Tuesday, December 6, 2022

Chopin with Cherries Poems at Chopin Festival in New York, November 17, 2022 (Vol. 13, No. 5)

"Chopin with Cherries" poems found their way into the program of the 24th International Festival Chopin and Friends held in New York in November 2022. The festival featured 6 concerts and ended with “Grand Finale: Polish Frescoes” at the Polish Consulate in New York on November 17, 2022.   Hosted, by actress Weronika Wozniak, host, the program featured an AV Installation "Where is Chopin" by Jaroslaw Kapuscinski (Professor at Stanford University). 


The program of November 17 Gala Concert included Franz Liszt - Liebestraum A-flat No.3 played by Matthew Pulick - piano; Fryderyk Chopin - Ballade in G Minor Op.23, Antoni Kontski - "L'lsolement". Meditation op. 47 and Marcel Chyrzynski - Reflection no.8 for Piano (American premiere) played by Slawomir Dobrzanski - piano with poetry readings by Weronika Wozniak of poems by Maja Trochimczyk inspired by the music of Chopin. After the intermission Fei-Fei played Claude Debussy's Suite Pour le Piano " Bergamasque": Prélude, Menuet, Clair de lune, Passapied and Fryderyk Chopin's Andante Spianato et Grande Polonaise in E-flat Major Op.22.

Photo by Elżbieta Popławska from her review in Nowy Dziennik.

As journalist Elzbieta Popławska wrote in a review in Nowy Dziennik, “Weronika Woźniak, a Polish actress with great charm and talent, hosted the last evening of the festival. Weronika was born and raised in Poland. She graduated from acting school in New York. He is trying to conquer the New York scenes and break into the acting elite. She has already performed in many New York theaters, as well as in the Teatr im. Juliusz Słowacki in Krakow.” The first pianist was a talented sixteen-year-old student who currently studies music and often appears in concerts in New York.  In addition to  the Ballade op. 23 by Fryderyk Chopin, and a piece by Antoni Kątski, Dobrzanski gave the American premiere of a work by Marceli Chyrzyński, a graduate of the Academy of Music in Krakow, who teaches composition there as full professor since 2020. He holds the full range of Polish academic titles: Prof. dr. hab. In her review, Popławska thus described Prof. Sławomir Dobrzański: “an outstanding Polish pianist who distinguished himself with his playing technique and expressive performance.” 

 https://dziennik.com/wielokulturowy-pociag-zakonczyl-trase

The reviewer reserved the most enthusiastic praise for the pianist of the second half of the program, Fei-Fei of China, who had won Concert Artists Guild competition and was a finalist of the 14th International Van Cliburn Piano Competition. The non-musical aspects of the evening were provided by an  audiovisual installation "Where is Chopin" was prepared by Jarosław Kapuściński, a pianist and composer who studied in Poland at the Chopin Academy of Music and in Paris. He received his doctorate at the University of California and is  a professor at Stanford University.


Chopin Monument in Lazienki, Warsaw, photo by Maja Trochimczyk

As Kapuściński wrote in the program note for his work, "Where is Chopin (audiovisual projection, 2010, 31 min) explores the relationships between facial expressions of people listening to Chopin's Pre- ludes Op. 28 and the artist's re-composition of the music. To carry out the project Kapuściński traveled to 12 cities around the world where Chopin has never set foot but where his music has a meaningful cultural presence. He conducted interviews and performed the preludes in one-on-one sessions with over a hundred music lovers in Beijing, Buenos Aires, Helsinki, Istanbul, Jerusalem, Mexico City, San Francisco, Santiago, Seoul, Sydney, Tokyo, and Welling- ton. In each city he collaborated with a local photographer who documented the perceptions and emotions appearing on people's faces as they listened to or spoke about the music. The artist wanted to observe the psychological, perceptual and cognitive processes of music in its greatest human richness. The project shows how emotions emerge from music, how musical structures are interpreted, and what they mean to people around the world." 

http://www.jaroslawkapuscinski.com/Where_Is_Chopin/index.php

My three poems from the Chopin with Cherries anthology provided interludes for the music. They were recited by actress Weronika Wozniak, a graduate of Acting Conservatory at The Lee Strasberg Theatre and Film Institute. While still in school, Weronika’s first short film Lost In The Wind dir. by Dan L. Nguyen Phan was screened at Cannes Film Festival. Upon graduation, since 2016 she has performed on numerous Off- and Off-Off-Broadway stages as well as in Hollywood Fringe Festival, Juliusz Slowacki Theater in Krakow, and Polish Theater Institute. Currently, Weronika is hosting a radio program “Trochę Kultury” at Nasze Radio USA – a young Polish international radio that boomed during the pandemic. Aside from acting, Weronika is a deshi at Ken Wa Kan Karate where she’s training for her black belt in Kyokushin/Oyama style. www.veronikavozniak.com

Veronika Wozniak recites Chopin with Cherries poems

The Chopin with Cherries poems have been posted on this blog, but let’s read them again, while listening to Chopin’s music. They are all based on memories of my Polish childhood, saturated with Chopin's music.

A Study with Cherries

After Etude in C Major, Op. 10, No. 1 and the cherry orchard

of my grandparents, Stanisław and Marianna Wajszczuk


I want a cherry,

a rich, sweet cherry

to sprinkle its dark notes

on my skin, like rainy preludes

drizzling through the air.


Followed by the echoes

of the piano, I climb

a cherry tree to find rest

between fragile branches

and relish the red perfection –

morning cherry music.


Satiated, sleepy,

I hide in the dusty attic.

I crack open the shell

of a walnut to peel

the bitter skin off,

revealing white flesh –

a study in C Major.


