May 2006

Polish Music Center Newsletter Vol. 12, no. 5

PMC News: Students

Daniel Kamiński

Thanks to its strong ties to the Thornton School of Music at the University of Southern California, the Polish Music Center provides not only an important research resource for the world but also a link between some of Poland’s best young musicians and one of America’s most highly regarded music schools. USC music students, Polish and otherwise, in turn perform in the PMC’s many concerts, gracing its audiences with their excellent musicianship and adding to the symbiosis which allows the PMC to thrive. In the coming months, we will present on these pages a few portraits of students who collaborate with us.

In May, we are focusing on Daniel Kamiński, who, in addition to his intensive percussion studies at USC, has been an essential member of the PMC staff since May 2005. Daniel was born in Bydgoszcz, Poland, and began his musical education at the age of six, attending local primary and secondary music schools. Moving on to the Chopin Conservatory in Warsaw, Daniel studied with the famous professor Stanisław Skoczyński. At the same time he performed and recorded as a freelance member of the National Philharmonic, National Opera, Sinfonia Varsovia, and Polish Radio Symphony Orchestra. With a 2002 Masters’ Degree from the Chopin Conservatory, Daniel traveled to the US, where he continued to study at the University of Akron, Ohio, and also worked as a Graduate Teaching Assistant. Since the fall of 2004, Daniel has been enrolled in the DMA program at the Thornton School of Music, USC, where he also holds a post of Teaching Assistant.

Daniel’s accomplishments as a virtuoso percussionist are already quite considerable. They include the 2nd prize at the National Marimba Competition in Warsaw (2000) in addition to being finalist in the 7th National Competition for Contemporary Music Performance (2001), and participating in the International Timpani Competition in Paris (2001). In 2004 Daniel received the Outstanding Graduate Student award, made the National Deans List, and became a member of Phi Kappa Lambda honors society.

Daniel’s duties at the Polish Music Center are quite varied, ranging from assisting in cataloguing books and scores, to maintaining and editing our databases. He is the assistant editor of the PMC Newsletter, selecting and translating items for publication on our website. Daniel’s computer skills have also been put to good use in entering music scores and generating parts for rehearsals and concerts; he has also been involved in processing the Stojowski and Vars collections, recently donated to PMC.

Daniel is an active soloist and ensemble member on the Los Angeles music scene. His participation in PMC-sponsored events has included giving West Coast premieres of chamber music works by Marta Ptaszyńska in October 2005. From his highly-placed position behind the battery of percussion instruments, Daniel’s commanding presence was clearly felt (and heard!) during his performances as timpanist and percussionist for the USC Chamber and Symphony Orchestra with such soloists as Yo-Yo Ma and Itzhak Perlman. Last January Daniel performed at a special Royce Hall concert, “Journey to the Light,” celebrating the achievements of the Oscar-winning Hollywood composer, Jan A.P. Kaczmarek.

Continuing to champion music by contemporary Polish composers, Daniel’s 2005 graduate recital included the American premiere of Aura for marimba by a young Polish composer, Jerzy Rogiewicz, a performance of Stravinsky’s Histoire du soldat, as well as works by Keiko Abe and David Mancini. His second graduate recital on April 23, 2006 exclusively featured marimba music by Gunther Waldek, Keiko Abe, Eckhard Kopetzki, and a virtuoso transcription of Bach’s 2nd Cello Suite. In his very busy schedule, Daniel still finds some time to study, teach, and play on numerous recording sessions at USC and at the Paramount Scoring Stage. Here’s what Daniel says about his musical life: “… At one time I really hoped to be a composer. But you have to decide and, at the moment, that is my Plan B. I still write music when I have the time, and think of applying to the Scoring for Motion Picture and Television program at USC… Electronic and computer music [as well as] the music technology these days is so fascinating, and helpful for a writer to hear what their composition sounds like. With [technological] advancement also comes the complication and time spent on discovering the possibilities. [As far the piano playing goes] I really wish that when I was a kid I devoted more time to the instrument. I still can play it fairly well, but I could have been so much better. Piano playing is a tremendous help in all areas of my musical experience. My plans for the future are to finish my DMA in percussion performance and, hopefully find a good orchestral position in the States or Western Europe. [Eventually, I’d like to] pursue the composition harder and find a higher education post to pass the knowledge to younger generations.”

For the past few months, Daniel has devoted long hours of practicing in order to prepare a program for the International Marimba Competition in Linz, Austria. He will travel there in July, thanks to a special grant from the Kosciuszko Foundation that made his overseas trip possible. Given the stiff competition for such grants, Daniel’s selection speaks volumes about his accomplishments to-date. All of us at the Polish Music Center wish him much success in all his future endeavors.


Up Next: Maciej Flis

In next month’s issue we will focus on former USC student Maciej Flis, an excellent bassoonist from Łódź, Poland. But for now, check out the schedule of his quintet’s 5-day residency in Sedona, AZ, as featured performers at Chamber Music Sedona in May:


Preisner At Cannes

Polish film composer Zbigniew Preisner was announced as a member of the Cinéfondation and short films Jury at the 2006 International Film Festival in Cannes. To celebrate the 10th anniversary of death of Krzysztof Kieślowski the Festival committee wanted to include a close cooperator of the famous director and Mr. Preisner was an excellent choice, having worked on many of Kieślowski’s films. This year’s Cannes Festival takes place between May 17 and 28.

Zbigniew Preisner is a self-taught composer. He wrote his first film score in 1982 for Antoni Krauze’s Weather Forecast. After that many directors asked Preisner for his music, including Krzysztof Kieślowski, Agnieszka Holland, Peter Kassovitz and Louis Mandoka. Preisner has received many awards, including two French Césars (1995, 1996), a German Silver Bear (1997) and three times the distinction of Best Film Score Composer (1991, 1992, 1993) from the Los Angeles Critics Association.

Other news/events in honor of the 10th death anniversary of Krzysztof Kieślowski:

Film festivals in Paris , ŁódźLos Angeles/Hollywood , TorontoBerkeleyCleveland, etc. See schedules at: and

New York premiere of A Conversation with Krzysztof Kieślowski, directed by Andreas Voigt:

Re-issue of the DVD of La Double Vie de Véronique (Kieślowski, director and Preisner, soundtrack):


Los Angeles

The Polish American Film Society and Consulate General of Poland in Los Angeles proudly announce this year’s Polish Film Festival in Los Angeles. The event kicks off its seventh annual series on April 27th, 2006 with an Opening Night Gala at the Directors Guild of America (7920 Sunset Boulevard, LA) with the reception and screening of Perfect Afternoon [Doskonałe popołudnie] by Przemysław Wojcieszek. Over the course of the following seven days, 24 features, 6 short films and 8 documentaries will be screened at the Laemmle’s Sunset 5, April 28 to May 4:

My Nikifor [Mój Nikifor] by Krzysztof Krauze; Tulips [Tulipany] by Jacek Boruch; The Perfect Afternoon [Doskonałe popołudnie] by Przemysław Wojcieszek; The Call of the Toad [Wróżby kumaka] by Robert Gliński; Down Colorful Hill [W dol kolorowym wzgorzem] by Przemyslaw Wojcieszek; Pitbull by Patryk Wega; The Cross-Way Café [Rozdroze Café] by Leszek Wosiewicz; Persona Non Grata by Krzysztof Zanussi; Homo Father by Piotr Matwiejczyk; Vinci by Juliusz Machulski; Fallow Land [Ugor] by Dominik Matwiejczyk. Films produced outside of Poland: My Summer of Love by Pawel Pawlikowski; One Long Winter Without Fire by Greg Zglinski; Karol—The Man Who Became Pope by Giacomo Battiato; The Unbraid Man by Marta Meszaros. Documentaries include: Arden2, Betrayal, The Battle for Warsaw; After the Gulag; Artur Szyk; and the World Premiere of Life is a Dream in Cinema: Pola Negri.

