Aga Zaryan and Darek Oleszkiewicz with Friends - Second Time Around! (Vol.16, No. 3)

A legendary jazz vocalist Aga Zaryan presented an unforgettable concert in Los Angeles, broadcast live on Facebook. She came from Poland to record a new jazz album with accomplished and experienced musicians, Darek Oleszkiewicz, bassist, Larry Koonse, guitarist, and Munyungo Jackson, drummer. Entitled “Second Time Around,” this is their second album with the same crew of musicians that worked on the recording in August 2025. Their concert on Saturday, August 9, 2025, took place in Paul Kulak's studio, known as Kulak's Woodshed, crammed with photographs and posters, and bizarre decorations (chairs on the ceiling, CDs strung up like laundry...). This unique space holds a secret: a set ultra-professional video and sound equipment is tucked away and video cameras move on tracks around the performance space creating attractive visuals… The program was packed with world premieres, but also with beloved jazz standards... But first, let's introduce the performers.

AGA ZARYAN‘s mellow, expressive voice and impeccable musicality have earned her many accolades from the music critics. The artist owes her worldwide recognition to a unique style, with a characteristic lightness of phrasing and a warm tone of voice. She was the first Polish artist to release records under New York’s legendary Blue Note Records label that has issued recordings of such legends as: Norah Jones, Nina Simone, Miles Davis and Bobby McFerrin. Aga Zaryan is a recipient of the most important awards in the music world, including the Fryderyk for a CD dedicated to poetry of Warsaw Uprising. She is one of Poland’s finest jazz vocalists and a winner of multiple Vocalist of the Year honors from Polish Jazz Forum magazine. 

DAREK OLESZKIEWICZ, known professionally as DAREK OLES, is a Grammy-nominated jazz bassist and educator, the pillar of Los Angeles jazz world.  Born in Wrocław, Poland, Darek began his musical education early and played various instruments before focusing on the acoustic bass. He gained recognition in Poland through numerous awards and performances with leading jazz groups. In 1988, he moved to Los Angeles, where he studied with Charlie Haden at the California Institute of the Arts. Oles has since become a faculty member at both CalArts and the University of Southern California. He has performed and recorded with jazz luminaries such as Brad Mehldau, Pat Metheny, Joe Lovano, and many others. His extensive discography includes about 100 albums, several of which have been nominated for Grammy Awards.

A native Californian, born in San Diego, LARRY KOONSE grew up in a musical family and began studying guitar at age seven, deeply influenced by his father, jazz guitarist Dave Koonse. At fifteen, he recorded his first album with his dad (Dave and Larry Koonse; Father and Son Jazz Guitars). In 1984, he became the first to earn a Bachelor of Music in Jazz Studies from USC. His career highlights include international touring & collaborations (six years on tour with the John Dankworth quartet and vocalist Cleo Laine), being featured on over 300 albums, including Mel Tormé, Luciana Souza, Natalie Cole, Rod Stewart, Lee Konitz, Bob Brookmeyer, and others, and multiple Grammy nominations with Billy Childs’s chamber sextet (Lyric and Autumn: In Moving Pictures) and Luciana Souza’s projects (Tide, Book of Chet). Koonse also led and co-led groups such as the L.A. Jazz Quartet and released critically acclaimed solo albums on Jazz Compass label. He appeared as a soloist at Carnegie Hall, Disney Hall, Sydney Opera House, Los Angeles Philharmonic, and more. 

Four-time Grammy winner MUNYUNGO JACKSON is a percussionist, composer, arranger, and producer, bringing an ever-growing collection of instruments to his craft.  The rich array of his traditional and unusual percussive sonorities may be heard on recordings in diverse musical genres, from funk, pop, and jazz to Latin, reggae, and the traditional dance music of Nigeria, Senegal, Ghana, Haiti, Brazil, and Cuba. Munyungo was born in Los Angeles, California, into a creative family that well prepared him for a 30-year music career. His parents, Arthur Jackson Jr. and Genie Jackson, were both deeply involved in music, dance, and writing, and Munyungo is the nephew of the legendary jazz, pop, and blues singer-pianist Nellie Lutcher, who recorded for Capitol Records. Munyungo’s exceptional versatility made him a highly sought-after performer for studio sessions, concerts, and tours. Throughout his career, he has shared the stage with iconic artists such as Miles Davis, Stevie Wonder, Sting, Kenny Loggins, Herbie Hancock, Dianne Reeves, the Zawinul Syndicate, George Howard, Ronnie Laws, The Temptations, Four Tops, The Supremes, Bennie Maupin, Bill Summers, Marcus Miller, and many others. He has also worked with numerous ethnic music and dance ensembles, further showcasing his talents.