Tasted in reverie,

the harmonies seep

through light-filled cracks

between weathered beams

in Grandma’s daily ritual

of Chopin at noon.


Here's the famous Etude in White, Chopin's Etude in C Major, Op. 10, No. 1 played by Maurizio Pollini:  https://www.youtube.com/watch?v=nMM6h9Yf348


Postcard with Chopin's portrait and his birthplace in Zelazowa Wola.

Harvesting Chopin

 ~ for my Grandma Nina Trochimczyk and father Aleksy Trochimczyk, who took me harvesting

The straw was too prickly,

the sunlight too bright,

my small hands too sweaty

to hold the wooden rake

my uncle carved for me.

I cried on the field of stubble;

stems fell under his scythe.


I was four and had to work –

Grandma said – no work no food.

How cruel! I longed for

the noon’s short shadows

when I’d quench my thirst

with cold water, taste

the freshly-baked rye bread


sweetened by the strands

of music wafting from

the kitchen window.

Distant scent of mazurkas

floated above the harvesters

dressed in white, long-sleeved shirts

to honor the bread in the making


The dance of homecoming

and sorrow – that’s what

Chopin was in the golden air

above the fields of Bielewicze

where children had to earn their right

to rest in the daily dose of the piano –

too pretty, too prickly, too bright


My most popular and most often read poem from the Chopin with Cherries anthology is a recipe for mazurka of emigrants, a recipe - since the word "mazurka" refers both to a cake and the dance.  More information about the anthology is here: https://moonrisepress.com/chopin-with-cherries.html

Easter table in Trochimczyk's home in Poland in 1983, Warsaw, Poland.

How to Make a Mazurka

                        After Mazurka in A Minor, Op. 17, No. 4,

                        for my Grandparents, Stanisław and Marianna Wajszczuk,

                        who could play and bake their mazurkas like no one else


          Take one cup of longing

for the distant home that never was,

one cup of happiness that danced

with your shadows on the walls


of Grandpa’s house, while he played

a rainbow of folk tunes

on his fiddle, still adorned

with last wedding’s ribbons


            mix it – round and round to dizziness


stir in some golden buzz of the bees

in old linden tree, add the ascent

of skylark above spring rye fields,

singing praises to the vastness of blue


            mix it – round and round to dizziness


add chopped walnuts, figs, dates

and raisins, pour in some juice

from bittersweet grapefruit

freshly picked in your garden


            mix it – round and round to dizziness

  

add dark grey of rainclouds in Paris

that took Chopin back to the glimmer

of candles in an old cemetery

on the evening of All Souls’ Day


            mix it – round and round to dizziness


bake it in the cloudless heat

of your exile, do not forget to sprinkle

with a dollop of sparkling crystals,

first winter’s snowflakes at midnight 


Here’s the Mazurka Op. 17 no. 4 played by Helen Grimaud: https://youtu.be/KMg3mSk-BF8.

A Chocolate Mazurka with Almonds and Candied Orange Peel

After the concert, Slawomir Dobrzanski commented: "Your poems are beautiful! The festival audience in New York City loved them. Dzięki!"  The poems were also noted by Stan Borys and Marek Probosz who both attended the concert. Thank you for the kind words and special thanks to Jakub Polaczyk for including my work in the program. 

He earlier interviewed me, Jarek Kapuscinski, and Marek Zebrowski for his radio program, now available in podcast format. 



Friday, September 9, 2022

Remembering Polish War Anniversaries (Vol. 13, No. 4)


Remembering the 83rd anniversary of the outbreak of World War II 

and the 78th anniversary of the Warsaw Uprising 

A short speech on the subject of Polish war anniversaries given at the ceremony to mark the start of the school year at the Polish Alma Mater in Los Angeles. My speech is in Polish, so I decided to create an English translation and add some poems. 

Dear children, ladies and gentlemen, As Vice President for Public Affairs of the Polish American Congress in California, I am to remind you all of important historical anniversaries related to the month of September.

On September 1, we celebrate the anniversary of the outbreak of the Second World War. This year it is already the 83rd. One might ask, after more than 80 years, why should we care about this? Why must we remember? Why is Poland covered with monuments to those murdered during the war? Why do refuse to forget this national tragedy? When I was telling my youngest son about the war, still in elementary school, he said to me: "Mom, why are you telling me about this, it is not important, if it were important, they would write about it in my American textbooks..." Luckily, he changed his mind. But the fact is: they did not write and do not write about this. So, we have to remember.

As Poles in exile, those who emigrated from the country, and those already born here, that is, the second and third generation of the Polish diaspora, we must remember the history of our first homeland. The Second World War is a huge tragedy for the Polish nation. Poland was attacked by the Germans on September 1, 1939, on many fronts simultaneously, with provocations, when the Germans disguised prisoners in Polish uniforms and killed them as if in battle; to lie to the world that it was Poland that attacked Germany first. Now these historic frauds are called "false flags." Poland defended itself desperately, but it fell when stabbed in the back: on September 17, 1939, the country was divided between the two occupiers, the Soviet Union and Germany.

During the war, over 6 million people died in Poland, more than one fifth or 22% of the country's population. Of each 1000 residents of the country, 220 died during the war; in comparison, Great Britain lost 8 and France 15. The second country most affected was the Soviet Union with 115 residents killed out of each thousand. Everyone in America knows that about 2.7 million Polish Jews died in the Holocaust; but the losses of Slavs in Poland were higher: 2,770,000 people died only on territories occupied by the Germans. They were mainly Catholics. The first prisoners of Auschwitz KL were Polish Slavs, Catholics. Among them were my mother's uncles, two Catholic priests from the Wajszczuk family, first sent to Auschwitz KL, and then to Dachau, where the clergy was imprisoned.