The Festival will present a retrospective of Feliks Falk’s films with of The Collector [Komornik] – Poland’s official submission to the 2006 Academy Award, Hero of the Year [Bohater roku] and Top Dog [Wodzirej] and special screening of Andrzej Wajda’s English-language film The Shadow Line, in honor of his 80th birthday. The year of Krzysztof Kieslowski will be celebrated with special screenings of Camera Buff [Amator], Big Animal [Duże zwierze], The Double Life of Veronique [Podwojne zycie Veroniki], Colors: Blue, Red & White, Short Film About Killing and Short Film About Love at the Bing Theatre at LACMA (May 5-6/12-13) and his documentaries at The Egyptian Theatre (May 14/21/28). The retrospective is organized in collaboration with the Los Angeles County Museum of Art, Los Angeles Filmforum, Polish Cultural Institute in New York, TVP, Polish National Film Archive, Consulate General of Poland in Los Angeles and Polish American Film Society.

The following filmmakers and artists will be among this year’s guests:

Dawid Antkowiak, Piotr Adamczyk, Andrzej Chyra, Magdalena Cielecka, Mateusz Damiecki, Feliks Falk, Joanna Klass, Abel Korzeniowski, Mariusz Kotowski, Ivo Krankowski, Borys Lankosz, Krzysztof Malkiewicz, Gabriela Maskala, Dominik & Piotr Matwiejczyk, Marek Piwowski, Marek Probosz, Weronika Rosati, Marcel Sawicki, Peter Silverman, Tomasz Szafrański, Voytek Szczytko, Anna Włodarczyk, Przemysław Wojcieszek Greg Zglinski and Jerzy Stuhr.

To ensure your invitation to the Opening Gala, the minimum level of support requested is $50 as a Festival Friend sponsor. Please make your invaluable, tax-deductible financial contributions to: Polish American Film Society and mail your checks to 7726 Ethel Ave., North Hollywood, CA 91605. For more information please call Vladek Juszkiewicz, director of Polish Film Festival: 818-982-8827 or visit

[Vladek Juszkiewicz, festival director]

New York

Come Celebrate Polish Film in New York City! The 2nd annual NY Polish Film Festival, scheduled for May 5th to 12th, 2006, presents the best of Polish Cinema to New York City. This year the festival will screen many new feature film releases, including Mój Nikifor [My Nikifor], directed by Krzysztof Krauze and awarded the highest honor at the 2005 Chicago International Film Festival, and Komornik [The Collector], directed by Feliks Falk, this year’s Polish Oscar candidate and winner for the “Best Movie Award” at the Polish Film Festival in Gdynia 2005. Featured from the younger generation of Polish filmmakers will be: Doskonale popołudnie [The Perfect Afternoon], directed by Przemysław Wojcieszek, and many more …

Celebration Mass

The Consulate General of the Republic of Poland in Los Angeles and The Polish-American Congress—Southern California Division request the honor of your presence at a celebratory ecumenical Mass on May 7th, 2006. The celebration is in commemoration of the first anniversary of the Death of Pope John Paul II and the 215th Anniversary of the May 3rd Constitution of Poland. The event will be at 3:30 pm in the Cathedral of Our Lady of the Angels in downtown Los Angeles.

May 7th at 3:30 pm
Cathedral of Our Lady of the Angels
555 West Temple Street
Los Angeles, CA 90012-2707
Free parking on the west side of Hill and Temple

National Opera In Wiesbaden

The Polish National Opera will be a part of the “Internationale Maifestspiele 2006” festival in Wiesbaden. They will present two operas in the Hessisches Staatstheater: on the 18th of May Andrea Chénier by Umberto Giordano, and on May 20th Krzysztof Penderecki’s Ubu Rex. The first show will be conducted by Grzegorz Nowak and the second by Jacek Kaspszyk. The cast will consist of soloists from the resident company, accompanied by the orchestra, ballet and choir.

Polish Music In London

The Pulse Festival, London’s festival of Central European Music, welcomes Polish musicians Royal String Quartet and Dikanda to this year’s event. The festival will present a variety of musical genres, including jazz, classical, world, alternative and electronic music from Eastern and Central Europe in several venues across London. The project intends to show in music a reflection of cultural richness and potential, as well as the development and the contemporary movement in the cultures of individual countries. Polish groups involved include Dikanda and the Royal String Quartet.

Dikanda is a group founded in 1997 in Szczecin, Poland. They created their own style and original sound inspired by Oriental Culture and Balkan folklore. Typical of Dikanda’s style is a creation of new words and meanings in composed songs. They have released three CDs and played hundreds of concerts, including the major European festivals.

The Royal String Quartet was established in Warsaw in 1998 and coached by the Wilanów, Camerata and Albana Berg Quartets. They area part of BBC Radio 3’s “New Generation Artist” scheme, which is a promotion of the most promising, outstanding young artists on the world stage.

Information for this article taken from the Polish Cultural Institute U.K.

Wieniawski Violin-Making Competition

This year’s Henryk Wieniawski International Violin-Making Competition will be held from May 7-13, 2006. The first competition took place in 1957. It is among the oldest events of this type in the world and now is ranked alongside other similar world-renowned competitions in Cremona, Mittenwald, Moscow, or London. It was established on the initiative of the Organizational Committee of the Henryk Wieniawski Violin Competition, the Polish Association of Artist Violinmakers and the Museum of Musical Instruments in Poznań, where the award-winning violins are exhibited. The previous ten editions of the competition featured over 1400 instruments from 30 countries of all continents. Nearly sixty award-winning instruments now make up a state collection, which regularly lends its instruments to young violin players.

The main objective of the competition is to bring forth instruments which have the best sound characteristics and display the highest mastery of violinmaking. The instruments are evaluated by an international jury of violinmakers and violinists. The competition consists of three stages. In the first, the jury qualifies instruments for the competition, eliminating those which do not comply with competition rules, do not have the features of an artistic work, or represent a low level of craftsmanship. In the second stage, the jury evaluates each instrument individually. The violin makers among the jury evaluate the instruments from a technical perspective (the workmanship, aesthetic features of the wood and lacquer as well as stylistic features), while the musicians from a sound perspective (tonal force and timbre, levelness between strings and individual features). The third stage of the competition is open to the public and the jury evaluates the sound of the violins as they perform on stage. The individual violins are played by specially invited violinists—soloists with the accompaniment of the orchestra and piano. The competition is open to all violin-makers, irrespective of age. Everyone is allowed to submit a maximum of two original and handmade violins. The instrument must be made no later than 3 years before the competition.

Polish Violinist’s Masterclass In Strings

Article by James Reel, Strings Magazine, May 2006. Reprinted with permission.

