Wednesday, January 20, 2016

Chopin Monuments Around the World III - From America to Asteroids (Vol. 7, No. 1)

Let us start the New Year 2016 from the third part of our Tour of the World of Chopin Monuments.  This time, we will visit the Americas and Asia and see what we find.  For previous installments of our tours visit:

NORTH AMERICA

It is strange, with American Polonia being so patriotic and so attached to the Old Country, to find such a dearth of Chopin monuments in the U.S.  So far, Cleveland, Buffalo, and Chicago are on the list. 

                                    Cleveland, Ohio, U.S.A.

If you are in Cleveland, Ohio, go to visit the Polish Cultural Garden, at the corner of St. Clair and East Boulevard. The Garden was dedicated in 1934 and originally contained an elm tree brought from Poland and planted there. In the center there is a large  fountain surrounded with sculptures of notable figures from Polish history and culture, including Fryderyk Chopin. 

Fryderyk Chopin in the Polish Cultural Garden in Cleveland


To quote its description from Cleveland Historical blog (clevelandhistorical.org), 

"At the center of the Polish Cultural Garden stands an octagonal fountain decorated with allegorical figures that represent music, literature, science and astronomy. It has an ornamental border of jumping fish and small carved turtles along its base. The fountain was dedicated to the daughter of 16th century poet Jan Kochanowski. The little girl's death at 2 ½ years of age prompted Kochanowski to write a series of 19 elegies. Fittingly, the fountain was built largely by the help of small donations from schoolchildren. It was dedicated in 1953.  Surrounding the central fountain are seven busts showing Polish notables. All the busts were dedicated between 1947 and 1966. Among the notables are 19th century composer and pianist Frederic Chopin (1810-1849), 16th century astronomer Nicholas Copernicus (1473-1543), and 20th century physicist and chemist Maria Sklodowska Curie (1867-1934)."

The notables also include composer Ignacy Jan Paderewski (1860-1941), as can be seen in the tour of the garden posted on YouTube by a certain Mr. Polonia Music (thank you!).



All the historical figures depicted in these white marble or bronze busts, on rectangular red marble or granite columns look solid, healthy and "proud to be Polish." Accordingly, the young Chopin looks strong and healthy, with full cheeks, and hopeful gaze straight ahead. Here's the young man ready to conquer the world as he leaves Poland to start his career abroad: Vienna, Stuttgart, and Paris await... The elegant evening attire with a bow-tie, vest and jacket indicates a 19th century concert pianist, a Music Master in control of his future, ready to step into the limelight.  

This image, though notably "healthier" looking than many of 19th-century Chopin postcards, has a similar emotional "tone" to some of the "young Chopin" images, though different facial features (still different from the real Chopin, depicted in a rare daguerreotype below):

19th Century Vintage Chopin Postcard. Maja Trochimczyk Collection.

The second known Chopin photograph (daguerreotype).

Here I would like to acknowledge the assistance of Ewa Sobotowski and Greg Witul who helped me find Cleveland!  

                             Buffalo, New York, U.S.A.

Chopin Monument in Buffalo, NY. Photo by Greg Witul.

According to Greg Witul, the Chopin monument in Buffalo is located on the south end of Symphony Circle in a beautiful park. The monument is the composer's bust on a rectangular column with a larger foundation.  Mr. Witul writes: 

"Buffalo's Chopin Monument was a gift to the city courtesy of the Chopin Singing Society. Executed by Polish-American artist Joseph Mazur, the bust was dedicated June 7, 1925 in Humboldt Park. It was later moved to the front lawn of Kleinhans Music Hall facing Symphony Circle."

So, now we know... But in Chicago, Chopin monument exists only as a plan, not in the present.

Chicago, Illinois, U.S.

Chopin Monument in Warsaw, Poland

There is a very ambitious plan to erect an exact replica of Warsaw's Chopin Monument by Wacław Szymanowski in the Art Nouveau style (see Chopin Monuments Around the World I - Warsaw)The monument will be located in Chicago's Grant Park, the section  between  11 St. & South Michigan Ave. and Museum Campus- Metra Station. Apparently, the organizers of the project hope that this location "will expose it to the greatest number of people of Chicago and tourists alike."  The project is called the "Chopin Garden" and donations are sought from the general public. 


Chopin Monument in Warsaw. Photo by Maja Trochimczyk

In the closeup of the Szymanowski sculpture one notable feature calls for a comment: Chopin's head, turned to the left, features an impressive lock of hair with the paring on the right side, exactly the opposite side that the real Chopin actually parted his hair. The hair is dramatically lifted in the wind that bent the willow out of shape...The lowered eyelids and turned head denote a movement inwards: the composer is lost in the world of music that fills his mind. The frown, the tight lips point to a suffering experienced by this noble soul. The portrait is monumental and transforms Chopin into a myth, larger than life... He is proud and heroic, like one of his Polonaises:

Watch Artur Rubinstein playing Chopin's Polonaise in A-flat Major, Op. 53, "Heroic" or Watch Rafal Blechacz play the same Polonaise in a more modern way:



Let's return to our tour, then... Interestingly, there are other Chopin-themed places in Chicago: The Chopin Theatre, Chopin Park, Chopin School, and the Chopin Plaza. These are not monuments, though and I have not found any other Chopin monuments in the entire continental United States.  