Let us add to this the huge number of people murdered and displaced by the Soviets, deported from the Eastern Borderlands (what is now western Ukraine, Belarus and Lithuania) to Siberia or Kazakhstan, where another million people died. In the Borderlands, "Kresy," about 3.5 million people lost their homes, farms, estates, businesses… Everything except their lives. This was the story of my grandparents and my mother from Baranowicze, now in Belarus, as well as of the whole family from the vicinity of Nowogrodek and Lake Switez, where Polish national bard, Adam Mickiewicz, was born and raised.  I wrote about this in a short article dedicated to gold heirlooms my Mom left for me: https://polishamericanstudies.org/text/181/wajszczuk-gold.html.  Another story about the brave women of my extended family and their resilience during and after the war appeared on this blog: http://chopinwithcherries.blogspot.com/2021/01/portraits-of-survivors-babcia-prababcia.html.

Grandma Maria Wajszczuk and her sister Jadwiga Hordziejewska

We must all remember about Poles deported to Siberia, because in America we do not hear about them. I dedicated a book of poems to some of the victims and survivors, entitled The Rainy Bread ... My mother's aunt Irena De Belina, saved as an orphan from Siberia by Anders' army, ended up in Chicago via Iran and Switzerland. In her old age in Albuquerque, New Mexico, she told schoolchildren about the war hunger, how her parents died in a gulag . There are many such stories in our communities. I wrote two poems about her, the first one is below, with a lesson about  food and war-time hunger: 

≡ PEELING THE POTATOES ≡

~ for Grandma Maria Wajszczuk, neé Wasiuk (1906-1973)

Her Grandma showed her how to hold 

the knife, cut a straight, narrow strip,

keeping the creamy flesh nearly intact, 

ready for the pot of boiling water. 

Don’t throw away any food. The old refrain. 

My sisters, Tonia and Irena lived on potato peels

in Siberia. She is confused. She knows

Ciocia Tonia — glasses on the tip of her nose,

perfectly even dentures — but Irena? Who is that? 

They were all deported to Siberia. Not sure how

Irena’s parents died — of typhus, or starvation, maybe?

They used to pick through garbage heaps, 

look for rotten cabbage, kitchen refuse 

to cook and eat. They cooked and ate anything 

they found under the snow, frozen solid. 

The water’s boiling. Babcia guides her hand:

You have to tilt the cutting board

toward the pot, slide the potatoes in.

Don’t let them drop and splash you. 

What happened next? The orphaned children

went with the Anders’s Army and the Red Cross

to Iran, Switzerland, Chicago. The kitchen

fills with memories. Mist above the stove.

Grandma piles up buttery, steaming,

mashed potatoes on her plate. Eat, child, eat.   

Ten years later, Aunt Irena came to visit.

She looked like Grandma, only smaller.

Her legs were crooked. 

 

The crooked legs of Aunt Irena were due to starvation and lack of sunlight in childhood, she had rickets in Siberia.  At least, she survived.  So did the mother of Director of the Oral Archives of the former inhabitants of the eastern Borderlands at the Historical Museum of Warsaw, Jan Jakub Kolski. When he told her story at the meeting of the Kresy-Syberia Association in Warsaw in  2016, I wrote the following poem. 


≡ A SONG FOR A KEY ≡

                 ~ for Jan Jakub Kolski and his Mother

This is a key.

This is an iron key.

This is a large, iron key.

This is an old, large, iron key.

A key my mother carried in her purse.


This is an old, large, wrought-iron key my mother 

carried in her purse every single day.


This is a field.

This is a flat field.

This is a flat, empty field.

This is a flat, empty field in the Ukraine

that used to be Poland. A flat, empty field 

where my mother’s house once stood, surrounded 

by a tall wooden fence with a tall wooden gate, 

and a solid, large, wrought-iron lock.


They told her: pack!

They told her: go!

They told her: out!

You do not belong.

This is our land.


There is not house.

There is no fence.

There is no gate.


This is the key.


On the Eastern front, we should also remember the officers of the Polish Army arrested by the Soviets (and protected by international treaties as Prisoners of War) who were murdered in Katyn near Smolensk, Ukraine: all 22,000 of them. After the war, Soviet propaganda claimed that it was a crime of the Germans. This is what I was taught at my high school, Liceum Mikolaja Kopernika. Another lie, another "false flag." All the students knew the truth anyway, but they didn't say anything aloud, why bother? Why put their families in danger and their academic future at risk? 


In German-occupied Poland, the aim of the occupying forces was to destroy the Polish leaders and transform the Polish nation into a nation of slaves, stupid, uneducated laborers. The so-called Intelligenzaktion or Action AB led to the death of one third of the Polish intelligentsia: 39% of doctors, 33% of teachers, 30% of scientists and university professors, 28% of priests and 26% of lawyers. 

Not everyone knows that during the war there were over 900 labor camps in Germany; that over 2 million Poles and Polish women were sent to slave labor; many of them died of exhaustion.  Poet John  Z. Guzlowski is a child of a prisoner from Buchenwald, and a forced-labor slave. Born in a camp in Germany, he dedicated several books to the memory of his parents, deeply traumatized by the war. 