The first joint album of this group of expert musicians, Picking Up the Pieces (2006/2011), is a deeply expressive, critically and commercially successful CD that marked Aga Zaryan’s transition from national to international acclaim. Featuring a potent mix of jazz standards and a few original pieces, it explores emotional and spiritual narratives centered on women’s experiences. The album was a major breakthrough: it achieved double platinum in Poland and became a European adult contemporary bestseller. Critics praised its intimate feel and fresh interpretations. Newsweek highlighted Zaryan’s “charm and talent.” Almost 20 years later, now is the time for "Second Time Around"!

Having such an impressive ensemble to support her flexible and enchanting voice, Zaryan began the evening with the Oscar-winning title song from the film "The Thomas Crown Affair," written by Michel Legrand. It set the tone for the first part of the program that was ballad-like and reflective. The program featured world premieres of original compositions by Oleszkiewicz and Koonse with lyrics by Zaryan herself, including the touching "Save the Children." The singer perfectly matched this poignant tune with her interpretation of Sting's little-known song, "The Russians"—who perhaps "also love their children…" regardless of what else they do… 

Consul General of the Republic of Poland, Paulina Kapuścińska,

Next, since the concert was in early August, Zaryan decided to honor the fighters and victims of the Warsaw Uprising (which began on August 1, 1944) and performed a song from her CD dedicated to the Uprising's young poets. This song, with lyrics by Krystyna Krahelska was a sweet love poem written about a month before her death on August 2, 1944. The contrast of delicate youthful sentiments and the tragic premature death of the poet was deeply poignant. personal connection was mentioned by Zaryan: her grandparents and those of Michal Tokaj the song’s composer also fought in the Uprising. Consul General of the Republic of Poland, Paulina Kapuścińska, spoke the heroism and patriotic zeal of the brave fighters and the tragic loss of life and destruction of Warsaw in her preliminary remarks. Interestingly, after the recital, Aga Zaryan and the Consul discussed the tragedy of the Uprising with an audience member, Professor Andrzej Targowski, honorary president of the Association of the Children of the 1944 Uprizing. As a 7-year-old, he survived the murder of his family, shot in one of massacres of civilians by German forces.

Dr Irmina and Prof. Andrew Targowski, Consul General of the Republic of Poland, Paulina Kapuścińska,

The second part of the program featured Zaryan’s lively interpretation of the standard, "Second Time Around," with a score by Sammy Cahn and music by Jimmy Van Heusen, familiar from the repertoire of Frank Sinatra. Melodies by Wayne Shorter, Tina Turner, and Steve Wonder, performed at a more upbeat pace, were interspersed with a series of the singer’s duets with bassist Darek Oleszkiewicz and guitarist Larry Koonse. Percussionist Munyungo Jackson enlivened the atmosphere with delicate accents of an unusual array of “noise-makers” and demonstrated his class in playing polyrhythms on the bongos. Listeners also praised Zaryan's warm, honeyed voice, which blended beautifully with the ensemble. I didn't know it was possible to have such wonderful dialogues while singing with a double bass, but my fellow attendance member, a jazz vocalist Karolina Naziemiec, confirmed that indeed, Darek is a great partner for singers in jazz duets, and the proof is in her own recording posted on Spotify.  

All the performers deserved praise since they are all masters of the highest caliber, with a vast list of achievements and awards, including Grammys and Fryderyk Awards. Moonrise Press sponsored this exclusive event, and the Paderewski Musical Society helped with its promotion.  We look forward to the album, "Second Time Around"!

Dr Maja Trochimczyk

INFORMATION ABOUT THE VENUE AND EVENT ORGANIZERS

KULAK’S WOODSHED is a Live Music Video Recording Venue that seats 49, with 24 Track Pro Tools audio and Webcast created for the promotion of singer songwriters. Artists here range from beginners to Grammy winners.Created by Paul Kulak in 1999, Kulak’s Woodshed evolved into a community labor of love, operated by skilled volunteers and supported by audience donations. All are welcome, any age, and music styles. Self serve snacks, soft drinks, tea, and coffee. Pet friendly. Their last Polish event was a concert by Ewa Zmijewska and Shandy Caspar in 2019. 