So, instead, let's go south... 

THE CARIBBEAN AND CENTRAL AMERICA

Havana, Cuba

The Chopin Bench in Havana, sculpted by Adam Myjak; photo: Taida Tarabula.

We all have set on a bench with someone: I keep visiting Benjamin Franklin in Santa Barbara, but have not yet rested next to Fryderyk Chopin in Havana, in the Plaza de San Francisco, just opposite the former home of the Marquis of San Felipe and Santiago. The simple and modern Chopin Bench encourages passers-by to rest a while with the peaceful, serene composer. In the photo a dog decided to take a break at  his feet. How homely and sweet.  A good reason to go to Havana and hang around with the bronze Chopin.  Note the turned head, inward glance, and the long pianist's fingers of the right hand splayed in  a gesture that reflects a chord or a phrase "heard" by the composer capturing music as it is born, in statu nascendi. 

Adam Myjak is a famous Polish sculptor, who graduated from the Academy of Fine Arts in Warsaw and has been elected its President (Rector) for the fifth term, starting in 1990.  Myjak is a professor of sculpture in Warsaw and Lublin, and has held over 70 individual exhibitions around the world.  His work is found in major museum collections and in public spaces in Poland and abroad. In 2005, he received the highest artistic distinction in Poland, gold medal Gloria Artis.  His sculptures are monumental, dramatic and expressive; the quiet, welcoming Chopin seems an exception, rather than a rule... 

What piece would fit with the mood of this sculpture? Perhaps a Waltz (Op. 64, No. 2, in C-sharp Minor, played by Evgeny Kissin), or an Etude (Op. 10, No. 3, in E Major, played by Maurizio Pollini)?  The Etude, with one of the most memorable Chopin's melodies, seems more appropriate. 

And here's another image of Chopin sitting on the bench, this one a 1936 photo-montage, published in Poland: "Chwila wytchnienia. Chopin" ( A moment of respite. Chopin) - fotomontaż, by Levitt and Him that appeared in "Wiadomości Literackie" on December 4, 1936.  Of course, Chopin never left his wind-swept willow to sit on a nearby park bench...


San Jose, Costa Rica

Photo by Christopher Ziemnowicz, from Wikipedia (Wikimedia Commons). 

The bust of Chopin is placed in front of the National Theater in San José, Costa Rica. Donated by the Polish community in Costa Rica and dedicated in April 2006, it is one of the newest Chopin portraits that we will encounter on our worldwide tour.  While being new, it draws from older models, in particular Waclaw Szymanowski's sculpture from the Lazienki Park in Warsaw, Poland.  The flamboyant hair is moved by the wind towards the composer's left shoulder; the hair is parted on the right, similarly to that sculpted by Szymanowski for Warsaw, but atypical for the composer. The facial expression - with lowered eyelids, and closed mouth - also resembles closely the Szymanowski model.  The mood is more serene, though, the brow is smooth, without a trace of the frown marking the earlier sculpture. 

As we see below, Chopin parted his hair on the left; if the wind blew from the right, we would not be able to even see his eyes, covered by the mess of the long hair... But the artists have rights to creative freedom: licentia poetica.

Chopin in 1849, daguerreotype, one of two known photos of the composer.

Guadalajara, Mexico

Even Guadalajara in the state of Jalisco, Mexico, has its Chopin statue.  The Monumento a Federico Chopin is located in Jardín Chopin  on Avenue Alcalde (colonia de Barranquidas), 44260 Guadalajara, Jalisco, Mexico.  It was unveiled in 2001 to honor the beloved composer, described as the father of modern music, a romantic, poet of the piano, and an artist apart.  


Chopin is a serious father-figure here, erect, foreboding, with the dry air of a Master, like J.S. Bach in his powdered wig... He is frowning, with eyes reduced to narrow slits looking straight ahead, without a smile. Perhaps it is the cold: his elongated, elegant fingers hold the collar of his jacket upright, wrapped tight around his neck. Here is an image from the freezing land of blizzards and snow right in the middle of a Mexican park.  Unfortunately, I do not know if the sculpture is of the full figure, or just the bust.  It appears the former. Its rough "unfinished" texture indicates its modernist provenance and aesthetics. 

SOUTH AMERICA

According to an article from The Warsaw Voice (July 2003), 130 monuments connected with Poland are located in South America. The majority are in Brazil (61) and Argentina (36); with smaller numbers in Peru (10), Chile (7), Uruguay (7), and Mexico (5). Apparently, Nicaragua has two Polish-themed monuments while Guatemala and Colombia have one each.

Six of these monuments are dedicated to Frédéric Chopin; they may be found in Brazil, Argentina, and Chile. 