In my rave review of Echoes of Tattered Tongues: Memory Unfolded (Aquila Polonica, 2015) published in the Cosmopolitan Review in 2016, I wrote: 

"Some books take a lifetime to write, yet they can be read in one sleepless night, filled with tears of compassion and a heaviness of heart. John Z. Guzlowski’s book of poetic memoirs is exactly such a book: an unforgettable, painful personal history, distilling the horrors of his parents’ experiences in German labor and concentration camps into transcendent artwork of lucid beauty. [...] It is only through this gradual unveiling of the depth of suffering inflicted on Guzlowski’s mother and father, that we become aware of the historic forces that forged their fates, brought them together, and impacted their son so severely that he spent the past thirty years obsessively writing about his parents’ war-time ordeal and its post-war consequences, as if there were no other topics worthy of his pen.[...] The inmates were dehumanized in the German camps, they became animals or plants: the mother – a suffocating dog, the father – “a bony mule with the hard eyes / one encounters in nightmares or in hell” (“What a Starving Man Has”). In Buchenwald and other camps, Guzlowski’s father and his fellow inmates were like mules carrying heavy loads, and dying of exhaustion:

“These men belonged to the Germans

the way a mule belonged to the Germans

and the Germans stood watching

their hunger and then their deaths,

watched them as if they were dead trees

in the wind, and waited for them to fall,

and some of the men did…”

While being tortured and abused, Guzlowski’s father thought of what he could not say to the inexplicably cruel guards: “Sirs, we are all / brothers and if this war ever ends, / please, never tell your children / what you’ve done to me today.” (“The Work my Father did in Germany”). He was right, they did not tell… Indeed, these crimes were largely forgotten, Germany was rebuilt with American help, while the German concentration camps were renamed “Polish concentration camps” in a revisionist twist, Goebbels-style."  

A profound trauma, like that of the Guzlowski family, takes years to heal. It is as if the whole Polish nation still suffers from the Post-Traumatic Stress Disorder - the negativity, aggression, anger and outbursts at others are a superficial proof of that. Wounded animals lash out at everyone approaching them. Wounded people get angry and hostile for no apparent reason... But let us return to our story. 

Let us remember that until 1989, until the first free elections and the end of the Polish People's Republic, there was the Polish Government of the Second Republic in London. The second, because the First is the former Polish-Lithuanian Commonwealth, enslaved for 123 years of partitions by Russia, Prussia and Austria. We remember it on May 3, on the Constitution Day. The Second Republic of Poland survived only 20 years from the end of the First World War in 1918. On November 11, we celebrate Independence Day. 

We can be proud that Poland is the only country in Europe that did not have a collaborator government that cooperated with Germany! During the war, in occupied Poland, the Polish Home Army did not lay down their arms, around 400,000 people, mostly young people, belonged to underground troops. The Home Army trained them in hiding. At home, young people learned Polish, history, literature, and traditions. The underground activities were vast; they included academic lectures and private concerts of Chopin's music, which was forbidden by the Germans. Chopin's monuments were also destroyed. The time of war in Poland was hard, poor, full of hunger, disease and trauma.


Destruction of Chopin monument in Warsaw

Yet, Poles have a talent for survival. They mobilize in crisis. Their slogan: God, Honor, Homeland motivates them to action. And so, on August 1, 1944, the badly unarmed, poorly trained young inhabitants of Warsaw went into battle. The Soviet army had already entered the territories of Polesie near Lublin and Mazowsze to Vistula; they were already approaching Warsaw. If the country's capital could be liberated and the government from London could return, Poland could have really regained independence.

Unfortunately, Stalin mailed other plans. He had previously arranged them with Churchill, Prime Minister of England and with the American President Roosevelt. As early as 1943, they gave up power  to rule over Poland and other countries to Soviet Russia in secret agreements in Yalta and Tehran. Poles in Warsaw did not know anything about it when they commenced their heroic battle 78 years ago.

Their sacrifice and courage are indescribable. The Warsaw Uprising lasted until October 2, for as long as 63 days. It ended with a defeat. The losses of the Polish civilian and military population were enormous; up to 18,000 soldiers died in battles and about 200,000 civilians were killed. We should honor their memory.

This devastating fight for freedom so enraged the German authorities, that Hitler ordered the city to be completely demolished and all inhabitants to be deported. Soviet troops waited on the other bank of the Vistula until Warsaw bleeds out. The so-called "liberation" did not come until January 17, 1945, when the Russians entered the empty ruins.



On my way to school in Warsaw, every day I walked past three monuments with the inscriptions "Site made sacred by the blood of Polish victims" and our school building had round holes from bullets on its thick gray walls. I commemorated the walk to school in a poem: 


≡ THE WAY TO SCHOOL ≡

Walking to her high school on Bema Street. 

she counted three cement crosses in ten minutes 

every morning.

One in the middle of her subdivision of apartment blocks, 

standing guard at the edge of chipped asphalt: 

Four hundred.

One in the mini-park, where two gravel paths cross 

on a patch of overgrown grass after you go under the train bridge: 

Nine hundred.

One on the wall of a grimy three-story building, 

with round bullet holes still visible in the stained, grey stucco: 

Twenty-two hundred.

She memorized the inscriptions: “This place is sanctified 

by the blood of Poles fighting for freedom, murdered by Hitlerites.” 

 “Some Germans were good, not Nazis,” her teacher said, 

“They marched in the May 1st parades.”

Only the numbers differed, and dates:

August 5, August 6, August 7, 1944. The Uprising.

50 thousand civilians shot in the streets of Warsaw. 

The bullets came fast. Those soldiers had practice. 

Wehrmacht, Police Batalions, RONA, Waffen SS. 

No shortage of killers. Some had children back home. 

She did not want to think of thousands.

She did not want to know their names.

The ruins of the Royal Castle in 1945; by 1970s the debris was cleared, only the wall with square window hole remained (far in the center). Wikimedia Commons

While I commuted to the music school in the rebuilt Old Town of Warsaw in the 1970s, I could see the remains of the royal palace: a piece of the last wall with a window hole through which the moon would peek... The castle was beautifully rebuilt - this painstaking and meticulous project lasted for 20 years. So we can say that the cure for war is peace, the cure for destruction is creation. But it is easy to destroy something, and much harder to rebuild.