Established in 2008, the PADEREWSKI MUSIC SOCIETY is a 501(c)(3) nonprofit that honors the legacy of Ignacy Jan Paderewski, the celebrated concert pianist, composer, philanthropist and Prime Minister who guided Poland to independence after WWI. Paderewski edited Chopin's scores for publication and is known as THE person who brought Chopin's works to light with his rousing worldwide performances in the early 1900s. Since its inception, in addition to having organized three international piano competitions, the Society has sponsored concerts, piano recitals, masterclasses, fundraising events and film screenings. The roster of world-class artists presented included well-established names as well as the most promising members of the younger generation and included Lee Kum Sing, John Perry, Piotr Kosinski, Hubert Rutkowski, Xiayin Wang, Andrew Yang, Zheeyoung Moon, Adam Wibrowski, Edward Wolanin, Peter Toth, Gloria Campaner, Dmitry Rachmanov, Gloria Cheng, Kamil Pacholec and Wojciech Kocyan. Most recently, the Society established a scholarship fund to aid in the education of most deserving young pianists.

Since 2008, MOONRISE PRESS (President Maja Trochimczyk), published over  20 books of poetry and studies of Polish culture. Past publications include Gorecki in Context: Essays on Music (2017), two histories of the Modjeska Club in Polish and English, and 15 volumes of poetry by California poets.  Current projects include Four-volume Collected Plays by Kazimierz Braun (vol. 4 is in preparation), 168 sonnets by Konrad Tademark Wilk, and more. The press also contributed to USC Polish  Music Center’s Paderewski Lectures and Modjeska Club events. 

"Timeless Dialogues" - American Debut of Paulina Tomczuk with Dominik Yoder (Vol. 16, No. 2)

 

On 20 May 2025 at the Martin Luther King Auditorium of Santa Monica Public Library, the Helena Modjeska Art and Culture Club presented a wonderful concert of two young musicians, Paulina Tomczuk, violin, and Dominik Yoder, piano.  They played a set of pieces for violin and piano, after showing off their talents in solo sections of the well-received concert. 

Born in Zielona Gora, Poland, Paulina Tomczuk is a graduate of Fryderyk Chopin Music University in Warsaw (2024) where she is currently continuing her Masters' studies with Agata Szymczewska. Simultaneously she studies at Hochschule der Künste Bern in Switzerland with Professor Bartłomiej Nizioł. A young soloist's path to fame leads through the thorns of countless competitions, and Ms. Tomczuk has participated in about 70, winning numerous honors.  Three recent ones are: the 4th Prize at the 6th Wanda Wiłkomirska International Polish Music Violin Competition in Częstochowa (Poland, 2024), the 1st Prize at the 1st Miniature Competition in Warsaw (Poland, 2022), the 1st Prize at the Kyoto International Music Competition (Japan, 2021), the Grand Prix at the 2nd Wiłkomirski National Chamber Music Competition in Łódź (Poland, 2021), and the 1st Prize at the ISCART International Music Competition (Switzerland, 2021).  She has performed as a soloist and in chamber ensembles in Poland, Czech Republic, Switzerland, Germany, France, the Netherlands, and Turkey. This concert was her American debut and it truly revealed her talent. 

For the solo violin portion of the concert, she selected three pieces from different time periods - Johann Sebastian Bach's contemplative and polyphonic Andante and Allegro from Sonata for Solo Violin No. 2, BWV 1003, followed by pensive and chromatic first movement, subtitled L'Aurore from Eugène Ysaÿe's Sonata for Solo Violin No. 5, Op. 27 and ending with brilliant and sparkling with vitality Caprice No. 1 by Polish composer Grażyna Bacewicz. I forgot to ask what violin she played, but it sounded exquisite, filling the auditorium with rich, honeyed tones. Being a classical music weirdo, I used to listen to Bach's solo violin sonatas (that I much prefer to those for solo cello) both as "little night music" at home and while driving, to calm myself down amidst the chaos of Los Angeles freeways. Once I got into the mood of the Andante, I found the peace and serenity of pure musical dialogue - a difficult feat to perform on a solo instrument with four strings and one bow.  Yet, Tomczuk was able to bring out the inner voices and maintain apparent continuity of intertwining melodies.  

The Belgian, late Romantic Ysaÿe is violinists' perennial favorite, yet somehow left me lukewarm. We do not have to like all the world's music, even though I'm sure the young violinist performed this dark piece very well. However, Bacewicz's Caprice in stunning interpretation of Paulina Tomczuk aptly made up for this disappointment - it was so vivacious and brilliant that it seemed that sparks were flying from the musician's bow. Bacewicz was a professional, prize-winning violinist and knew the instrument exceptionally well.  This is a gem in contemporary repertoire, with its virtuosic staccatos, spizzatos, flying arpeggios and shifts of register and texture. What a fantastic piece and what an extraordinary performance!  Looking for words, here, to stop repeating adjectives. Oh, I found it, in the magical vocabulary of Mary Poppins: Supercalifragilisticexpialidocious!