Rio de Janeiro, Brazil

The oldest monument of Chopin in South America was built in 1943 and unveiled in 1944 in Rio de Janeiro. It was designed by August Zamoyski, Polish sculptor who spent the war years in Brazil but returned to France afterwards.  Count Zamoyski (June 28, 1893 in Jabłoń, Poland – May 19, 1970, Saint-Clar-de-Rivière, France) was a member of Polish art groups Bunt and Formiści.  His stone compositions, initially influenced by cubism and futurism, were characterized by simple, geometric form, with classical leanings. 



The lone figure of the composer lost in thought, looking across the ocean back at his home thousands of miles away, stands on the beach, near the famed Sugar Loaf mountain. In well-fitted, elegant evening clothes (the bronze is wearing out, due to salt in the air), Chopin turns his back at the New World and longs for the lost homeland, far, far away... 


The simple, classic and expressive sculpture captures the nostalgia of Polish exiles that escaped from war-torn Europe to Brazil, yet longed for what they left behind. 

Images of Chopin sculpture in Rio de Janeiro by August Zamoyski. From Pinterest
and Wikimedia Commons

The emotional "tone" of the image is also well attuned with the mood of Chopin's nostalgic and sorrowful mazurkas. The position, turned away from the world, bent over to look inward, in solitude at the edge of the ocean, also captures the personal, intimate, individual tone of Chopin's music. It is my favorite monument and one day, I'll go to Rio de Janeiro and stand on the shore of Playa Vermelha, right next to Chopin, lost in thought, an exile in the New World.
https://www.flickr.com/photos/rickipanema3/4236833198/


Let's listen to some Mazurkas, then: the most nostalgic, in A Minor, Op. 17, No. 4, as played by a Polish emigre pianist, Arthur Rubinstein, or in A Minor, Op. 7, No. 2 played by Henryk Sztompka:



Porto Alegre, Brazil

In 1963, a monument of Chopin was created by Fernando Corona for Porto Alegre in southern Brazil; it was unveiled on 15 November that year.  For those who have not been to Brazil (including me), Porto Alegre is the capital and largest city in Brazil's state of Rio Grande do Sul, the southernmost part of the country.  
The sculpture is actually a portrait of the composer, placed on a simple square granite column with the appropriate inscription marking the anniversary the monument is celebrating: 1810-1960, the 150th anniversary of Chopin's birth. The Polish composer is recognizable by his long hair and the unique hair style, but the face does not seem to be modeled on any of his known portraits.  What seems quite authentic, though, is the expression of sorrow, so typical in images of this most romantic among the romantics.

Interestingly,  the best­-known Polish-themed monument in Brazil is not of Chopin at all. It is the statue of Christ the Redeemer (Cristo Redentor) in Rio de Janeiro. 


A panoramic view of the statue at the top of Corcovado Mountain with Sugarloaf Mountain (centre) and Guanabara Bay in the background. by Artyom Sharbatyan. Wikimedia Commons.


This 37­-meter­ high sculpture was designed by Paweł Maksymilian Landowski. Having graduated with a fine arts degree in Paris, Landowski became the official sculptor of the Third French Republic. He was the creator of the tomb monument of Ferdinand Foch, Marshall of Poland and France, built in 1937 in Hôtel des Invalides in Paris. Landowski’s monument—weighing 1,145 tonnes and unveiled in Rio de Janeiro in 1931—has become a symbol of Brazil.

                          Buenos Aires, Argentina

In 1944, a Chopin monument was unveiled in Buenos Aires, Argentina. This appears to be the work of Polish exiles that found their temporary shelter in the New World. These included Polish composer and conductor Grzegorz Fitelberg (1879-1953), so perhaps some information about this monument could be found in his biography? The outbreak of the war found him in Paris from where he traveled to Buenos Aires a year later. He worked as a conductor for the Teatro Colón in the 1940-41 season, but later moved north to the U.S. He worked mainly on instrumentation and conducting, and performed in cities such as New York, Montreal and Toronto. 

Chopin in Buenos Aires, from Picasa Web Album:
Monumentos y Estatuas de Buenos Aires.

I found a photo of the Chopin bust, with his name "Chopin" carved under the image, in an album of 415 sculptures and monuments of Buenos Aires on Picasa Web Albums.  Located in Parque Chacabuco - Av. Asamblea and Emilio Mitre, this sculpture is in a bad need of some TLC: graffiti cover the base and climb up to his evening jacket.  The elegant man in a bowtie and with a stern expression under a well-coifed hair is ready for a concert. But is it really Chopin? It could have been any of the Grand Masters, a Schumann perhaps, or a Brahms... 

It does not seem that the sculptor knew many images of Chopin nor that he had any other purpose of portraying the Polish composers than adding him to the list of illustrious Europeans celebrated in South America. Perhaps a group of local Poles could polish this symbol of musical Polishness? (Sorry, could not avoid the bad pun).  