On September 26, 1886, violinist Eugene Ysaye had two reasons to celebrate. First, this was his wedding day; second, a messenger delivered a most remarkable wedding gift from composer Cesar Franck: an innovative new sonata for violin and piano. This was exactly the sort of music Ysaye loved, harmonically advanced and full of Romantic ardor. It was also a turbulent and often melancholy score, perhaps not the most optimistic of wedding presents, but at least it ended in an affirmative A major. Ysaye premiered the work in Brussels, his and Franck’s native land, not quite twelve weeks later, and introduced it to Paris audiences at the end of the following year.

Despite its difficulties, not least of which is balancing the constant interplay between the two instruments, the Franck Violin Sonata has long fascinated musicians and audiences alike, to the point that some people might call for a moratorium on its performance, so inescapable has it become. From the beginning, Franck authorized its performance on the cello; violists and flutists have transcriptions of their own. The sonata even penetrated one of the most famous works of French literature; Marcel Proust used it as the model for the sonata by the fictitious composer Vinteuil in his novel In Search of Lost Time.

Franck was 65 when he wrote the sonata. Like most of Franck’s sensual, mature works, it is haunted by Wagner’s Tristan and Isolde; the Wagnerian-turned-Franckian chromaticism brings a disturbing, restless yearning to the work’s passions. Along with the opulent harmonies comes a loose, rhapsodic structure, unified by a small number of themes cycling through the work again and again. Indeed, the third movement, Recitativo-Fantasia, sweeps and sighs through fragments of themes from the previous two movements and offers a preview of what will happen to them in the canonic final movement.

Ahead Of Its Time

By the standards of 1886, this was avant-garde music. It begins with an audacious ninth chord—rare for the time—and despite its frequent changes of mood, most of the thematic ideas are based on the interval of the major third with a falling semitone. This, rather than adherence to sonata-allegro form, is what binds the sonata’s structure.

This work’s difficulties are not only technical, but musical. How to maintain the right tension in both the harmony and the melodic line? How to phrase in a way that feels free but not disjointed? How to wring every drop of passion from the piece without overheating it into syrup?

Violinist Vincent Skowronski’s first piece of advice is “leave the Franck Sonata alone.” Convey its passionate style, but don’t exaggerate the Romanticism that’s already there aplenty. “It’s truly heart-on-your-sleeve Romanticism at its best, with great writing for both violin and piano,” he says. “In all the years I’ve played it, and heard it played by other violinists and by students of mine, even if it’s not done as perfectly or as wondrously as one would like it to be, you can’t ruin the piece.”

Skowronski is an independent violinist based in Evanston, Illinois. A laureate of the 1970 International Tchaikovsky Competition in Moscow, he operates a rare-instrument brokerage firm, runs his own CD label, and maintains a private teaching studio. On his label, Skowronski: Classical Recordings, he has reissued his powerful performance of the Franck Sonata from the LP era with pianist Donald Isaak on Skowronski Plays! Franck, Szymanowski, Bacewicz, and Saint-Saens (S:CR-04). It’s a work Skowronski loves, but doesn’t exactly venerate. Around his studio, he refers to it as the “Franck Sinatra.”

Getting Started

Skowronski says it’s easy to go wrong in the Franck sonata even before playing the first note. “The biggest mistake even the finest concert violinists make is they don’t get a pianist who can match them or surpass them, because the piano score is enormous,” he warns. “You have to look for a pianist with fingers of steel, somebody who can knead concrete, but is also a sympathetic person to work with. Sometimes pianists get carried away with their technique and try to run with the piece, but that’s not the essence of the sonata. “You need a good fiddle player, too,” he adds, almost as an afterthought. “But it appeals even to students because, as I said, you can’t ruin the piece. Like grandma’s stew, no matter what she throws into it, it still turns out OK.”

Skowronski suggests starting halfway through the third movement. The first half of that movement, the Recitative part, is actually one of the sonata’s toughest passages, a wide-ranging, harmonically untethered meditation that picks up where Bach’s solo suites left off. The movement’s Fantasia section, in contrast, poses fewer difficulties. “This is the nucleus of the piece as far as thematic material goes,” he says. The Fantasia emerges from the big climax at rehearsal No. 8 in the Carl Fischer edition of the score. It eases off into a very quiet passage marked dolcissimo, then ebbs and flows in terms of dynamics and, to a lesser extent, tempo, then builds to a grand, loud climax before subsiding again, all the while toying with fragments of the sonata’s various themes. In effect, this is an accompanied cadenza for the whole sonata.

“You see things here that you rarely see in other violin scores,” Skowronski points out, “markings like molto largamente e dramatico, with dynamic markings of triple forte. Franck’s instrument was the organ, and with the organ he had no problem getting as much sound as he wanted and sustaining it. That’s the key to the sonata here: great, sustained volume, like an organ. “It takes a great bow arm to do that, while the pianist with his steely fingers is doing it, too; this is what makes the piece so monumental.”

No Slight Of Hand

There aren’t any tricks here. “In this section, the notes appear to be very simple,” Skowronski says. “It’s the underlying current of the piece that has to be maintained; you have to keep it a controlled musical stampede. Keep your hands on it. Don’t let it take you away. Play on the other side of the beat; don’t push the piece, because it’s got to have that majestic quality. If you try to push it, if you try to put something extra in it, overdo it, it’s like a tenor or soprano who’s continually forcing, and it gets a little edgy, a little strident. Franck wants that wholesome, rich, dark chocolate sound with the wind machine going, that huge volume behind it.”

“In the last four or five bars he writes molto lento, as if lento weren’t enough, e mesto—pathetically, mournfully—and ends the piece in C-sharp minor. That’s a pretty dolorous ending. If you don’t get that point across, you’ve really missed what’s important about this movement.”

“As far as technique is concerned, not much happens between rehearsal No. 8 and the end. It’s just a matter of keeping the wind going. It’s like a triathlon, when you jump out of the water then you’ve got to get on the bicycle, and when you get off the bicycle you have to hit the ground running. It never lets up.”

Stamina is one thing, but what about Romantic touches like portamento and rubato? Can you go wrong with that in such a heart-on-your-sleeve sonata? “Portamento can be beautiful if it’s done with good taste, or soupy and unlovely if it’s not,” he says. “If you get too soupy, it gets affected. Portamento done at the right place at the right time with the right speed and approach–you’ve got to know when to land on it, not too soon and not too late—when that happens, then you’ve got magic. The students today kind of are interested in a straight-up delivery with Franck. But when people do attempt portamento now, the whole world has to know about it. You never saw Muhammad Ali telegraph a punch. You never saw it coming. Portamento and glissando have to be like that, an integral part of what you’re doing; you shouldn’t sit there and say, ‘Did you hear that portamento?’ I would suggest not doing anything, including rubato, excessively. A lot of times people get in the way of the music. If you try to fabricate something, you’ve missed the point. Just play what the man wrote and play on the back side of the beat and enjoy yourself. Don’t beat it, don’t try to whip it into submission, and the piece will carry you.”


Diamond Baton For Maksymiuk

On the 9th of April, Polish conductor Jerzy Maksymiuk received the Diamond Baton Award given by Polish Radio to the most deserving and renowned conductors. The award was established 11 years ago and the recipients include: Jan Krenz, Antoni Wit, Krzysztof Penderecki, Kazimierz Kord and Stefan Stuligrosz. The award was presented during a special, three-part concert. Parts one and three consisted of Maksymiuk’s own compositions performed by the Polish Radio Orchestra. Part two was a performance of Mozart’s A Major Piano concerto by Rafał Blechacz, with the Sinfonia Varsovia Orchestra conducted by maestro Maksymiuk.