Unlike Paulina Tomczuk, whom I have seen and heard for the first time, I've had the pleasure of witnessing the artistic growth of Dominik Yoder over many years.  As former Director of USC Polish Music Center I often lent scores from our collection to Roza Kostrzewska Yoder, a Polish music fan who does the most to promote Polish music in California of all musicians and officials that I know. She finds age-appropriate music by Polish composers for all her students, including her three sons, Kacper, Dominik and Lukasz.  It must be hard to be the middle child in any family, let alone a family of two pianist parents and three pianist siblings. The good thing, there is excellent music heard and played in that cultural oasis of a home every hour of every day. . . The challenge is to find one's individuality and personal style amidst such competition. 

Kasper, Dominik, Lukasz Yoder with their parents and the Board of the Modjeska Club

at the Wojciech Kocyan Residence in Baldwin Hills, CA, September 2019.

And Dominik Yoder did exactly that.  As his official bio notes "he directed unusual passion and determination toward music from a very young age, beginning piano studies at the age of two on his own initiative." If his older brother was playing, Dominik wanted to play as well... When he performed for the Modjeska Club in 2019 along with his two brothers, the audience was impressed with their impeccable technique, virtuosity, and musicality. At that time, Dominik stood out because he was not just a pianist, but also a composer. He played one of his pieces - in a somewhat post-romantic, post-Rachmaninoff style that had little to do with the dissonances and complexities of contemporary modernism, but a lot more in common with the spiritual and emotional world of Romanticism. A beautiful and inspired miniature of dense chords and poignant melodies. Well done! That's what I thought then.  

Since that time, Dominik spent hundreds of hours at the keyboard and traveled to numerous competitions, expanding both his impressive technique, the pianistic repertoire, and the expressive range of music he could comfortably interpret and make his won.  To return to the list of his achievements he recently won the Beverly Hills International Auditions and the New York Music Guild Competition. Earlier, "he  received Second Prize in the 2025 Hartford International Chopin Competition, Fourth Prize in the 2025 Fujairah International Piano Competition, Second Prize in the 2024 Los Angeles International Liszt Competition, the Gold Medal in the 2018 Kosciuszko Foundation Competition for Young Pianists in Washington, D.C., and the Grand Prize in the 2018 Redlands Competition, thanks to which he performed with orchestra. He has been awarded First Prize in more than a dozen local, regional, and state competitions. In 2022, Dominik received the Wybitny Polak (“Outstanding Pole”) award from the 'Teraz Polska' Foundation at the Consulate General of the Republic of Poland in Los Angeles."

For the solo piano portion of the concert,  Dominik Yoder selected Franz Liszt's most popular Hungarian Rhapsody No. 2 in C-sharp minor, followed by Chopin's Nocturne Op. 62 No. 1 in B major, filled with nostalgia and musical filigrees of delicate arpeggios, the dramatic and passionate Étude-Tableau Op. 39 No. 6 in A minor by Sergei Rachmaninoff and concluding with Sergei Prokofiev's virtuosic and boisterous Sonata No. 3 in A Minor. The Hungarian Rhapsody is a very difficult choice - since every classical music listener has heard it countless times, and those into popular music treat it as a soundtrack to a Disney cartoon. Alas, in being ridiculed by cats and mice chasing each other, the timeless music does lose its allure. But, luckily, in Yoder's interpretation it gains back its status of a celebrated masterpiece and more. His pianistic technique is impeccable, with hands flying over the keyboard with astounding velocity and accuracy.  The key to technique is to make all keys, all fingers even - so many pianists who do not practice enough after becoming "professional" lose the ability to even-out the dramatic arpeggios and scales, so suddenly there are holes in them when one finger is slightly too weak and "off." Not so, in Dominik Yoder's interpretation! His hands are a joy to behold and the fruit of their work a joy to hear! Virtuosity and brilliance in a Liszt piece is a given. What impressed me the most while listing to Yoder's interpretation of the "timeless chesnut" was how he brought out the inner voices, the sonorous details, the shifts of tempo, mood and touch... These highlights changed and enriched the music, making it sounds fresh and original. So I completely forgot about the cats and mice that stubbornly invaded my mind at the beginning.... Thank you, Dominik, for saving the music from desecration by popular entertainment! Bravo.