Unfortunately, that's all I know. Maybe some of my readers can help and send a more detailed account of this sculpture's history.  Let's conclude a visit to Buenos Aires with a recording by Martha Argerich, who won the International Chopin Competition in 1965. There are so many excellent interpretations: maybe you have time for a lyrical and expressive Ballade (No. 1, Op. 23, in G Minor, 8 and a half minutes), if you want more, how about the series of Preludes, Op. 28 (over half an hour of music) or a Piano Concerto No. 1  (played with a Polish orchestra, Sinfonia Varsovia, conducted by Grzegorz Nowak)?  For those with absolutely no time, there is always the two-minute classic 1965 recording of the electrifying performance of the Etude in C Major, Op. 10 No. 1 that gave the unknown Argentinian first prize in a Competition by default skewed towards Slavic men.


 


                                     Santiago, Chile

Apparently, another bust of Chopin has been unveiled in the capital city of Chile. The same story, only worse: I do not even know the date.  

Thus we traversed the Americas, from the north to the south, finding many more Chopins in the Latin-inspired countries of South America than in the cold, Protestant U.S.  Perhaps my sources are missing monuments that I should have known about but do not. Again, a request to my readers.

In the meantime, let's look up and find Chopin immortalized in the sky, millions of miles away...


PLANETS AND ASTEROIDS


Asteroid belt and location of asteroids in the Solar System. From Wikipedia.

As if the Earth was not enough, astronomers honored Chopin among the stars. He does not have a planet yet, but does have a crater on Mercury and has an asteroid dedicated to him: Asteroid No. 3784. This is one of the small bodies orbiting the Sun; neither a planet, nor any of the planets' moons, nor an active comet. There are millions of asteroids in different sizes, the majority of them located in an orbit between Mars and Jupiter, as shown above. Some scholars speculate that these multiple asteroids are fragments of a destroyed planet that was  orbiting in that spot. In any case, it is certain that we owe the extinction of dinosaurs to the collision with an asteroid that fell on Yucatan Peninsula or the nearby Gulf of Mexico 65 millions year ago. . . Hopefully the Chopin asteroid will behave better!


"Asteroidsscale" by NASA/JPL-Caltech/JAXA/ESA - http://dawn.jpl.nasa.gov/multimedia/images/571372main_pia14316-43_800-600.jpg. 
Licensed under Public Domain via Commons - https://commons.wikimedia.org/wiki/File:Asteroidsscale.jpg#/media/File:Asteroidsscale.jpg

The Asteroid 3784 Chopin was first seen on October 31, 1986, photographed from the Haute-Provence Observatory in France, by Eric Walter Elst, a Belgian astronomer and a prolific finder of asteroids: he spotted over 3,000 of them!  We do not know where does it fall on the asteroid scale of sizes reproduced above. The largest of these asteroids, Vesta, is the size of a pea, when compared to a golf-ball of the Moon. Pretty tiny!

                                Chopin on Mercury

There is another astronomical site dedicated to Chopin: The Chopin Crater on the planet Mercury. With a diameter of 129 kilometers. and located at 65.1°S 123.1°W, this crater was named after the Polish composer by the International Astronomical Union in 1976.  

Chopin is in pretty good company here. There are 398  craters named after historical figures from all countries and cultures (see the site Planetary Names: Mercury: Craters).  I spotted the names of numerous composers, among writers, poets, artists, painters and philosophers, mostly male.  The forty seven composers are: Johann Sebastian Bach, Bela Bartok, Ludwig van Beethoven, Johannes Brahms, Fryderyk Chopin, Piotr Czajkovskij (Tchaikovsky), Aaron Copland, Francois Couperin, Claude Debussy, Anton Dvorak, Duke Ellington, Mikhail Glinka, Christoph Willibald Gluck, Edward Grieg, Percy Grainger, Friedrich Handel, Joseph Haydn, Gustav Holst, Charles Ives, Leos Janacek, Scott Joplin, Krzysztof Komeda, John Lennon, Franz Liszt, Guillaume de Machaut, Gustav Mahler, Felix Mendelssohn, Thelonious Monk, Claudio Monteverdi, Wolfgang Amadeus Mozart, Modest Mussorgski, Sergei Prokofiev, Giacomo Puccini, Henry Purcell, Sergei Rachmaninoff, Maurice Ravel, Domenico Scarlatti, Arnold Schoenberg, Franz Schubert, Jean Sibelius, Bedrich Smetana, John Phillip Sousa, Tansen (from the Mogul Court in India), Giuseppe Verdi, Heitor Villa-Lobos, Antonio Vivaldi, and Richard Wagner.

The list of all musicians I noticed is interesting, in its heavy reliance on the Western canon, with a spattering of "others" - including some jazz musicians. Neither Louis Armstrong, nor Ella Fitzgerald, nor Miles Davis made it to the list. Thelonious Monk and Duke Ellington did, and so did the only Polish composer, besides Chopin, jazz pianist Krzysztof Komeda (who, among other titles, wrote music to Roman Polanski's film "Rosemary's Baby").  I wonder who made this list and what criteria were used. It seems that Russians played a major role in selecting these names, and so did the English.  Vivaldi but no Palestrina? Verdi, but no Bellini or Rossini? Interesting... 