Jerzy Maksymiuk was born in 1936 in Grodno, Poland. He studied piano, composition and conducting at the State Higher Music School in Warsaw (now the F. Chopin Music Academy). He has performed with many great orchestras in Poland and abroad. His closest connection is with the British orchestras, such as Scottish BBC Symphony Orchestra and London Symphony Orchestra. He is also an active composer and promoter of contemporary music.

Bacewicz Competition Winners

Bacewicz’s PWM Brochure from 1960s.

The winners of the 2nd Grażyna Bacewicz International Composition Competition were honored during the concert in the F. Chopin Music Academy in Warsaw on the 24th of April. The winning compositions were performed by: Łukasz Błaszczyk – violin, Robert Fender – cello, Katarzyna Kling, Mariusz Drzewicki – piano. Jury members: Prof. Zygmunt Krauze – chairman, Prof. Osvaldas Balakauskas and Prof. Bronisław Kazimierz Przybylski has given the following prizes and honors:

  • I prize – not awarded
  • II prize ex-aequo – Tadeusz Melon from Łódź for Dowtown Variations violin and piano; Marcin Stańczyk from Łódź for Powidoki for violin and piano
  • III prize – Grzegorz Duchnowski from Łódź for Isotopes for cello and piano
  • Honorary mention – Dariusz Przybylski from Warsaw for Berceuse for violin and piano

Radio Polonia Honors Blechacz

Radio and TV Polonia has been honoring Polish personalities, whose deeds promote and popularize Polish culture, science and heritage since 1995. The title of the award loosely translates as “For promoting Poland and what is Polish”. In this year’s edition the broadcasters recognized, among others, the winner of the Chopin International Piano Competition, Rafał Blechacz. This is another in the long stream of awards and honors for the young Polish pianist, who is currently touring and playing concerts in Poland and abroad. The other recipients include: Jerzy Majcherczyk (traveler/explorer), Zygmunt Stankiewcz (sculptor), and the Polish Folk Dance Ensemble “Kukułeczka” from Latvia. The awards were presented on the 25th of April at the Polish Television headquarters.

Eugeniusz Knapik Honored

For the 13th time, the Wojciech Korfanty Award was given in commemoration of this great activist and politician. The award honors outstanding Silesian citizens and this year one of the recipients is Eugeniusz Knapik. He is a prominent Polish composer, pianist and the dean of the Katowice Music Academy. His compositions received many national and international honors, including 1st prize from the International Composer’s Tribune in 1984 in Paris.

Wawrowski Honored In Odessa

The 2nd David Ojstrakh International Violin Competition took place between 8th and 18th of March in Odessa, Ukraine. 32 contestants from 14 countries were selected after the preliminary tape auditions. The jury, consisting of distinguished members from all over the world, awarded following prizes:

  • Grand Prix – So Young Yoon (Korea)
  • 1st Prize – Viatcheslav Chestiglazov (Russia)
  • 2nd Prize – not awarded
  • 3rd Priz ex-aequo – Janusz Wawrowski (Poland) and Chiharu Taki (Japan)

This is not a first honor that this young Polish violinist has received. Besides many national awards and honors, Mr. Wawrowski has been the winner of the 3rd prize at the 1997 International Competition for the Young Violinists in Kloster Schontal, Germany; he won the 3rd prize at the Louis Spohr International Violin Competition in Freiburg in 2000; and in 2003 in Dresden, Austria he received the 1st prize during the festival competition sponsored by the Dresden Bank. Janusz Wawrowski currently performs on an instrument funded by Polish Telecomunication S.A..

Przybylski Awarded In Vienna

Young Polish composer and organ player Dariusz Przybylski has won the 3rd prize at the International Composition Competition Franz Josef Reinl – Stiftung in Vienna. The awarded composition is Fünf Rilke – Lieder for countertenor and string quartet. The concert of the laureates will take place on the 9th of June, 2006 in Fanny Hensel-Mendelssohn-Saal at the Universität für Musik und darstellende Kunst in Vienna. Mr. Przybylski has been awarded as a composer and organist before, but this is the first international honor for this young artist.

Correction: Teleman Competition

In the April Newsletter, the results for the 3rd International George Phillip Teleman Violin Competition in Poznań were reported incorrectly. No first prize was awarded this year. The second prize was awarded ex aequo to Celina Kotz from Poznań and Maria Włoszczowskafrom Warsaw. The third prize went to Marta Kowalczyk. In all, there were 62 participants from Poland, Czech Republic, Germany, Hungary, Ukraine and Russia.


Drzewiecki U.S. Tour

Stanisław Drzewiecki has finished another concert tour of the United States. On March 19, 2006 he appeared at the Roswell Cultural Arts Center with a recital organized by the Chopin Society of Atlanta ( The program consisted of pieces by Frederick Chopin, such as Polonaise in A-flat major, Op. 53, Polonaise in A major, Op. 40, No. 1, and Impromptu in C-sharp minor, Op. 66, as well as by Franz Liszt. Pierre Ruhe, a distinguished music critic from the major Atlanta newspaper The Atlanta Journal-Constitution, observed that in the first part devoted entirely to Chopin’s music, Drzewiecki was humble in his approach to the ambitious program, letting the composer speak for himself. At the same time Drzewiecki displayed “a thrilling, note-perfect accuracy at the keyboard, even in the most treacherous spots” and presented “cogent, well-argued interpretations”. The second part of the concert was dominated by a persuasive interpretation of Franz Liszt’s Grandes études de Paganini. Ruhe wrote that the pianist’s “hands were a blur of trills and lightening-fast runs down the keyboard, yet [Drzewiecki] also opened up the quirky harmonies and odd figurations” of these six brilliant masterpieces. Drzewiecki received a standing ovation and in return gave the audience an extra thrill by playing Rachmaninoff’s Presto E minor n.4 op.16 and Chopin’s Prelude in E minor, no.7, op.28, as an encore. The three-week concert tour took Drzewiecki also to Florida (Sarasota, St. Petersburg, Key West, and Miami) and to Los Angeles, where, besides Chopin and Liszt, he performed works by Schubert and Rachmaninoff. It is worth mentioning that during that tour Drzewiecki signed an exclusive five-year contract with a prestigious music manager Maxim Gorshunoff.


For more information, please see Stanisław Drzewiecki’s website:

Mariusz Kwiecien Shines At Met

Throughout the month of April, the Metropolitan Opera presented its new production premiere of Donizetti’s delightful comic opera, Don Pasquale. Anna Netrebko and Juan Diego Flórez played the young lovers, with Mariusz Kwiecien, the young Polish baritone called “a star in the making, a charismatic actor, a fearless and exciting singer” by the New York Times, as Dr. Malatesta, and Simone Alaimo in the title role. James Levine was scheduled to lead the orchestra, but was replaced by Maurizio Benini. This marks the first new production of Donizetti’s Don Pasquale in more than a quarter-century.

Mariusz Kwiecien, young baritone from Krakow, Poland, is an alumnus of The Met’s Lindemann Young Artist Development Program and has sung ten roles with the Company since his debut in 1999. Kwiecien has had nothing but success in his roles so far, which include Marcello in La Bohčme, the Count in Le Nozze di Figaro, Silvio in I Pagliacci, and Guglielmo in Cosě fan tutte, and this new role in Don Pasquale is no exception. In his New York Times Opera Review on April 3rd, critic Anthony Tommasini sums up Kwiecien’s performance with the following words:

The dynamic young Polish baritone Mariusz Kwiecien was mesmerizing in the role, his robust voice matched by his robust physique. There were sparks of sexual chemistry between his character and Ms. Netrebko’s, which lent another intriguing element to the story.