Was it worth it? Historians' discussion continues as we praise the heroes 78 years after their tragic struggle. Among us in California is Professor Andrzej Targowski, a child of the Uprising. He says that the uprising was a grave mistake, because the losses were too extensive, both human and material. The city's inhabitants were murdered. The buildings, libraries and museums were dynamited and burned down. Had the Uprising not taken place, 200,000 inhabitants of Warsaw would have had a chance of survival. And in a nation's crisis, survival is paramount. It's easy to die, dreaming of glory. It's harder, smarter, to survive, keep the traditions quietly, at home, to pass the memory on to the next generations.

How important is this memory today, when Polish Slavic history is not found in American textbooks. So let us remember: who we are, where we came from, where we are going. Let studying in a Polish school fill us with pride in our traditions, in our great history. Let this experience teach us to build and create, to work selflessly in community organizations, and to help others. 

On behalf of the Polish American Congress, I wish all children and youth a wonderful and fruitful school year. And no matter what, let's not forget to laugh. Let me end this article with a poem about the Warsaw Uprising Survivor, my Mom's friend: 

Medals of Barbara Wysocka, donated to the Museum of the Warsaw Uprising in 2013.

≡ PANI BASIA ≡

~ in memoriam Barbara Wysocka, “Irma” soldier in the Warsaw 

   Uprising, prisoner of Stutthof Camp (1927-1997) 

Who was this stranger at Christmas Eve dinners? 

A tall, stern lady who did not smile or talk to children. 

Distinguished. Distant. Too stiff for hugging. 

She looked at us as if from another planet. 

She ate her food slowly, methodically,

relishing each sip of the hot beet soup, 

gingerly picking fishbones out of carp in aspic. 

An aura of loneliness spread out around her. 

Why did Mom take her for vacation to Abu Dhabi,

on an exotic adventure, to see red sands, palms, camels?

The answer waited for decades in packets 

of old letters, medals earned during the war. 

She was “Irma,” a teen liaison for Division Baszta 

in Mokotów. Fought to the end, Warsaw’s fall. 

Imprisoned in the Stutthof Concentration Camp. 

Her whole family perished. All alone.

Never married. Wrapped in her grief 

like a cashmere shawl.

On her vacation in Persian Gulf, she saw 

wobbly camels race – and finally laughed. 

 


All poems cited above are from The Rainy Bread: More Poems from Exile, second expanded edition of 2021 of the book initially published in 2016 and honored with the Creative Arts Prize by the Polish American Historical Association. 




Sunday, August 21, 2022

Dancing to Chopin's Polonaises (Vol. 13, No. 3)

Krakusy Polish  Folk Dance Ensemble in 1812 Costumes at the Polish Church, Los Angeles

One of the most amazing memories of a lifetime of loving Chopin is the New Year's Eve Party at the musical home of Roza Kostrzewska  Yoder and Douglas Yoder, pianists, and parents of three young pianists. At midnight, to welcome the New Year 2010, all guests danced the Polonaise, to live performance by Douglas Yoder. By now, I forgot which Polonaise it was, maybe  the Heroic one, Op. 53 in A-flat Major ?  In any case, the music shook the whole house as we danced around the music studio, up and down the stairs to the living-room and the balcony. The moon was huge, in an enormous "fox hat" reddish halo, the night was cold and alive with music and love and beauty.  I wrote a poem after driving back home.  

While looking for my poem, I found an old post about this experience, described in 2012: 

"One dance captured my attention and remained in my memory: Chopin's Polonaise in A Major, Op. 40, nicknamed "The Military" (the link points to a YouTube recording by Maurizio Pollini). Yes, the same Polonaise that gave its first notes to a signal of the British broadcasts to occupied Poland during World War II. And here we are, dancing? Just after midnight all the guests at the party lined up in a long line of couples, the host sat at the grand piano and off we went. Around the living room, out onto the patio, up and down the steps, out one door, in another, all over the house... The moon was unusually bright that night, surrounded by an enormous halo, a portent of things to come. I felt a rush of pride, elation even, when we moved along with dignity, in triple meter: one long step with bended knees and two short ones. Down, up, up, down, up, up, around the house, around the world... It was so incredibly moving - a small group of Poles and their international rag-tag bunch of friends dancing to music written almost two hundred years ago and heard in so many homes, on so many concert stages. Welcome the new year, the year of Chopin! That was two years ago - and the tradition of dancing that particular Polonaise at midnight continues.

On the way back home, I drove through an unfamiliar neighborhood and saw boys playing with a bonfire on the front lawn of their small house. It was a working class neighborhood with tiny houses squished in neat rows on streets leading up to the hill of the Occidental College. The moon, the fire, the dance - I was inspired to write a haibun about it. It was recently published in an Altadena anthology, Poetry and Cookies, edited by Pauli Dutton, the Head Librarian of the Altadena Public Library:

Midnight Fire


In the golden holiness of a night that will never be seen again and will never return… (From a Gypsy tale)

After greeting the New Year with a Chopin polonaise danced around the hall, I drove down the street of your childhood. It was drenched with the glare of the full moon in a magnificent sparkling halo. The old house was not empty and dark. On the front lawn, boys were jumping around a huge bonfire. They screamed with joy, as the flames shot up to the sky. The gold reached out to the icy blue light, when they called me to join their wild party. Sparks scattered among the stars. You were there, hidden in shadows. I sensed your sudden delight.

my rose diamond brooch
sparkles on the black velvet -
stars at midnight

© 2010 by Maja Trochimczyk

I wrote more verse about the Polonaise itself, but all the descriptions fell short of the delight I felt that night, so it was reduced to just an introduction to a story that has no end. The contrast of warm flames and icy moonlight was unforgettable. I added the romance, of course - poetry is not supposed to be real - though, when rooted in an actual experience, it touches a nerve in listeners. After one reading I was asked by an eager member of the audience: "So what about the man who gave you that brooch? Where is he now?" My answer? "There was no man. This is my brooch, I got it for my daughter and she returned it to me, since I go out to fancy evening parties and she does not" I said. There was nobody lurking in the shadows. . . The poem sounds better this way, though."