PIA19420: The Ups and Downs of Mercury's Topography http://photojournal.jpl.nasa.gov/catalog/PIA19420 Measurements from MESSENGER's MLA instrument during the spacecraft's greater than four-year orbital mission have mapped the topography of Mercury's northern hemisphere in great detail. The view shown here is an interpolated shaded relief map of these data. 


Chopin in the Garden

Finally, who would forget the living monument to Chopin, that you can plant anywhere on our planet if you have a garden, some soil and some water... The Chopin rose, according to its description  by Wikipedia, is also known as 'Frederic Chopin', and 'Frederyk Chopin' and is a hybrid tea rose cultivar introduced by Stanisław Żyła in Poland in 1980. This rose was created by crossing the 'Crêpe de Chine' rose with the 'Peer Gynt' rose.  'Chopin' is a strong growing rose (150–200 cm) with showy, large flowers of light cream to pale yellow colour. Flowers have an average diameter of 5 inches (11 cm) and 17-25 petals. They grow in small clusters (3-5), have moderate fragrance and appear in flushes throughout the season. The rose bushes have big, leathery foliage and are winter hardy (USDA zone 6b - 10b) and generally disease resistant.... 

So let us drink some tea, listen to Chopin's Berceuse played by Tatiana Shebanova (the most astounding image of a cosmic flight in all his music), and smell the roses!

CC BY-SA 4.0. File:Rose 'Chopin' MB01.JPG
Created: 5 July 2014. From Wikimedia Commons

______________________________________________

NOTE: Since I have not visited any of these monuments myself, I thank all photography authors and sources of photographs, which are used here in accordance with non-commercial fair use open source principles of Wikipedia, and Wikimedia Commons, from where most of the photos are copied.

Tuesday, December 8, 2015

Discovering Women's Music at the Maria Szymanowska Conference in Paris (Vol. 6, No. 12)

Audience at the Szymanowska Symposium, November 25, 2015.

What is it about Maria Szymanowska that attracts so much attention of scholars and musicians alike? Is it her personal charm, as depicted in the numerous portrait? Is it the sentimental or virtuosic quality of her music? Is it the association with the"stars" of Polish romanticism, Fryderyk Chopin and Adam Mickiewicz? Maybe a little bit of all... The 3rd International Symposium, Maria Szymanowska (1789-1831) and Her Times placed the celebrated pianist-composer in a different context, among her female colleagues, mentors, and peers (3e Colloque international Maria Szymanowska (1789-1831) et son temps).  The Symposium took place on 25-27 November 2015 at the Polish Academy of Sciences’ Paris Center (74, rue Lauriston, Paris 16e), the site of two earlier conferences cosponsored by Maria Szymanowska Society in 2011 and 2014. This edition of the Szymanowska Symposium was dedicated to "Talents of Women: Myths and Reality" ("Talents au féminin: Mythes et réalité"). 

                      

Polish Academy of Sciences, Paris Center, 74 Rue Lauriston, Paris


The event was opened by the Director of the Paris Center of the Polish Academy of Sciences, Dr. Marek WIĘCKOWSKI with a minute of silence as a tribute to the recent victims of terrorist attacks. The proceedings were moderated by the President of the Maria Szymanowska Society, singer Elisabeth ZAPOLSKA-CHAPELLE.

Dr. Marek Wieckowski, Director of PAN - Paris Center 

The Symposium started on November 25 with a concert of music by women composers from several European countries active in the late 18th and first half of the 19th century. The highlight was a special instrumental treat: an original pianoforte by Johann Alois Graff made in 1825 and lovingly restored to its full, sonorous beauty. This concert, held on Wednesday, 25 November 2015, entitled “Fondness for music” started with a presentation of songs by Maria Szymanowska in the interpretation of  Ms. ZAPOLSKA-CHAPELLE, mezzo-soprano, accompanied on the Graff pianoforte by the instrument's owner, Dutch pianist Bart VAN OORT.

  Bart van Oort and Elizabeth Zapolska-Chapelle. From iFrancja.fr.


Their haunting performance of The Lament of a Blind Beggar (Complainte d’un aveugle qui demandait l’aumône au Jardin du Roi à Paris) honored Prof. Irena Poniatowska of the Chopin Institute in Warsaw, who discovered this lost work in Paris archives. Zapolska's half-recital was a tour de force of songs by women: Annette von Droste-Hülshoff (1797-1848), Maria Theresia von Paradis (1759-1824), Hortense de Beauharnais (1783 – 1837), Hélène de Montgeroult (1764-1836), Isabelle de Charrière (1740-1805),  Louise Reichardt (1779-1826), Sophie Gail (1775-1819), and  Fanny Hensel née Mendelssohn (1809-1847).