And as for Kwiecien’s future in the opera world, Alex Ross of The New Yorker (4/24/06) seems to think it is a bright one: “The brilliant Polish baritone Mariusz Kwiecien, singing Dr. Malatesta, appears to be auditioning subliminally for the part of Don Giovanni (sign him up).”

Information for this article was taken from articles quoted above, as well as the Polish Cultural Center in NY.

Radio Polonia Anniversary Concert

This April, Radio Polonia celebrated its 70th anniversary with a gala concert featuring the world class Polish soprano Ewa Małas-Godlewska. The host of the gala event was the Radio Polonia English Section’s own Agnieszka Bielawska. The concert will be carried by the satellite channel TV Polonia at 23.55 CET on May 3.

The main task of Radio Polonia, or the External Service of Polish Radio, has always been to inform listeners abroad about events and life in Poland, its foreign policy and stance on international affairs, economy, science, culture, music and tourist attractions. Polish Radio started off its External Service in March 1936 and currently broadcasts in six foreign languages and Polish. It is co-financed by the Polish Ministry of Foreign Affairs.

Easter Celebration

The Polish Club of Laguna Woods held a traditional Polish Easter lunch on Sunday, April 9th. The Club has just celebrated its sixth anniversary and Mrs. Irena Głowacka-Lawyer presided over the festive occasion. The Hon. Paulina Kapuscińska, Consul for Culture and the members of the media was also in attendance. A short piano recital by Maria Wietrzyńska was given following the meal. Over 70 guests enjoyed traditional Polish cuisine and an opportunity to socialize among friends.

May Festivals In Poland

XVI Gaude Mater Festival

The 16th edition of the International Sacred Music Festival Gaude Mater will take place from May 1-6 in Częstochowa. The formula of the festival is very broad, presenting the music of many cultures. This year the theme is slightly narrower, focusing on the Christian music of the East and West, according to the director if the festival, Małgorzata Nowak. One of the trademarks of the festival is the number of premiere performances and this year is no exceptions with 12 world premieres, mostly by Polish composers. Some of the premiered works are the winning compositions of the “Musica Sacra” Composition Competition. The opening concert features the Polish premiere of Mieczysław Sołtys’s Coronation of Jan Kazimierz, an oratory composed in 1895 and virtually unknown. For the detailed program of the festival go to:

Probaltica Festival

The Probaltica Festival is dedicated to the music and art of the Baltic countries. 2006 Festival events will take place in Toruń, Grudziądz and Warsaw. The first concert took place in Artus’ Court in Toru? and the program consisted of compositions by: Mozart, Moniuszko, Plakidis, Cynk and Maskads. The Warsaw inauguration is on May 2 and Grudziądz on May 3. Beside the concerts, organizers plan meetings with the composers from Poland, Germany, Denmark, Sweden, Finland, Russia, Estonia, Latvia and Lithuania. The festival ends on the 20th of May.

Warsaw Music Meetings

The 20th edition of the Warsaw Music Meetings festival will take place between May 6 and 14 in Warsaw. Entitled “Early Music—New Music”, the concerts will feature works by both contemporary composers and classical masters. The performing spaces include: Polish Radio’s Witold Lutosławski Concert Studio, the Chopin Music Academy, the National Library and many Warsaw churches. For the detailed program of the festival go to:

Film Festival Of Komeda’s Music

A Film Festival honoring the music of Krzysztof Komeda will take place during the weekend of May 13-14 in the Skarpa Movie Theatre in Warsaw. Krzysztof Komeda-Trzciński (1931-1969) is the only Polish jazz composer to receive worldwide acclaim. He wrote soundtracks for 65 movies. The opening event of the festival will be a discussion panel entitled “Phenomenon: Krzysztof Komeda’s film music” with special guest Zofia Komeda, the composer’s widow.

The concert schedule includes performances by Michał Urbaniak Specjal Project, Tomasz Stańko Quintet, Piotr Cieślikowski and Nothing But Swing Trio. The concerts will be mixed with movie screenings including: Polański’s Knife in the Water, Morgenstern’s Good bye, till tomorrow, Wajda’s Innocent Wizards and Polański’s Rosemary’s Baby.

Łańcut Music Festival

This year’s edition of the Łańcut Music Festival will take place between the 13th and 20th of May and is organized by Rzeszów Philharmonic. The opening concert will be a performance of Sinfonietta Cracovia Orchestra, conducted by John Axelrod, with Romanian mezzo-soprano, Cannen Oprisanu. The most important events of the festival are: a recital by one of the greatest young generation Russian pianists—Piotr Laul; a concert of The Warsaw Quintet, with Andrzej Konstanty Kulka as 1st violinist; and a concert of “The Soloists of St. Petersburg” Orchestra performing Bach, Vivaldi and Shostakovich. For the detailed program of the festival go to:

Chopin In The Summer

Sunday Concerts In Łazienki Królewskie

Starting on Sunday, May 14, the annual cycle of Sunday Chopin Recitals in the Warsaw Łazienki Królewskie Park begins. The concerts start at 12 pm and 4 pm and feature the greatest pianists from Poland as well as around the world. In the month of May the performers are: Takashi Yamamoto, Andrzej Tatarski, Jerzy Sterczyński, Sławomir Wilk, Joanna Ławrynowicz and Lidia Grychtołówna.

The statue of Fyderyk Chopin, created by Wacław Szymanowski was first presented in Łazienki Królewskie in 1926. During the war the sculpture was destroyed but shortly after the end of WWII, in 1958, the statue was recreated and set in the original spot. From 1959 on the tradition of Chopin piano recitals started and continues to attract big audiences.

Chopin Recitals In Żelazowa Wola

This year’s cycle of piano recitals in Żelazowa Wola will start on Sunday, May 7 and the concerts will continue until the end of September. Every Sunday audiences will be able to listen to two recitals, starting at 12 pm and 3 pm. The organizer, the National Frederic Chopin Institute, continues the tradition of the recitals that was started back in 1954 by Prof. Zbigniew Drzewiecki. The May recitals will be performed by: Maciej Poliszewski, Janusz Olejniczak, Andrzej Tatarski, Piotr Machnik, Lidia Grychtołówna, Jerzy Sterczyński, Piotr Paleczny and Jan Kadłubiski.


Lang Lang’s Memory

Lang Lang, piano
Program: MOZART – Piano Sonata KV 330; CHOPIN – Piano Sonata in B minor; SCHUMANN: Kinderszenen; LISZT: Hungarian Rhapsody No. 2
Deutsche Grammophon, 2 CDs 477 597-6

Memory, the new studio recital album of Lang Lang, the great Chopin champion and laureate, reflects his journey from child prodigy to international pianist in his own right, grouping works by Mozart, Chopin, and Schumann that shaped Lang Lang’s experience as a budding musician in China. Within three weeks of its release, his album had reached No. 1 of the Billboard’s Classical Charts in the US. Here’s what Robert Levine of Record Review( / 01 March 2006) has to say about the album:

If it is possible to play the piano charismatically, then that is what Lang Lang does. His total identification with each piece gives his playing a warmth, a personal touch, that is unique. His performance of Mozart’s K. 330 is ideally classical. The opening movement seems played with the fingers just touching the keys. The big Chopin sonata is given an imposing, dignified reading, and Lang Lang plays the frisky scherzo—the most perky one Chopin ever wrote—with obvious glee. The performance of Schumann’s Kinderszenen is filled with characterization: dreamy, filled with wonderment (Curious Story), wackiness (Catch me if you can), and stillness (Child falling asleep); Lang Lang manages to avoid affectation throughout . . . This is a must-have; Lang Lang is not being over-hyped.