He was no less brave in following the Hungarian Rhapsody by one of Chopin's best known and beloved Nocturnes. At one of his home concert I was not happy because the shift from one, fast and dramatic piece to another, slower one was made too fast. It is one thing to practice, and another to completely enchant and delight the audience.  In the Nocturne, Dominik Yoder displayed the "unbearable lightness of being" - the delicate, ephemeral arpeggios, the sweet, slightly sorrowful melodies - the audience was still, almost holding their breaths, so focused on anticipating and hearing the next note, the next climax of a heavenly ascending phrase. . .  If I continue, I'll end up writing too much purple prose, so let's return to the program. The two Russian works, Rachmaninoff's Etude and Prokofiev's Sonata were written by pianists for pianists, with such overabundance and density of chords, scales, arpeggios, contrasts, forte fortissimo accents, that the audience was completely transfixed by this sonic onslaught.  The pianist fully revealed his serious, intense, dramatic side - as a Romantic virtuoso prima facie. 

Thus, when I read comments from Ewa Solinska and Prof. Adam Wibrowski claiming that Dominik Yoder is ready to compete in the Chopin International Piano Competition in Warsaw, I was not surprised. He said he does not know enough Chopin by heart yet, so he will wait another five years.  Let's wish that in those years, his talent and musicality expand even further, so he reaches the podium of this most important Piano Competition in Poland. 

For the "dialogue" portion of the concert, the willowy young violinist changed into a stunning red dress.  She brought out some technology on stage - a tablet with the music and a pedal to press on to change the pages. How does the world change! Oh my, oh my... At least she does not have to haul a suitcase of paper around the world when going to concert. On the other hand, who could forget the cosmic vision of harpsichord soloist Elizabeth Chojnacka, with a crown of red curls above a tight silver uniform straight from outer space as she threw to the floor gigantic sheets of music glued to purple cardboard. When the music was over - Xenakis, Boulez et al. - the stage was covered with the music. This was one of my most favorite memories from Warsaw Autumn Festivals... 

Our flame-red violinist and somber black-clad pianist first ventured into the classical territory. The Sonata for Violin and Piano in E-flat major, K. 302 by Wolfgang Amadeus Mozart was composed in 1778 in Mannheim and published as the composer's Opus 1, known as one of his "early" sonatas. The work consists of two movements, Allegro and Andante grazioso. The challenge of Mozart lies in the apparent textural simplicity and transparency of his textures. Here's the melody, here's the accompaniment... But the real challenge is the precision of rhythm, phrasing, the delicacy of touch.  And, with two musicians, the challenge is to hear their impeccable coordination. One is the soloist, the other accompanies, then there is a switch and the roles reverse.  Paulina and Dominik met this challenge head on and conquered that mountain! Bravo.  It was a real delight to follow their musical dialogues and interchanges. When I listen to Mozart, it seems the music always dances a minuet in a crinoline and a wig. But it dances in the center of a vast ballroom, so each stumble, each step is clearly seen. Luckily, this time, there were no stumbles. 

I did not remember Claude Debussy's Beau Soir for violin and piano from my music history studies and rightly so - it is an arrangement for violin and piano of a song first published in 1891 and setting a lovely verse by Paul Bourget:

, Lorsque au soleil couchant les rivières sont roses

Et qu'un tiède frisson court sur les champs de blé,

Un conseil d'être heureux semble sortir des choses

Et monter vers le cœur troublé.

Un conseil de goûter le charme d'être au monde

Cependant qu'on est jeune et que le soir est beau,

Car nous nous en allons, comme s'en va cette onde :

Elle à la mer, nous au tombeau.

When at sunset the rivers turn pink / And a warm tremor rustles the wheat fields,/ An advice to be happy seems to arise from the world / and ascend towards the troubled heart.

It is an advice to savor the charm of being in the world / while we are young and the evening is beautiful / For we are leaving, like this wave that goes out / to the sea, so we go out to the tomb.

Debussy was not even 30 years old, and his choice of this melancholy text -  "carpe diem" or else - seems indicative of youthful angst.  Around that age people suddenly realize that they are not immortal, they will not be forever young, and there is a next generation already chasing after them. The music is appropriately sweetly delightful and somewhat nostalgic, even more in the violin-piano version.  When the violin reached the continually ascending while fading notes in pianissimo, the audience was transfixed into silence that was followed with an audible "aaach" afterwards. That's the magic of classical music - to so enchant and entrance the audience, to so take them into cosmic spheres of beauty, that they cannot help but sigh, when the music ends. This was one of my most favorite pieces on the program. 

Sergei Rachmaninoff's Vocalise is the last of his Songs op. 14, written in 1915 without words, and sung in that way by many world-famous sopranos. It was also arranged for many instruments that imitate the voice, in the ebb and flow of its flowing melodies. A charming, romantic piece, allowing the violinist to showcase the emotional versatility.  I must say, having heard it many times before I was struck by the number of repetition of the same melody in the music. If someone is not romantically inclined, is it still as beautiful? Or just repetitive?  The difference between deep romanticism and shallow sentimentality is difficult to maintain. While the musicians gave justice to the music, the piece itself seemed too tedious to me.  But what can I say? Could I even sing or play it? It is easy to criticize and complain while sitting on the sidelines... 