After the concert: Francoise Tillard, Elizabeth Zapolska and Maja Trochimczyk

From iFrancja.fr

In the second half of the program, an international group of pianists brought to life pieces long forgotten but deserving our attention because of their historical importance and musical merits. Bart VAN OORT juxtaposed the expressive and capricious virtuosity of Szymanowska's Romance du Prince Galitzine with technical prowess and brilliance of the Fourth Sonata by Hélène de Montgeroult (1764-1836). The same two composers were featured by Claudia Dafne SEVILLA CARRION, the youngest of the performers. Marcia HADJIMARKOS presented Szymanowska's Polonaise in F minor and a Mazurka in new colors; while Edoardo TORBIANELLI focused exclusively on the music of a Swiss composer, Caroline Boissier-Butini (1786-1836). After revealing the depth of influence of Chopin and Szymanowska on the "mazurka-and-nocturne" style of the  young Clara Wieck (later Schumann), Petra SOMLAI joined forces with Bar van OORT in a delightful setting for three hands of Szymanowska's Nocturne "Le Murmure." 


 
Marcia Hadjimarkos and Edoardo Torbianelli perform on November 25, 2015.

Two musicians preferred the rich volume of sounds of a modern Bechstein to the sophisticated diversity of sonorities of the Graff: Francoise TILLARD, an expert on the music of Fanny Hensel née Mendelssohn (1809-1847).  Bechstein was also the instrument of choice of a Russian virtuoso, Ekaterina GLAZOVSKAYA, who showed the beauties of the traditional piano performance during a short, 30 minute mini-recital held on the following day. It was one of the master-touches of the program design that the pianists were invited to prepare mini-recitals of up to 30 minutes to be interspersed between scholarly presentations during the two days of the conference. In this way, the music by a given composer was heard before it was discussed and the audience was keenly aware of the artistic value of the works research and analyzed by scholars. 



L to R: Edoardo Torbianelli, Director Marek Wieckowski, Elizabeth Zapolska-Chapelle, 
Bart van Oort, Petra Somlai, Francois Tillard, Marcia Hadjimarkos, and Claudia Dafne Sevilla Carrion. 


On Thursday, November 26, the first of the mini-recitals, subtitled Première madeleine musicale, was given by Marcia HADJIMARKOS, an internationally recognized specialist in the early piano and clavichord.  She mastered the techniques needed to bring out the sonorous richness of keyboard instruments as different as the earliest Florentine keyboard, to modern piano, with special emphasis on the clavichord, the square piano, 18th-century Viennese and German pianos, and French pianos of the late 19th- and early 20th centuries. (http://marciahadjimarkos.com). She surrounded five dances by Szymanowska (A Contre-danse, two Anglaises, a Mazurka and a Polonaise in E minor) with music by Maria Hester Park (1760-1813) and Marianna Martinez  (1744-1812).

Two works by Szymanowska (Prélude No. 8 in E-flat Major, and No. 9 in B-flat Major) were heard during the Deuxième madeleine musicale – interpreted by a Spanish pianist, Claudia Dafne SEVILLA  CARRION, who studied in Paris at the École Normale Supérieure de Musique since 2011. Currently, she is preparing a Master Forte-piano interpretation at the Sorbonne University and is continuing her research on the composer Santiago de Masarnau (1805-1880). 

 Claudia Dafne Sevilla Carrion performing. 

The Troisième madeleine musicale by Ekaterina GLAZOVSKAYA  on the Bechstein piano consisted of two Polonaises by Michal Kleofas Ogiński (1765-1833), no. 17 and the "Favorite" No. 1, as well as three works by Szymanowska: Preludes No. 1 and No.3, and a Barcarolle. Mz. Glazovskaya has won several prizes in international piano competitions (Maria Canals, Claude Kahn, Val Tidone, Picardie EMC). After graduating from the Belarusian Academy of Music, she studied at the Regional Conservatory of Paris She currently gives concerts across Europe and teaches piano in Paris.  Her hauntingly expressive rendition of Ogiński's Polonaises highlighted their melancholy tone; distant from the sparklingly brilliant Preludes and the sentimental Barcarole of Szymanowska.  Perhaps, it is time to create a Michal Kleofas Ogiński Society to promote the music of this nearly forgotten composer? The problem is though that his oeuvre is so small: just 24 polonaises and an unpublished opera written for a celebration at the Czartoryski estate in Pulawy.

The final, Quatrième madeleine musicale performed by Edoardo TORBIANELLI introduced the audience to Szymanowska's virtuosic and poignant Polonaise sur l'air national favori de feu Prince Joseph Poniatowski, a fallen hero of Polish battles for independence and a member of Napoleonic troops. If hearing the Polonaise was not enough, a revelation awaited for the conclusion of the recital, with Caprice et variations sur un air bohémien by a nearly completely forgotten (and unjustly so!) Swiss composer, Caroline Boissier-Butini (1786-1831). 
 
Johann Alois Graff fortepiano from 1825.

The discovery of the harmonic and forma sophistication of Boissier-Butini's music was one of the lasting results of the Szymanowska conference for many participants who have never heard about this composer, nor have ever been able to experience her music. Dr. Irène MINDER-JEANNERET placed Boissier-Butini's music between cosmopolitanism and patriotism as she outlined the composer's approach to "national melodies" ("Entre cosmopolitisme et patriotisme : les « airs nationaux »  dans les compositions de Caroline Boissier-Butini, 1786-1836") including Swiss, Scottish and Bohemian tunes, as well as Variations on the Dabrowski Mazurka, a song associated with the Polish Legion of the Napoleonic Armies, and since 1926 Poland's anthem. Beautifully crafted and expressive variations should be known by all Poles; it is remarkable that a Swiss romantic composer found so many charms and inspirations in the symbol of Polish independence. 


