Mattie’s orchestra has been in business over 25 years and he has been called on to play for the 25th wedding anniversary of some couples for whom he originally played. In addition to the ever-popular “Twelve Angels” there are Mattie’s original songs including his Mother’s Day special, “My Mom Waltz” where he narrates in English over organ music played by Bill Ward. Saw this in the PNCC paper, “Straz.” It can be ordered from Chet Schafer Production in Chicago.

Newest Reissues

Hyperion Records has reissued Panufnik’s “Sinfonia votiva” written to celebrate the 100th anniversary of the Boston Symphony Orchestra in 1981 with Seiji Ozawa conducting. CDH 55100.

Albany Records has just released Skrowaczewski’s Orchestral Works performed by the Saarbruchen Radio Symphony Orchestra. TROY 481.

Chopin’s Cello Sonata

BIS CD-1076 Chopin. Cello sonata in c minor, Op. 65. Torleif Thedeen, cello. Roland Pontinen, piano.

Michael Jameson gave it a 4-star rating for performance and sound, comparing it with the Argerich/Maisky Naxos release. He wrote “This might have been a winner had BIS concentrated solely on Chopin. As it stands, there’s no Introduction and Polonaise (in which these players would doubtless excel) nor any of the Chopin transcriptions….leaving the 1994 naxos recording as the best overall option, especially if you value completenes.” (BBC Music Magazine)

Godowsky’s Sonata

PRO Piano PPR 224534 Godowsky. Piano Sonata in E minor. Adam Aleksander, piano. A five-star rating by Jeremy Siepman. This is the second release in a few months of this long neglected work; Hamelin’s brilliant recording was reviewed in April.

Chopin’s Preludes

ECM 016374-2 “Soul of Things” Tomasz Stańko, Trumpet.

Chris Parker reviews this disc very favorably, “undeniably wistful and dreamlike.” He concludes, “There is enough bright energy and contained bu nonetheless fierce interactiveness demonstrated by both Stańko and his consistently sensitive band to render the album as compulsive as it is affected.”

ERATO 0927-42836-2 Chopin Preludes: Nikolai Lugansky, piano. Selected as one of Editor’s Choice this month by James Jolly. (Reviewed in Gramophone’s June 2002 issue)

Stojowski On Hyperion

HYPERION CDA 67314 “The Romantic Piano Concerto, vol. 28.” Stojowski: Piano Concertos No. 1 and 2. Jonathan Plowright, piano. BBC Scottish Symphony Orhcestra, Martyn Brabbins, cond.

In his review Bryce Morrison writes: “Even when compared to the most outstanding performances in this series (chiefly by Stephen Hough and Marc-Andre Hamelin) Jonathan Plowright’s performances are a rare example of technical and musical integrity.” Joseph Herter, whose name our readers may remember from his articles in our Newsletter on Sir Edward Elgar, Stojowski and Paderewski, wrote the “informative liner notes.” He has done much research into Stojowski and his works during the past two years and the late composer’s son recently told me, “Joe knows more about my father and his music than I do.” This is a must to any music lover’s collection. (Reviewed in Gramophone’s June 2002 issue)

Li’s Chopin

DG 471 479-2GH Chopin: Yundi Li, piano.

First recording by the 19-year old winner fo the 2000 International Chopin Piano Competition in Warsaw. Bryce Morrison warns, “Talent of such rare quality and poetic acumen demands every possible care and nurture if it is to remain untarnished.” Yundi Li has been studying since last September in Hanover with Professor Arie Vardi. Gramophone has a feature article about him and has labelled him as “One to watch.” (Reviewed in Gramophone’s June 2002 issue)

DUX’s Paderewski Series

The Polish Recording company DUX has just completed the last in a series of four CDs of the music of Paderewski. The first album was Paderewski’s own performance taken from the Welte-Mignon piano rolls which had been preserved at the National Library in Warsaw.

The second consisted of a new recording of Paderewski’s Symphony by the Symphony Orchestra of the Academy of Music of Cracow under the baton of Wojciech Czepiel. (DUX 304). This was followed by piano works featuring pianist Waldemar Malicki playing Op. 14 and 16 and a four hands arrangement of the Tatra Album Op. 12 with Tamara Granat. The fourth is a reissue of an earlier piano recital by Elżbieta Guzek (DUX 0270) in which the Sonata, Op. 21 and Danses polonaises Op. 9 and 5 can be found with the popular Cracovienne fantastique.

Recent Performances

On The U.S. East Coast

The internationally popular Cracow Klezmer Band performed at the Knitting Factory and Makor in New York city last May. The group was founded in 1997 by arranger and accordionist Jaroslav Bester. Their first two albums “De Profundis” and “The Warriors” are available on the Tzadik label. For more information visit their website: www.ckb.cracow.pl.

Szymanowski’s “Stabat Mater” featuring the Eastman Rochester Chorus and an Eastman Orchestra was performed last May at the Eastman Theatre in Rochester, NY.

The Chopin Singing Society of Buffalo, NY featured a premiere performance in concert form of Moniuszko’s opera, “Flis” in the Villa Maria College Auditorium in Cheektowaga, NY.

Winners of the International Penderecki Chamber Music Competition performed in three concerts in New York in May. One at the Kościuszko Foundation followed by one at the Polish Consulate and at the Europa Club. Violinist Patricia Piekitowska and pianist Rafał Odrobina played Lutosławski’s “Partita” and Wieniawski’s “Polonaise Brillante.”