Luckily the fantastic, perfectly structured and played Scherzo by Johannes Brahms from the F A E Sonata brought the listeners back to the highest level of Romantic artistry.  Brahms wrote this movement for a work composed jointly with Robert Schumann and Albert Dietrich in 1853 for the virtuso violinist Joseph Joachim, with the intention of having him play the sonata, but he never did. Instead he premiered Brahms's Violin Concerto.  The work is based on a motive outlining the German phrase that was Schuman's personal motto: "Frei aber einsam" ("free but lonely"). Luckily, the repetitions and recurrences of this phrase in the Scherzo never become as tedious as those of the theme in the Vocalist. Brahms's Scherzo, as interpreted by two astounding virtuosi was truly a perfect ending to this concert. I was grateful to hear classical music so alive and so well under the fingers of these talented young musicians.  

The encore was another treat - Henryk Wieniawski's Romance from Violin Concerto No. 2, Op. 22, with the orchestra reduced to the piano.  Again, the two musicians displayed their artistry, seamless collaboration, musicality and sensitivity in the most expressive phrases... Overall, the audience greatly appreciated their versatility, musicality, technique, and poise. The applause only ended because the guards were urging everyone to leave, as it was way past the Library's closing time! 

It will be great to follow the young virtuosos' careers and see how far they will go. Meanwhile, what the listeners took home was another set of unforgettable memories of high art, high class, high society... The Western civilization has such treasures to share...

Modjeska Club's President Maja Trochimczyk, Treasurer Anna Sadowska, Dominik Yoder, Paulina Tomczuk, and Secretary Beata Czajkowska

The Joy of Motherhood, Bogurodzica, and Polish Christmas Carols (V. 16, No. 1)

Lorenzo Monaco  (circa 1370–circa 1425), The Nativity, circa 1406–10, Tempera on wood, gold ground, Metropolitan Museum of Art, Robert Lehman Collection, 1975.1.66

St. Francis of Assisi invented the Nativity scene for Christmas, showing the poverty and simplicity of the parents of the Divine Baby, and the humble stable where the Divine birth too place. These nativity scenes are extremely popular in Poland, with their focus on the mother and baby in the center. For non-Christians, agnostics, and other spiritual or humanist fols, Christmas is a unique festivity of motherhood, mothers, babies, birth, and the origins of all human beings in their mothers' wombs. This is extremely important and a major contribution of Christianity to the rise of respect for women around the world. Just compare these images of Mother and Child with representations of Divine figures around the world....

For Christians and Catholics in particular, this is a celebration of the birth of their Savior, the Redeemer, Christ the Son of God. Catholics and Orthodox believers focus on the woman in the center, Theotokos, Bogurodzica, Mother of God. Countess icons depict the Nativity, countess sculptures, paintings and frescos portray the Divine Mother and her Divine Child, the favorite of so many gothic, renaissance and baroque painters in the West, and all these anonymous "writers" of icons in the east - that developed a series of types of representations, depending on the positions of the Mother and Child, their gestures and their hidden and reveled meanings. 

The Black Madonna, Our lady of the Bright Mount icon copied at the Chiesa dei Santi Simone e Giuda (Tabiago, Nibionno) -  alla Cappella della Madonna, photo by Kaitu. Wikimedia Commons

Bogurodzica, the Mother of God, is the Queen of Poland - this title of hers has never been officially rescinded.  The most beloved Polish anthem, sung for centuries, is dedicated to her. It functioned as a batte hymn, most notably during the Battle of Grunwald in 1410 when the Teutonic nights were defeated by combined Polish and lituanian forces. It was used for the coronation of Polish kings and its most recent appearance was at the Polish Seym, sung by all representatives together.  

I found its strange arrangement - with only the first stanza of text used by the musician, presenting the melody alone at first and adding bagpipes and various other medieval and folk instruments. At the same time, the imagery of the Battle of Grunwald by Jan Matejko, a 19th century patriotic behemoth, designed to stimulate Polish resistance against their German, Austrian, and Russian rulers during the 123 years of partitions. The musician Farya Faraji, wrote "Bogurodzica is a Polish, medieval Catholic hymn composed somewhere between the 10th and 13th centuries, with its likely author being Saint Adalbert of Prague. Though originally a liturgical hymn, it soon evolved into a battle chant used by Polish warriors, and was chanted on the 15th of July 1410 during the Battle of Grunwald." https://www.youtube.com/watch?v=KLilgcnGKpg

In a different version, the image of mother holding her baby is accompanied by a male chorus singing a polyphonic arrangement of the anthem https://youtu.be/foCr1GEKM5A?si=VrlFRNTrQWgD3hGY

Bogurodzica                          Mother of God

Bogurodzica, Dziewica Bogiem sławiena Maryja Twego syna, Gospodzina, Matko zwolena Maryja Zyszczy nam spuści nam. Kyrieleison.   Twego dziela Krzciciela, bożycze, Usłysz głosy, napełni myśli człowiecze. Słysz modlitwe, jąż nosimy, Oddać raczy, jegoż prosimy: A na świecie zbożny pobyt, Po żywocie rajski przebyt. Kyrieleison.