Dr. Irene Minder-Jeanneret with Edoardo Torbianelli

 Scholarly presentations filled November 26 and 27, and took the listeners on a tour of issues pertaining to women's creativity, illustrated with papers about specific neglected composers and including three presentations about Maria Szymanowska.  


Dr. Maria STOLARZEWICZ, a researcher at the University of Weimar-Jena, and graduate of the University of Warsaw and Humboldt University in Berlin, focused on the "History of a musical friendship: Michał Kleofas Oginski and Maria Szymanowska."  She had previously discussed the relationship between Szymanowska and the King of German Romantic poetry, Johann Wolfgang von Goethe (2014), basing her study on many unknown sources.  The discussion of Oginski's contacts with Szymanowska was no less exhaustively researched, but with fewer material findings, as their letters did not survive.  What did survive is the music, the 24 Polonaises of Oginski (1765-1833) being an "outlier" in Polish music history, with their tone of nostalgia and sorrow, later assumed by Chopin's Mazurkas.  At her recitals, Szymanowska was repeatedly asked to play the Polonaise Favorite of the exiled Count who left Poland  after the Partitions and settled in Florence where he died on October 15, 1833. Incidentally, this Polonaise was later overshadowed in popularity by the "Farewell to Homeland Polonaise" that remained the beloved piece of Polish emigres and exiles for over two centuries.


                                                   Dr. Stolarzewicz with Prof. Irena Poniatowska

In my paper about  "Szymanowska in the Circle of Duchess Maria Czartoryska de Wittemberg" I set to revisit the pianist's association with the Duchess's Azure Salons, held in Warsaw in 1808-1816 and gathering the creme-de-creme of Poland's literary society, led by Kazimierz Kozmian and Julian Ursyn Niemcewicz.  In my 2014 presentation, I studied Szymanowska's contribution to "Spiewy Historyczne" (Historical Chants) by Niemcewicz, a blockbuster of Polish literature and music for the next hundred years (undoubtedly the most popular and often reprinted literary and musical publication in Poland).  My review of other composers of the over 30 songs included in this monumental volume pointed to the genesis of the whole collection in the Czartoryska-Wirtemberska circle of glitterati and aristocrats.


Letters of Maria Czartoryska-Wirtemberska. The Czartoryski Library. 

Searching for confirmation of closer links between the two Marias I visited the archives of the Czartoryski Library in Krakow, where I reviewed family letters and other writings of Czartoryska-Wirtemberska, including letters to and from her mother, Izabella Czartoryski; her sister, Countess Zofia Zamoyska, and her illegitimate half-sister and foster daughter, Cecylia Beydale.  Unfortunately, I found no mentions of Maria Szymanowska; though I was pleased to notice that the unpublished correspondence provides a wealth of information about Polish culture in the 1800-1830s and casts a peculiar light at the intense relationship between the women, connected with secret bonds and tragedies. I concluded that Szymanowska was closer to Zofia Zamoyska than Wirtemberska, but she was also a personal friend of several other composers represented in Spiewy Historyczne. 


Thanks to my search for Szymanowska's musical associates from the Czartoryski circle, I was able to update the historical record about four of these composers: 

  • Konstancja Narbut Dembowska (now identified as Czartoryski's resident, author of a Prayer Book for Maria Wirtemberska, and the wife of General Dembowski), 
  • Count Rzewuski (whom I identified as Count Henryk Rzewuski, the author of Memories of Soplica and a proponent of Sarmatian culture, and not Count Waclaw Rzewuski, a noted Orientalist); 
  • Cecylia Beydale (whom I previously identified as Wirtemberska's natural daughter, but was actually the progeny of Izabela and Count Kazimierz Rzewuski), and 
  • Franciszka Kochanowska previously considered an unknown protege of Czartoryska, who turned out to be Szymanowska's childhood friend, author of an hitherto-unknown French song in Szymanowska's Album (No. 970), the wife of a hero of Napoleonic wars and the November Uprising, Kazimierz Kamienski and the mother of political writer and philosopher Henryk Kamienski. 

My discoveries about the connections of these individuals and their links to Szymanowska happened in two archives - at the previously mentioned Czartoryski Library and at the Bibliotheque Polonaise in Paris, thanks to professional expert assistance of Ewa Rutkowska and Magdalena Glodek.  