The repetitiveness of the "Military" Polonaise with the easily recognizable initial phrase and its steady rhythm result in music that is perfect for dancing to, not just enjoying in the concert hall.  


Kocyan plays Chopin at the Ruskin Art Club, 2010

Another, quite memorable dancing experience, with the music by Chopin, played magnificently by Wojciech Kocyan, professor at Loyola Marymount University and a genius of color and expression at the keyboard, was associated with the poetry anthology that gave rise to this blog. We held one of the early readings from the new Chopin with Cherries anthology at the Ruskin Art Club in the spring of 2010 and what a reading it was!  To weave poetry and music into a seamless whole, with each poet reading their work and the pianist providing brief interludes of a kind they wrote about - etudes, preludes, mazurkas, nocturnes, waltzes... Pure magic. 

I asked Edward Hoffman, the Artistic Director and choreographer of the Polish Folk Dance Ensemble Krakusy in Los Angeles, to come in costume and lead the Polonaise to live Chopin music played by Kocyan. Mr. Hoffman graciously led the poets and guests in a dance around the hall. Dressed in a Polish nobleman's festive outfit, a velvet "kontusz" with slit sleeves, a feathered hat and carrying a sabre ("szabla"), Mr. Hoffman transformed Chopin's Polonaise into an actual dance that it rarely was, a noble and uplifting motion around the hall. Here's Mr. Hoffman showing the proper bow at the end of the dance, with Halina Wojcik.  

Edward Hoffman and Halina Wojcik show the proper bow after the Polonaise.

Most poets in attendance have never danced the polonaise before. It is a Polish tradition: each Ball, be it a prom in high school, or a New Year's Eve Ball, starts with a Polonaise - danced in couples, following the lead couple around the hall, out to the patio, between the tables, out to the garden if there's one. The polonaise also includes special figures, including a "bridge," turning back under two rows of dancers with raised hands. It is a "walking dance" ("chodzony"), suitable for everyone - young and old. It is also very noble and elegant in character.  You can read more about history of the Polonaise in my essay on the Polish Music Center website: https://polishmusic.usc.edu/research/dances/polonaise/

Polonaise dancers in Polish nobility costumes by Zofia Stryjenska

Here's Chopin's Polonaise Op. 40 in A Major with words and in an orchestral setting, performed by the Lira Ensemble of Chicago. They are dressed in 1807-12 costumes of the Duchy of Warsaw, a short-lived satellite state ruled by Napoleon during the Napoleonic wars, before the disastrous invasion of Russia. Men in military uniforms with sabres, women in high-breasted muslin dresses with puff sleeves and shawls. Very elegant and appropriate to the "military" tone of the music. The same costumes are reproduced at the top of this blog, from a performance by Krakusy Folk Dance Ensemble. 

https://www.youtube.com/watch?v=2cV588pudkU

Here's the same Chopin Polonaise played, albeit too slowly, by a young pianist and danced on the stage in 2016:

https://www.youtube.com/watch?v=QpQ0kryd83Y

Children from the Polish American Dance Company danced a polonaise at the art gallery of the Kosciuszko Foundation in New York. The caption says it is a Chopin polonaise, but I do not recall one sounding like that. 

https://www.youtube.com/watch?v=4_JMzZEI0aU

International students at the Erasmus program also learned this dance. Here they are, with the currently most popular Polonaise in Poland: Wojciech Kilar's Polonaise from the film Pan Tadeusz. 

https://www.youtube.com/watch?v=2iSDBTTxQMk

The same Kilar Polonaise was used for the choreography of the Polonaise Polish Folk Arts Ensemble, celebrating its 35th anniversary in Edmonton, Canada:

https://www.youtube.com/watch?v=UOpQShwGRt4

Kilar's Polonaise was also played and dance at the Old Town Square in Krakow by a "flash mob" organized by a local orchestra and Cracovia Danze historic dance group. These quasi-spontaneous events, surprise to the random audience are always fun, though the focus was on the orchestra instead of making everyone dance:

https://www.youtube.com/watch?v=mAHVknRJlzg

And here's Singapore's diplomatic corps dancing the Polonaise at their Ball in 2018, pulled into the game by the costumed folk-dancers: 

https://www.youtube.com/watch?v=4NliidrnmaY

The Kilar Polonaise is 7 min long, so it gives enough time to repeat figures, circle around the hall, all in the steady repetitive rhythm of its melody. But it gets tiring after a while, a bit like Ravel's Bolero. Why don't we return to dancing Chopin's Military Polonaise? Or Michal Kleofas Oginski's famous "Farewell to the Homeland" Polonaise so appropriate for all emigrants? I did not find it danced, so here's an orchestral version: https://www.youtube.com/watch?v=eWajYHs4goU

It is interesting that the Polonaise is also very popular among the Russian. Let's watch Russian youth dancing to Piotr Tchaikovsky's Polonaise from his opera Eugene Onegin. So elegant, with traditional ball gowns, and roses.  That Polonaise in the opera was danced by proud Polish nobility, the enemy of Russian heroes and heroines of the opera. But the music lost its negative association in the dance hall. Here is the Pushkin Ball 2011:

  https://www.youtube.com/watch?v=o3e1OH1BpjA

A traditional polonaise in 17th century nobility costumes was danced in the Main Square of Krakow's old town by Cracovia Danze ensemble playing a chamber version of a historic polonaise  by Prince Michal Radziwill, choreographed by 

https://www.youtube.com/watch?v=D4zxwxXElmQ

Krakusy Polish Folk Dance Ensemble in Lublin costumes dancing the Polonaise.