D.G. CD of the Month

Johannes Brahms (1833 – 1897): Piano Concerto No.1 in D minor, Op.15
Krystian Zimerman, piano & Simon Rattle, cond.
Berliner Philharmoniker
Deutsche Grammophon, 477 541-3

In September 2003, two musical legends—pianist Krystian Zimerman and Sir Simon Rattle—joined forces for the Berliner Philharmoniker’s season opening series in two unforgettable performances of Brahms’s First Piano Concerto. The concerts both dazzled the audience and delighted critics: “Performing Brahms’s First Piano Concerto together in complete accord and spiritually, in the truest sense of that word, they created the impression of Rattle being seated at some kind of orchestral piano to play four hands with Zimerman. The audience’s acclaim was boundless.” (The Berliner Morgenpost) Inspired by these sensational live performances, Zimerman and Rattle took their collaboration to the recording studio, where they recreated their concert chemistry for this masterful recording. This new version of Brahms 1 is the only Brahms recording currently available with Krystian Zimerman, whom his compatriot Artur Rubinstein has called a “natural Brahms player.” “It is…as commanding a Brahms D minor as any we have had in recent times.” (Richard Osborne, Gramophone Magazine, May 2006)

Szymanowski Quartet Debut

The Szymanowski Quartet, one of the most charismatic quartets of the younger generation, makes its recording debut with distinctive performances of three contrasting works: HAYDN – String Quartet in C major Op54 No. 2; BACEWICZ – String Quartet No 4; DVORAK – String Quartet No 14 in A flat major Op. 105. Available from Avie Records, AV 2098 – Hybrid SACD.

New Album By Ewa Małas-Godlewska

Internationally-acclaimed Polish soprano Ewa Małas-Godlewska is currently putting the finishing touches on her latest CD, scheduled to premiere on the 29th of May. The album will consist of hit film songs, jazz standards and new songs by Krzysztof Herdzin and Adam Sztaba. Among the 12 compositions recorded by the singer are songs based on the music from the films Rosemary’s BabyAmelia and The Last Temptation of the Christ. Ms. Małas-Godlewska will also re-record the hit duet I’ve finally found someone, originally sung by Barbra Streisand and Bryan Adams. She will be joined by Piotr Cugowski. The album is a production of Polish Radio and was recorded with the Polish Radio Orchestra. Keep an eye on www.ewamalas-godlewska.comfor more information.

Internet News

Music Consulting

Waltmans Music Consultancy provides music ensembles and soloists with advice on any music-related topic, for example on how to choose a suitable repertoire within the context of a musical era, or how to apply for a grant. In addition, Waltmans provides introductory lectures on music. We offer budding music ensembles and soloists—both vocalists and instrumentalists in early music or more contemporary repertoires—and promising young composers the opportunity to present themselves on our site, free of charge. This site aims to provide a platform for anyone who has a meaningful contribution to make in the field of early and contemporary music.


The Eastern Europe Music Convention—EEMC—is the first and only trade fair for music and entertainment industry professionals in Eastern Europe. The second annual event will take place 2-3 June, 2006 in St. Petersburg, Russia.

Stojowski Collection Update

Zygmunt and Luisa Stojowska 1918
Zygmunt and Luisa Stojowska, 1918

In 2005, the Polish Music Center at USC received a generous donation of manuscripts, sketches, correspondence, and published scores of music by Zygmunt (Sigismond) Stojowski (1870-1946) from the composer’s family. Now known as the Stojowski Collection, this new addition to the PM archive consists of 32 boxes of varying sizes. During the summer of 2005, the Stojowski Collection was appraised by a specially hired expert. Although study copies will remain in the Polish Music Center, the originals will reside permanently in Special Collections at the Doheny Library on the USC campus. In the coming months, as the Collection’s detailed inventory is being made, we will continue publishing the contents in our Newsletter, informing our public of this important legacy left by a fascinating and undeservedly forgotten composer. All inquiries regarding the Stojowski Collection should be directed to the Polish Music Center at USC via e-mail to:

The following is Part 1 of our report on the contents of Box III of the Stojowski Collection.




Case X: Correspondence: Stojowski’s Letters

Folder no. 1:

  1. An envelope, containing two letters by Stojowski, in French, dated 4 September 1918 and 5/IX/18 [5 September 1918]. Written on the stationary of the Twilight Inn, Haines Falls, NY, and addressed to “Mon…Loulou” and “Mon cher Rituś”
  2. A small envelope, addressed to “Madame Marie Todan[sp?] de Stojowska, Paris, rue Leo Delibes 12, with postage stamps of Hungarian Post and a postmarked “Brasso, 907-Maj 11-N9” on the back, containing Zygmunt Stojowski’s letter in Polish to his brother, Wacław, discussing matters related to inheritance
  3. A typewritten letter in English: “Dear Friend” discussing Stojowski’s editorial involvement in a biography of Paderewski, to be published by Putnam. Dated New York, May 6th, 1933; unsigned [in fragile condition—placed in separate folder]
  4. A handwritten draft of a note, in Polish: “Wielce Szanowny Panie Prezesie” [Dear Sir], signed “ZSt,” not dated, discussing terms for Stojowski’s participation in a concert during a “Polish Week”

Folder no. 2:

  1. A letter in French, dated New York, 2 Juin 1916 and signed by Sigismond Stojowski, written on behalf of Mademoiselle Luisa Morales-Macedo, recommending her to concert societies, etc. In very fragile condition, 1 page
  2. A letter in French, dated 6 Aoűt, 25 [6 August 1925] and written on the stationary of Hotel Darby, West Adams at Grand Avenue, Los Angeles, signed “Sigism.” and addressed to “Mon…bienaimé” discussing various domestic matters. 2 pages, fair condition
  3. Postcard in French, dated “July 2 1926, the Paradise Inn, Mt. Rainier, Washington,” signed “TATA” and addressed to “Master Henry Sigismond Stojowski, Box 447, Greenport NY.” In good condition
  4. A typewritten letter in English (carbon copy) by Sigismond Stojowski (unsigned), dated May 19, 1940 and addressed to Mr. Bert Andrees, Paderewski Fund for Polish Relief, Inc. asking for publicizing a concert given by Stojowski’s students. (1 page, good condition)
  5. A typewritten letter in Polish, signed by Stojowski, dated 8 December 1943. Addressed to an unnamed colleague (“Szanowny Panie Kolego…”) and inviting him to a meeting on promoting Polish musical culture in the US. (1 page, good condition)
  6. A typewritten letter in English, signed by Stojowski, dated 14 February 1945. Addressed to the “Letter Editor” of The New York Times it discusses the fate of Poland at the end of World War II. (2 pages, good condition)


Case XI: Stojowski: Correspondence

Folder no. 1:

A listing of bond investments and the investment income. In French, undated, (most likely late 1800s). 1 page, fair condition

Folder no. 2: Cables to Stojowski:

  1. From L.E. Behymer [in Los Angeles], dated 27 March 1926, regarding Stojowski’s teaching engagement on West Coast; also included cable replies to Behymer from Madame Stojowska, and a cable from Madame Stojowska to her husband, informing Stojowski of the Behymer’s cable
  2. From E.S. Coolidge, dated 22 September 1924, confirming his concert repertoire
  3. From Mrs. Lawrence Tibbett, dated 15 April 1940, inviting Stojowski for cocktails with Mayor LaGuardia and Count Potocki
  4. From Mrs. Lawrence Tibbett, dated 25 April 1940, inviting Stojowski for a meeting honoring Paderewski and his contribution to the Polish cause

Folder no. 3: Various letters

  1. From Oskar Halecki (PIASA, New York), dated 9/3/45 (in Polish, 1 page)
  2. From Nikander Stralsky, Vassar College, typed and signed, dated 6 May 1940 (in English, 1 page). Included a carbon copy of Stojowski’s reply, dated 7 May 1940
  3. From F.C. Wheeler, S.J. to Stojowski, typed and signed, dated 14 November 1944 (in English, 1 page)
  4. From Stanisław Zustke [sp?], dated 2 February 1927, hand-written and signed on the US Dept. of Labor Stationery/Ellis Island Detention Center. In Polish, 1 page
  5. Three letters from Elisabeth S. Coolidge:
  6. dated 14 November 1928, typed and signed. Appended to it is a draft letter, dated 3 November 1928, typed and signed “Reggarty Rubbish Limpicott”
  7. dated 22 September 1924, typed and signed, 2 pages
  8. From Sister Alphonse at Saint Mary’s Academy and College, Crescentwood, Winnipeg [Canada], hand-written, signed and dated 22 April 1930
  9. From “Mummssik & Bulbu”, hand-written and dated Lakewood, 29 March 1926, in French
  10. From J. Podoski, typed, signed and dated 13 August 1945, regarding the closing down on the Polish Organisations in America. In Polish, 1 page
  11. Submission form, largely left blank, to the American Catholic Who’s Who, Walter Romig & Co, publishers. Stamped date: 20 September 1940
  12. From Ernest Schelling, typed and signed, dated 1 April 1926. In English, 2 pages
  13. From Ernest Schelling, typed and signed, dated 9 February 1925. In English, 1 page
  14. From Ernest Schelling, typed, unsigned, dated 19 December 1924. In English, 2 pages [p. 2 contains only a telephone number]
  15. From Gustave Reese, Schirmer Music Publishing, typed, signed, and dated 27 February 1941, regarding re-publishing of Stojowski’s Prayer for Poland. In English, 1 page
  16. From Sylwin Strakacz, typed, signed, and dated 23 November 1943. In Polish, 1 page, written on the stationery of the Polish Consulate
  17. From Stojowski, to Mr. Strakacz at the Polish Consulate in New York; typed, unsigned, dated 26 November 1943
  18. From Jan Erdman, Polish Information Center in New York, typed, signed and dated 19 December 1944. In Polish, 1 page
  19. From Octavio Pinto, typed, signed, and dated 1 January 1933. In English, 1 page
  20. From Jane [?] in San Francisco, CA, typed, signed and dated 17 June 1942. In English, 1 page. Attached to a carbon copy of Stojowski’s reply, dated 25 September 1942
  21. From Craig King, Secretary, The Music Committee, Sesquicentennial Exhibition Association, Philadelphia, typed, signed, and dated 1 May 1926. In English, 1 page
  22. From Mrs. Robert W. Roberts, St. Petersburg, FL, typed and signed. Date entered by unknown hand [Stojowski?], top left: “Jan. 13, 1945.” In English, 1 page. Appended to it is Stojowski’s handwritten answer, dated 20 January 1945. 1 page
  23. From Tadeusz Janiec [sp?], Carlos Place, London, England, typed, signed and dated 1 January 1943. In Polish, 2 pages, asking for Stojowski’s music in view of performing it in England
  24. From Paul Super, Polish YMCA, typed, signed and dated 8 May 1945
  25. From Thad Rosewski [?], handwritten, in English, undated. Note, top left: “1857 Kedzie Av. | Chicago 47 Ill | 8-7-45”

Folder no. 4: The Paderewski Fund for Polish Relief

  1. Two letters, typed and signed from Mrs. Guido Pantaleoni., dated 11 May 1940
  2. From Bart Andress, typed, signed and dated 21 May 1940
  3. From A. Osterberg, typed, signed and dated 4 June 1940; includes two receipts, dated 4 June 1940
  4. From Princess Sapieha, typed and signed, undated
  5. From William J. Donovan, typed, signed and dated 3 October 1940. The reverse side includes Stojowski’s typewritten reply, dated 5 October 1940
  6. From Mrs. Vernon Kellogg, typed, signed and dated 25 October 1940. Includes a receipt, dated 25 October 1940
  7. From Bart Andress, typed, signed and dated 29 October 1940

Folder no. 5: The US Office of War Information

  1. From S.H. Silverman, Chief, Special Events Section, typed, signed and dated 24 April 1944. Draft of Stojowski’s reply, dated 26 April 1944, typed on the back
  2. From S.H. Silverman, Chief, Special Events Section, typed, signed and dated 1 May 1944. Draft of Stojowski’s reply, dated 6 May 1944, typed on the back.
  3. Envelope, Office of War Information, with a postmark: 1 May 1944, New York, NY
  4. From S.H. Silverman, Chief, Special Events Section, typed, signed and dated 12 June 1944
  5. From Olgier Langer, Special Events Section, typed, signed and dated 3 October 1944
  6. From Olgier Langer, Special Events Section, typed, signed and dated 7 October 1944. Appended to it [a program for a radio broadcast?] featuring a performance by Mieczysław Munz with introduction by Stojowski
  7. From Bess Lomax, Assistant to the Chief in Charge of Shortwave Operation, Music Department; typed, signed and dated 6 November 1944
  8. Folder no. 6: Journals and Newspapers
  9. From Jan Lechoń, handwritten in Polish, undated. On the stationery of Tygodnik Polski. 1 page
  10. From Chris McD. Puckette, Managing Editor, The New York Evening Post, typed, signed and dated 9 January 1919
  11. From Jan Lechoń, typed, signed and dated 19 September 1944, in Polish on the stationery of Kolo Pisarzy z Polski[Association of Writers from Poland]. 1 page
  12. From Edward A. Ryman [?], Letters Editor, The New York Times, typed, signed and dated 31 October 1944
  13. From Charles W. Morton, Associate Editor, The Atlantic Monthly, typed, signed and dated 13 December 1944

Folder no. 7: Musical Institutions

  1. From Frank Damrosch, Institute of Musical Art of the City of New York, typed, signed and dated 11 June 1906
  2. From Ossip Gabrilowitch, typed on the Detroit Symphony Orchestra stationery, signed and dated 24 May 1925. In English, with a handwritten postscript in French, 1 page
  3. From George A. Wedge, Director, Summer School, Juilliard School of Music, typed, signed and dated 21 July 1944
  4. From Oscar Wagner, Dean of Graduate School, Juilliard School of Music, typed, signed and dated 23 October 1944
  5. From Kenneth Klein, Manager, Concert Department, Town Hall, Inc., New York. Typed, signed and dated 27 September 1945. Appended to it are carbon copies of two letters of Stojowski to Town Hall, typed, unsigned, and dated 27 September 1945