Mother of God, Virgin God-famed Mary! Ask Thy Son, our Lord, God-named Mary, Present to us, bestow on us! Kyrie eleison!   For your work, the Christ, God, Hear the voices,  fill human thoughts, Hear the prayer that we carry, We ask him to give us back: In the world a godly dwelling, After life, ascension to paradise Kyrie eleison!

This is a startling, majestic song, made even more serious by its slow-tempo, low-voiced male chorus... Here she is "Theotoos" "Bogurodzica" - But the Motherhood of Mary is celebrated in Nativity scenes and carols - lullabies that focus on the affection of the Divine Mother and Divine Child, as in the 14th century icon from Russia, the Icon of the Virgin Mary of the Don from the Holy Trinity-St. Sergius Lavra.

There is a tenderness in this image of the baby reaching up to mom, and the inclined head of the Mother focuses solely on the baby... This human gentleness permeates the most favorite Polish carols. Gdy Sliczna Panna, Jezus Malusienki, Oj Maluski, Maluski, and beloved by Chopin - lulajze Jezuniu.

This December, I attended two Christmas caroling parties, one of Modjeska Club that I organized myself, on December 14, 2024, and another the next day, at the Theater Jaskolka in Vista, the home of Marek and Halina Brzeszcz. At the Club's party, the caroling was led by Olivia Kierdal from the piano, we sang carols for an hour, and did not fail to include the slow, delicate and lovely lullabies to baby Jesus, shivering from cold in the manger.... The "Gorale" style carol has beautiful words

Oj, Maluśki, Maluśki 1. Oj, maluśki, maluśki, maluśki, kieby rękawicka Albó li tyz jakóby, jakóby kawałecek śmycka. Ref. Śpiewajmy i grajmy Mu, Dzieciątku małemu.   2. Cy nie lepiej by Tóbie, by Tóbie śiedziec byłó w niebie Wśak Twó j Tatuś kóchany,kóchany nie wyganiał Ciebie. Ref. Śpiewajmy i grajmy Mu, Dzieciątku małemu.   3. Tam wciórnaśka wygóda, wygóda, a tu bieda wśędzie, Ta Ci teraz dókuca, dókuca, ta i pótem będzie. Ref. Śpiewajmy i grajmy Mu, Dzieciątku małemu.

Oh, the little one, little one  1.Oh, the little one, little one, little one, as tiny as a  glove Or maybe similar, similar to  A piece of a twig.  Ref. Let's sing and play to Him,  Little Child.    2. Wouldn't you be better off If you stayed in heaven After all, Your beloved Daddy did not chase you away. Ref. Let's sing and play to Him, Little Child.   3. There - a great comfort, great comfort and here poverty is everywhere, It now bothers you, bothers you And it will be the same later.  Ref. Let's sing and play to Him, Little Child.

Eugeniusz Klimakin wrote on the Polish Culture portal about the Oj maluśki, maluśki caro describing it as a 18th century "pastorae" - "This pastoral appears for the first time in the 18th-century manuscripts of the Kraków Franciscan nuns, and currently the most frequently performed text comes from Kolędy, czyli zbiór pieśni na Boże Narodzenie dla wygody i nabożeństwa Ich Mość P.P. Franciszkanek klasztoru św. Jędrzeja (Christmas Carols, or a Collection of Christmas Songs for the Comfort and Devotion of the Gentle Franciscan Sisters of St. Andrew’s Convent), dated 1808."

https://culture.pl/en/article/the-most-popular-polish-christmas-carols

The most famous Polish carol that was the favorite of  Chopin, - as Eugeniusz Klimakin wrote - "At the age of 21, the brilliant composer had to leave Poland forever. He left in November, so he was travelling on Christmas Eve – on 24 December 1830, while in Vienna, he went to St. Stephen’s Cathedral. According to experts on his life and work, he began to recall Christmas in his native Żelazowa Wola and this holiday’s traditions and carols that were close to his heart. At that time, a preliminary version of the Scherzo in B-flat Minor, op. 20, was created, which he completed after arriving in Paris. He used the melody line of his favourite carol, ‘Lulajże, Jezuniu’."