For poets from the Chopin with Cherries anthology, the Polonaise was music to listen to and reflect about, rather than a dance to enjoy movement together and integrate the community. Here's Kath Abela Wilson reflecting on hearing and playing Chopin.

How I Fell in Love with Chopin

 

he did not own a piano

hesitant shy unsure

 

I brought him to my mother’s house

where the old upright

moved in by seminarians last winter

still leaked snow

 

frail on the long walk

uphill he carried

the polonaises

 

told me how

he’d had polio as a child

came breathless to the bench

transfixed

 

we were all long afternoon

turned to dark

white moon balanced

ebony benched the sky

 

polished sound and circumstance

power I leaned into

 

he moved into my small apartment

took my mother’s piano apart to rework it

keys scattered everywhere

for three years


it did not last

 

I had to collect them in a box

 

I don’t think it ever got back together

but I realized in that time

 

I had fallen in love

with Chopin

 

(c) Kath Abela Wilson from Chopin with Cherries anthology (2010) 



Monday, August 1, 2022

A Delightful Concert by Kasper and Dominik Yoder (Vol. 13, No. 2)


I've been so busy with poetry that I stopped having time for music!  So I only listen to classical recordings while driving, and I have developed this indelible association of Chopin's Etudes with going 80 miles per hour on an empty freeway with a full moon above me and black hills contoured ahead. Try it some time, make sure you are alone and sing along, if you can! 

Finally, an invitation came from an old friend, Roza Kostrzewska-Yoder, an amazing piano teacher, whose children, three young men, are all pianist. Her husband is a pianist, too, and they have a private piano school, Chopin Academy in Los Angeles, that turns out one prize winner after another.  On Sunday, July 31, 2022, their two younger sons, Kasper, age 16.5 and Dominik, age 19.5 were to give a recital somewhere else, but the host fell sick so the concert was moved back home to the lovely salon. The interior is very welcoming, in the style of old Polish manor houses, with interesting works of art, antique furniture, and striking old wooden beams in the ceiling.  

I still remember that house when this piano studio did not exist and the house was standing on huge stilts on a very steep slope at the turn of a very curvy, narrow mountain road.  I was shocked by the apparent danger of living in a house that was attached to the ground only just barely, with one side,  while the rest of it was supported by thin metal column of 20 meters or so.  But the danger was more imagined than real, my hosts assured me. Just in case, I did not sign up my daughter for piano lessons with Roza. Ania did not want to practice anyway and now sings in a choir while working as a chemical engineer, researcher with patents to her name... 

Kasper Yoder (L) and Dominik Yoder (R)

At the family concert, the audience included music lovers from the Polish American community and fellow pianists with families.  Dominik played an early Beethoven's Sonata Op. 2 No. 3, and Sergei Rachmaninoff's Sonata No. 2, while Kasper filled in the middle of the dramatic musical sandwich with Chopin - Polonaise in F-sharp minor, Op. 44, and three Etudes (the Revolutionary, Op. 10 No. 12, and two from Op. 25, No. 12 in C minor, and No. 1 in A-flat major) in the first half, and the B-minor Prelude by Sergei Rachmaninoff.  The biographies of both wonderful young pianists are below. 

They both have impeccable technique and long-fingered pianists' hands - that fly above the keyboard with the speed of light, it seems at times.  Dominik's playing is more intellectually robust, bringing out the symphonic colors from Beethoven's early sonata and the the thunderous darkness of virtuosic Rachmaninoff, with the obscure intensity of a Russian soul. He would be great in Liszt's most "diabolical" concoctions; reminded me a bit of the superb young Liszt interpreter, Peter Toth I heard years ago at the Paderewski Festival in Raleigh, N.D.  In contrast, Kasper's interpretations strike me as truly romantic, with a gentle touch and rich timbres even in the most dramatic sections - these versions appealed to my poetic sensibility. Except in the tragic and dark Polonaise in F-sharp minor. To play it with the intensity of trauma that the music calls for, the pianist must live through unbearable pain. I do not wish it upon him, so let him play other Polonaises, with more zest for life and more vivid, brighter emotional colors! 

 The "Ocean" Etude Op. 25, no. 12 was as intensely cobalt-hued in the hands of Kasper Yoder as the music calls, for with its overarching waves of chords and arpeggios.  Nicknamed by American audiences, this etude is also a favorite with music theorists interesting in cognitive psychology and human ability to create large-scale patterns. I'm thinking of  "Gödel, Escher, Bach: An Eternal Golden Braid" by Douglas R. Hofstadter here, but maybe I'm wrong and he does not mention Chopin at all. Alas, I read it so long ago. In another life, perhaps. . . 


I did not buy flowers for the artists, so I grabbed postcards I made as I was leaving house, with new words to the "Hymn of Light" by Sibelius. I thought I'd write poetic thank you notes to both musicians after the concert. This, I did. Then, I read the brief poems to the audience,  and everyone was pleased. When I came back home, I combined the two miniatures into a longer poem with a new ending.  The music was so vivid and intense, it just called for a flight of imagination. Hearing the piano so closely reminded me of what George Sand used to do when Chopin was playing at Nohant. She'd lie down under the piano and luxuriate in the sonic avalanche falling on her from above... We were comfortably seated around the room, but the intensity of real sound, not the tinny little distortion from a loudspeaker, a real sound played by a real person. Magic, indeed. 


 On Hearing Chopin Etudes

~ for Kasper and Dominik Yoder

 

Cobalt waves of thick chords

spread out under charcoal skies.