Elizabeth Zapolska with Prof. Irena Poniatowska

The third lecture on Szymanowska herself was given by Prof. Irena PONIATOWSKA of the National Chopin Institute in Poland, the organizer of two Chopin Congresses, and author of more books and articles on Chopin and his musical environment that we could count (over 300!). Prof. dr. hab. Poniatowska has served as the President of the Programme Board of the F. Chopin Institute since 2001 and the President of the Honorary Committee of the project "Maria Szymanowska, a Woman of Europe" since its inception.  In this presentation, Prof. Poniatowska focused on placing Szymanowska's virtuosic Etudes and Preludes, published in 1819, in their European context ("Etudes  et  Préludes  de Maria Szymanowska : leur apport dans l'art pianistique européen des premières décennies du XIXe siècle").  She noticed the unique "marriage" of technical difficulties requiring exemplary virtuosic prowess with an expressive power of flowing melodies and a rich harmonic language.  There were many parallels between specific motives or technical issues presented by Szymanowska and those found in later works by well-known composers such as the classic Czerny etudes or other methods for piano.  The seasoned scholar urged the listeners to keep it in mind that Szymanowska's set of Etudes and Preludes, issued by Breitkopf und Hartel in Leipzig in 1819 was the FIRST such set in all of Europe, preceding the well-known piano methods that have overshadowed Szymanowska's oeuvre by today. 


Other researchers from France, Germany, and Switzerland discussed recent scholarly discoveries and the current state of knowledge about Szymanowska's contemporaries, predecessors and followers: women of influence active in the 18th and 19th centuries.  the paper of Helen GEYER, one of the foremost German musicologists, specializing in the history of European Music from the 16th to the 20th century was dedicated to "The Four Women conservatories of Venice: Models of Life, Rivalry and Outstanding Examples of Quality." Presented in absentia by Dr. Maria Smolarzewicz, the paper stimulated a lively discussion especially after the list of composers associated with these Conservatories was circulated and the audience noted that the list consisted entirely of male composers. It was noted as yet another way of "writing women out of music history." 

A noted French art historian, Francoise PITT RIVERS decided to present and compare two female painters who frequently portrayed musicians, Madame Elisabeth Vigee Le Brun and Angelica Kauffmann. Both painters were subjects of Dr. Pitt-Rivers's publications, published in 1994 and 2009 respectively.  The presentation was particularly timely as it coincided with the first monographic exhibition dedicated to Elizabeth Vigee Le Brun held at that time in Paris. French musicologist who taught in Lausanne and Lyon, and penned over 50 articles and books, Dr. Jerome DORIVAL introduced another forgotten composer and her impact on romantic generation: "Influence d’Hélène de Montgeroult sur la génération romantique." The lecture was illustrated live by Marcia Hadjimarkos peforming fragments of musical works by de Mongeroult and her followers on the Graff pianoforte. 

 
                                A historic Johann Alois Graff pianoforte, private collection of Bart van Oort.

On Friday, 27 November 2015, musicologist and founder/editor of the website www.musicologie.org, Jean-Marc WARSZAWSKI presented the career of Maria Szymanowska in a wider context, by discussing the prejudices and challenges that marked the lives of her contemporaries, especially in France ("Musiciennes au temps de Maria Szymanowska : un contrepoint  d’inégalités et de préjugés"). The presentation was followed by a spirited discussion that took the audience all the way to the prejudices and challenges for women composers in the present times. 

Jean-Marc Warszawski with Elizabeth Zapolska-Chapelle

The Symposium "Maria Szymanowska and Her Times" ended with an elegant musical salon, subtitled "An Invitation to the Dance" ("Invite a la Danse"). Here, the musicians and scholars had a chance to present items of their own choice, play music, read poems, or make speeches advocating for whatever they wanted to discuss.  The two pianists Bart van OORT and Edoardo TORBIANELLI played another work for three hands, a curious arrangement for contemporary audiences that may have had a social function in Szymanowska's times.  I read poems for Szymanowska written by Julian Ursyn Niemcewicz and Count Henryk Rzewuski in original Polish and my own English translation. Drawing on astounding improvisatory talents of Edoardo Torbianelli (who was asked to portray musically an array of fruits and vegetables), I also recited in Polish the title poem from the Chopin with Cherries anthology, A Study with Cherries (Studium w Czeresniach), as well as two poems I selected for this Salon: "The Lady with an Ermine" inspired by Leonardo's painting of the same title and its long Czartoryski-related history, and "An Invitation to the Dance" that concluded the salon in a light-hearted mood. As it can be seen on the YouTube recording of this performance, both poems greatly benefited from  improvisatory talents of Mr. Torbianelli, playing in renaissance style for the Lady and creating ad-hoc impressionistic textures to the changing moods of the "Invitation." 

                                        Edoardo Torbianelli and Bart van Oort perform at the closing salon.
  

The 3rd International Maria Szymanowska Symposium  has been organized jointly by the Maria Szymanowska Society and the Polish Academy of Sciences’ Paris Center. The planned program is reproduced in the previous blog (in French). You can see a flash from the Symposium Women and their talents: myths and reality broadcast by the Polish Television for the world - TV POLONIA on November 27, 2015 in the news Polonia24 (after the 15th minute): http://polonia24.tvp.pl/22537582/27112015-2205 .




For more information contact the Maria Szymanowska Society: societe.mariasz@laposte.net.  To see more photos visit: Szymanowska in Paris 2015.