Krzysztof Książek in Chopin's Scherzo B minor Op. 20 https://youtu.be/wHQkramSPUs?si=dEtjtwt_SVNe6iG8

1. Lulajże, Jezuniu, moja perełko, Lulaj, ulubione me pieścidełko. Ref. Lulajże, Jezuniu, lulajże, lulaj!  A ty Gó, Matulu, w płaczu utulaj.   2. Żamknijze znuzóne płaczem powieczki, Utulże zemdlone łkaniem uśteczki. Ref. Lulajże, Jezuniu, lulajże, lulaj!  A ty Go, Matulu, w płaczu utulaj.   3. Lulajże, piękniuchny naśz Aniółeczku, Lulajże, wdzięczniuchny świata Kwiateczku. Ref. Lulajże, Jezuniu, lulajże, lulaj!  A ty Go, Matulu, w płaczu utulaj.

1.Lulajże, Jesus, my pearl, Lulaj, my favorite delight. Ref. Lulajże, Jesus, lulajże, lulaj! And you, Mommy, comfort him in crying.   2.Close your eyelids, weary of crying Close your lips, fainting with sobs. Ref. Lulajże, Jesus, lulajże, lulaj! And you, Mother, hug Him in tears.    3. Lulajże, our beautiful Angel,  Lulajże, graceful  Flower of the world  Ref. Lulajże, Jesus, lulajże, lulaj! And you, Mommy, comfort him in crying.

Another sweet "Nativity" song is about the poor and shoddy stable where the Divine baby was born. It is also delicate and sweet, just like a lullaby.... and, although not perfect it was sung with sincerity by members of the Modjeska Club in 2022.  Its text focusing on the Divine nature of the newborn baby, returns to theological concerns of other carols, serving, in their time, as religious lessons. 

Mizerna, cicha, stajenka licha, Pełna niebieskiej chwały. Oto leżący, przed nami śpiący W promieniach Jezus mały.   Nad nim anieli w locie stanęli I pochyleni klęczą Z włosy złotymi, z skrzydły białymi Pod malowaną tęczą.   I oto mnodzy ludzie ubodzy, Radzi oglądać Pana, Pełni natchnienia, pełni zdziwienia Upadli na kolana.   Wielkie zdziwienie, wszelkie stworzenie, Cały świat orzeźwiony: Mądrość mądrości, światłość światłości, Bóg-człowiek tu wcielony.   Długo wzdychali, długo czekali, Aż niebo rozgorzało, Piekło zawarte, niebo otwarte, Słowo się Ciałem stało.

A miserable, quiet, poor little manger, Full of heavenly glory. Behold, lying, sleeping before us In the rays of light, little Jesus.   Above him angels in flight stood And bowed, kneeling down With golden hair, with white wings Under a painted rainbow.   And behold, many poor people, Rejoicing to see the Lord, Full of inspiration, greatly astonished They fell to their knees.   Great astonishment, as all creation, And The whole world is  refreshed: Wisdom of wisdom, light of light, God-man is incarnate here.   They sighed and waited For long, until heaven flared up, Hell was closed, heaven was opened, The Word became Flesh.

Since the main theme of Christmas is JOY about the birth of a baby, I should end this adventure with Polish carols with a more lively song about shepherds rushing to the manger to praise the miracle of life. Not surprisingly, most Christians are pro-lifers... 

Przybieżeli do Betlejem  1. Przybiezeli do Betlejem pasterze, Grając skocznie Dzieciąteczku na lirze. Ref. Chwała na wysokości, Chwała na wysokości, a pokój na ziemi.   2. Oddawali swe ukłony w pokorze Tobie, z serca ochotnego, o Boze!  Ref. Chwała na wysokości,  Chwała na wysokości  a pokój na ziemi.   3. Anioł Panski sam ogłosił te dziwy, Których oni nie słyszeli, jak zywi.  Ref. Chwała na wysokości,  Chwała na wysokości, a pokój na ziemi.

They ran quickly to Bethlehem  1. The shepherds came to Bethlehem, Playing bouncy tunes for the Infant on the lyre. Ref. Glory in the highest, Glory in the highest, and peace on earth.   2. They bowed down in humility To You, with a willing heart, O God! Ref. Glory in the highest, Glory in the highest, and peace on earth.   3. The Lord’s  Angel  announced these wonders, Of which they had not heard as Long as they lived. Ref. Glory in the highest, Glory in the highest, and peace on earth.

Gothic Madonna at the National Museum in Cracow.