Nine-year old violinist Patricia Wnek played in a recital at the Northwest High School Auditorium in Germantown, Maryland, in which she included Wieniawski’s “Obertass Mazurka.”

In Canada

According to the Polish American Journal, Krzysztof Penderecki premiered his “Credo and Sanctus” at the International Choral Festival in Toronto, Canada.

On The U.S. West Coast

Cellist Alisa Wallerstein, who recently performed at the Doheny Mansion at Chester Place, as part of the Chamber Music in Historic Sites Series, included the music of Chopin to a “sold out” house.

More Chopin in Los Angeles:

Pianist Xibei Jia presented a recital of music by Chopin at the Pacific Palisades Presbyterian Church on May 19, while at the same time across town Charles Chien performed Chopin at the lst Presbyterian Church in Inglewood.

The New West Symphony conducted by Boris Brott teamed up with Vassily Primakov in Chopin’s Piano Concerto No. 2 at the Oxnard Performing Arts Center on Friday 17 May and repeated the program the following day at the Thousand Oaks Civic Arts Plaza.

Calendar of Events

JUNE 1: Polish folk Dance Workshop. Roosevelt Middle School, San Francisco. Piotr Lacki, choreographer of Łowiczanie. 4:00 p.m. Followed by a performance by Łowiczanie at 7:00 p.m.

JUNE 2: 7th Annual San Francisco Chopin Competition for Young Pianists. San Francisco Conservatory of Music. 9:30-4:00 p.m. Free. 925-247-0894. ChopinSF@aol.com

JUNE 2: Piotr Anderszewski, piano. Music of Bach, Chopin and Szymanowski. Symphony Center, Chicago. 3:00 p.m. 312-294- 3000.

JUNE 5: Krystian Zimerman, piano. SBC Royal Festival Hall, London. 7:30 p.m. www.rfh.org.uk

JUNE 9: Podhale: 10th Anniversary Concert. Polish Folk Dance Company. Occidental College, 3 p.m.

JUNE 9: Music of Maria Szymanowska, Clara Schumann and Chaminade. Nancy Fierro, piano. Sundays Live. 6:00 p.m. LACMA and Radio KUSC 9l.5 FM.

JUNE 10: Chopin: Fujiko Hemming, piano. Etudes, Nocturne, Piano Concerto No. 1 with Artis Quartet of Vienna. St. John’s Smith Square, London. 020 7222 1061. www.sjss.org.uk

JUNE 11: Music of Chopin, Liszt, etc. Christina Lawrie, piano. Blackheath Halls, London. 020 8463 0100. www.blackheathhalls.com

JUNE 14: Lutosławski: Musique funebre. Cleveland Orchestra, Christoph von Dohnanyi, cond. Barbican Hall, London. 020 7638 8891. www.barbican.org.uk

JUNE 21-23: Polish Festival. Maier Festival Park, Milwaukee, Wisconsin. 414-529-2140. www.polishfest.org.

JUNE 26: Chopin: Piano Concerto No. 2. Jacek Mysiński, piano. Music in the Mountains Summer Festival, Nevada County Fairgrounds. 530-265-6124.

JUNE 27: Lutosławski: Chantefleurs et chantefables. Merlyn Qualife, sop. Sydney Symphony Orchestra, Reinnbert de leeuw, cond. Town Hall, Sydney, Australia. 61 29265 9007

JUNE 30: Moniuszko Songs: Alina Kozińska, sop. Józef Surowiec, baritone. Carlos Cesar Rodriguez, piano. American Center of Polish Culture, Washington, D.C. 5:00 p.m. $15. 202-785-2320.

JUNE 30: Skrowaczewski. Concerto for orchestra. Aspen Festival Orchestra, S. Skrowaczewski, cond. matinée.

Anniversaries

Born This Month

  • June 1, 1909 – Maria Dziewulska, composer and theoretician
  • June 4, 1845 – Aleksander Poliński, music historian (d. 1916)
  • June 4, 1784 – Adam Czarnocki, music etnographer (d. 1825)
  • June 5, 1865 – Felicjan Szopski, composer and music critic (d.1939)
  • June 6, 1929 – Bogusław Schaeffer, composer, writer
  • June 12, 1897 – Aleksander Tansman, composer and pianist,
  • June 16, 1923 – Henryk Czyż, conductor and composer
  • June 17, 1930 – Romuald Twardowski, composer
  • June 28, 1895 – Kazimierz Sikorski, composer and teacher
  • June 28, 1904 – Włodzimierz Poźniak, musicologist

 

Died This Month

  • June 1, 1869 – Jozef Duleba, pianist and participant of January Uprising, died in a duel (b. 1843)
  • June 3, 1904 – Daniel Filleborn, singer and performer of main parts in Moniuszko’s operas (b. 1841)
  • June 4, 1872 – Stanisław Moniuszko (“father” of Polish national opera, b. 5 May 1819)
  • June 5, 1964 – Henryk Sztompka, pianist, Chopin specialist, teacher
  • June 9, 1932 – Natalia Janotha, pianist and composer, student of Clara Wieck-Schumann, Royal Pianist in London, 400 opus numbers (b. 1856)
  • June 10, 1953 – Grzegorz Fitelberg, conductor, composer, great promoter of new music, esp. Szymanowski (b. 1879)
  • June 28, 1938 – Ludwik Drzewiecki, pianist and father of Zbigniew Drzewiecki
  • June 29, 1945 – Kazimierz Garbusiński, pianist, organist, composer
  • June 30, 1957 – Michał Świerzyński, composer and choral conductor