Folder no. 8: Other correspondence

  1. From Mieczysław Haiman (The Association of Polish Roman-Catholics in America), typed, signed and dated 6 April 1936. In Polish, 1 page
  2. A script page from a radio broadcast on WNYC on Sunday, 1 May [1947?], commemorating Stojowski’s achievements and featuring some of his music. Typed with annotations in pencil. In English, 1 page
  3. Note to Stojowski from the Century Association [in New York City], dated 3 April 1936, informing the recipient that he was accepted as a member of the club. In English, 2 pages
  4. A postcard from “T.S.” in Chicago, handwritten, signed and dated 27 February 1945. In English
  5. A note from Thad [?], handwritten, signed and dated 11 August 1945. In English
  6. An empty envelope, addressed to Mr. Władysław Korsak, 151 East 67th Street, New York, postmarked 28 May 1949[?], sent by Irena Czech in India
  7. An empty envelope: “Petit papiers d’affaires”
  8. A letter from Joseph Hartigan, Manager, Foreign Language Bureau, Second Federal Reserve District, thanking Stojowski for his services and bestowing a medal. Typewritten, signed and dated 10 July 1919, with an envelope, postmarked 15 July 1919. Note: the letter and the envelope were torn in half
  9. A letter from Polskie Wydawnictwo Muzyczne to Luisa Stojowska, dated 6 September 1957. In Polish, typed, one page. Discusses issues of publication of selected Stojowski’s compositions

Folder no. 9: Family Correspondence

  1. A letter from “Rocha” [?] to “Necku” [Stojowski?], handwritten in French, dated Asnières, 22 August 1909, with an envelope addressed to Stojowski at Hotel des Alpes, Blausee, Switzerland, postmarked “Paris 22-8-09.” 1 page, double sided, very fragile
  2. A letter from “Rocha” [?] to “Necku” [Stojowski?], handwritten in French, dated Asnières, 20 September 1909, with an envelope addressed to Stojowski at 249 West 74th Street, New York, postmarked “Paris, St. Lazare 21-10-09.” 1 page, double sided, very fragile
  3. A letter from “Rocha” [?] to “Necku” [Stojowski?], handwritten in French, dated Asnières, 15 November 1909. 1 page, double sided, very fragile
  4. An undated note with an envelope, handwritten and signed by Alfred [Stojowski], wishing his parents “Merry Christmas”
  5. A handwritten letter from “Żoneczka” [little wife] to “Mon Hubbysin cheri,” dated Southhold, 7 July, 3 double-sided pages, in French
  6. A letter from Irena Czech, in a refugee camp in India, addressed to “Zygmunt Stojowski, composer, in New York” trying to establish contact as a Stojowski relative. In Polish, with an envelope containing postmarks from Karachi, and a military censor’s mark. 2 pages
  7. Postcard to Stojowski from “Mumsik” [Mrs. Stojowski], handwritten in French, dated Lakewood [NJ], 28 March 1926
  8. Postcard to Stojowski from “Bulbu”, handwritten in French, postmarked 29 March 1926
  9. Postcard to Stojowski from “Żoneczka” [Mrs. Stojowski], handwritten in French, dated Greenport, 20 June 1926

Folder no. 10: Court Papers/Bank Polski

  1. Court papers, dated 3 September 1941, filed with the Supreme Court, County of New York, in the case of Bank Polski, represented by Sigismond Stojowski and Roman Józef Majewski, plaintiffs, against Banque de France, defendants. Includes the original manila envelope from the law firm, Sullivan & Cromwell, postmarked 16 September 1941, addressed to Stojowski at 150 West 76th Street, New York
  2. A letter from Bank Polski c/o Bank of England, London, EC 2, typed in Polish, dated 12 September 1941 and signed [illegible], thanking Stojowski for his efforts in America related to the recovery of Polish gold reserves held by Banque de France
  3. A letter from Zygmunt Karpiński in New York, typed, signed and dated 16 September 1941, thanking for Stojowski’s help in the court case. In Polish, 1 page
  4. A letter from Zygmunt Karpiński in New York, typed, signed and dated 30 September 1941, thanking for Stojowski’s help in the court case. In Polish, 1 page
  5. A letter from Sullivan & Cromwell, 48 Wall Street, New York, attorneys for the Plaintiffs, typed, signed [?] Cromwell, dated 23 March 1944. In English, 2 pages


Case XII: Photographs

  1. Envelope no. 1: Several photos and negatives of Sigismond Stojowski, taken at different times
  2. Envelope no. 2: Several photos and negatives of Luisa Stojowski, taken at different times
  3. Envelope no. 3: Photos of family and friends, taken at different times
  4. Envelope no. 4: Stojowski-wedding photo, dated Oct. 2, 1918 with inscription in Polish on the back


Born This Month

  • 2 May 1846: Zygmunt NOSKOWSKI (d. 23 July 1909), composer.
  • 2 May 1913: Florian DĄBROWSKI, composer and teacher.
  • 5 May 1819: Stanisław MONIUSZKO (d. 4 June 1872), composer – Father of Polish Opera.
  • 12 May 1805: Jan Nepomucen BOBROWICZ (d. 2 November 1881), guitarist and composer.
  • 17 May 1943: Joanna BRUZDOWICZ, composer living in France, 2003 PMC Paderewski Lecturer.
  • 18 May 1905: Włodzimierz ORMICKI, composer, conductor, music theoretician.
  • 20 May 1903: Jerzy FITELBERG (d. 25 April 1951), composer, son of the famous conductor.
  • 28 May 1836: Jan KARŁOWICZ (d. 14 June 1903), father of composer Mieczysław.
  • 29 May 1903: Marian NEUTEICH (d. 1943, Warsaw), composer and cellist.
  • 31 May 1932: Bogusław MADEY, conductor and composer.
  • 31 May 1913: Irena GARZTECKA (d. 14 November 1963), composer and pianist.


Died This Month

  • 1 May 1948: Marcel POPŁAWSKI (b. 1882), composer and teacher, studied law and engineering before turning to composition.
  • 4 May 1896: Józef SIKORSKI (b. 1813), composer and music theorist.
  • 6 May 1892: Nikodem BIERNACKI (b. 1826), violinist and composer.
  • 10 May 1964: Hanna SKALSKA-SZEMIOTH (b. 29 April 1921), composer, student of Sikorski.
  • 13 May 1958: Eugeniusz MOSSAKOWSKI (b. 1885), opera singer (baritone).
  • 21 May 1848: Felix JANIEWICZ (b. 1762), violinist, conductor, and composer.
  • 23 May 1957: Alicja SIMON (b.1879), musicologist.
  • 25 May 1917: Edward RESZKE (b. 1853), opera singer (bass), brother of Jan.


Augustyn Bloch

On the 6th of April, 2006, at the age of 75, Augustyn Bloch passed away. He was one of the most prominent Polish contemporary composers and organists of his time. He was a dedicated member of the Polish Composers Union [ZKP] and between the years of 1977-1979 and 1983-1987 he served as a vice-president of the organization. He was a laureate of many national and international composition competitions and received many awards for his achievements. His organ compositions are standard repertoire for the instrument. Also of great musical value is his output for children.

Maria Dziewulska

On April 18, 2006 at the age of 97, Maria Dziewulska passed away in Warsaw. She was a composer, music theoretician and dedicated educator. She started working in music education in 1933. Her compositions have received many awards and her ear training books are frequently used in music schools around Poland. For her dedication and achievements she has received many state honors and awards. She was a member of Polish Composer’s Union since 1952.