A sudden ray of gold sunlight

pierces dark clouds into bliss.

 

Under the pianist’s fingers

massive thunderbolts of arpeggios

change into sweet arabesques

and dissipate into the air.

 

A question mark lingers.

Did we really miss it?

Did the door to Paradise

close already?

 

The piano pleads for us

while we remain immobile,

immersed in a sonic avalanche,

transfixed by its beauty.

 

The room resonates with each forte.

Sforzato shakes us to the core.

“Oh, to be a young pianist, again.”

Night falls outside with a sigh.

 

Be still, my heart”- said the poet.

How to be still when the music

floats high above us like magic

rabbit pulled out of the hat?

 



I had my favorite apple and cinnamon cake at the reception afterwards, and great, fruitful conversations, so the concert was a complete success!  We forget how important it is to meet people in person, face to face...  But I also like being alone. 

I like driving with Chopin's music playing just for me. Thinking of Chopin, his Nocturnes are an ideal antidote for road rage: who cares if anyone cut you off, if you are following the rarefied phrase of a pianist soaring into the stratosphere of delight?   Last summer, I listened to the Nocturnes after a beautiful day at the beach that brought resolution to a long-lasting trauma and finally broke the wheel of karma for me. Just one wheel of many, we are so entangled with others in this strange life! 




The 23rd of July



... is the day of clearing karma

untying knots on the thread of fate,

breaking enchantments, reversing curses.


Look at the moon, blood-red and broken

above the hilltop, huge like ancient pain

passed on through generations.

It follows you, as you drive home 

after resting in the silver mist of the ocean,

its waves - turquoise and jade - always

moving, yet always the same - 


Look, the moon hides behind the black ridge

of despair, only a soft spot remains, shimmering 

on alien indigo sky. The road turns, you fly along 

80 miles per hour, singing a Chopin's Nocturne    -    

its lustrous cascade of notes split apart 

by a sudden apparition   -   a majestic, white 

platinum orb, suspended in darkness. 


You remember that rust-red, once-in-the-lifetime 

moon of prophecy, the fox moon that foretold 

disaster as it led you back from Paso Robles, Solvang, 

Santa Rosa, on the way into disillusionment and regret. 

It was hard to understand. Harder to believe

in the existence of such twisted, demonic 

selfishness masquerading as affection. Pitiful. 


Yet the healing was real. 

The lesson's learned.

The karma's cleared.

It is done. 


The moon now floats high above the valley

in its bright halo, distant and indifferent. 

You've discovered the virtue of detachment.

You've seen how desires of the heart 

led you astray. Your life - an illumination.


Like a moonbeam, glowing on cobalt waters 

of the Pacific, your path ahead is straight - clear 

-  dazzling  -  brilliant  - 


A Starchild, born to shine, you are blessed

by the moon's radiance on this magical 

summer evening of July 23rd. You are home. 

The New Age has just begun. 



(c) 2021 by Maja Trochimczyk 

And listen again, Chopin's Nocturne Op. 62 No. 1 in B major, played by Janusz Olejniczak

Dominik Yoder began studying piano at the age of three. He was awarded the Gold Medal in the 2018 Kosciuszko Foundation Competition for Young Pianists in Washington, D.C. Dominik also received: First Prize in the 2017 MTAC State and CAPMT State Competitions and the 2017 Parness Concerto Competition; Honorable Mention and a Special Prize from the jury in the 2015 San Jose International Piano Competition; Second Prize in the 2014 MTAC Pasadena Music Competition; and First Prize at the 2013 CAPMT State Level Honors Auditions, the 2012 Long Beach Mozart Festival, the 2012 Southern California Junior Bach Festival (Gold Medal), the 2009 SYMF Competition, the 2009 CAPMT Sonata Competition, the 2010 CAPMT Honors Auditions, and the 2011 CAPMT State competition. He has also been a prizewinner of the Glendale Piano Competition and Cypress Piano Competition. Dominik has performed in Żelazowa Wola, birthplace of Frederic Chopin, and for Polish radio and television. He has given concerts in the United States, Germany, and Puerto Rico. Dominik has also performed with the Culver City Symphony Orchestra and the Southwest Youth Chamber Music Festival Orchestra. He currently studies under Róża Kostrzewska Yoder. Dominik enjoys surfing and rock climbing.

Kasper Yoder began playing piano at the age of three, and received First Prize in the 2018 International Chopin Competition in Hartford, Connecticut, First Prize at the 2019 MTAC State Piano Concerto Competition, First Prize at the James Ramos International Video Competition, First Prize at the 2017 Pasadena Theme Festival, Second Prize in the 2015 San Jose International Piano Competition and a special jury prize, Golden Cup in the 2012 Junior Festival, Second Prize in the 2012 Lianna Cohen Festival, Gold Medal in the 2013 California Junior Bach Festival, and the First Prize Dance Theme Festival MTAC Pasadena. He has performed for Polish television, and has frequently concertized in Poland and Germany. Kasper also won Liana Cohen Grand Prize this year, 2nd prize at the Hartford International Chopin piano competition 2022, 2nd prize in the prestigious MTAC State finals of Piano Solo Competition, Gold medal for State level Bach SCJBF in 2021.

It seems that Kasper Yoder collects prizes like people used to collect stamps and has a sizable array of awards and trophies to his honor.  He also enjoys photography, soccer, reading, and dancing in a Polish folk-dance ensemble. He studies with Róża Kostrzewska Yoder.

Here he is four years ago playing the same Etude op. 25 no. 1 we heard on Sunday: 

https://www.youtube.com/watch?v=7PuUeIVqcQE

And here is Kasper playing Artur Malawski's  Tryptyk Goralski: 

https://www.youtube.com/watch?v=B_eBfRg8lrU