Showing posts with label Chopin monument. Show all posts
Showing posts with label Chopin monument. Show all posts

Thursday, March 4, 2021

Chopin in the Snow and Celebrating his Birthday (Vol. 12, No. 3)

Photo from the article posted by EFE.com:

 The 2020 Sapporo Snow Festival included a replica of the Palace on the Isle, from Warsaw's Lazienki park, and, as a bonus, a snow version of the famous Chopin Monument by Waclaw Szymanowski, which was designed in 1907, unveiled in 1926, destroyed by Germans in 1940, and rebuilt by 1958 in Warsaw's nearby Ujazdowski Park. I wrote about this monument in the first installment of the Chopin Monuments series on this blog.

http://chopinwithcherries.blogspot.com/2015/08/chopin-monuments-around-world-i-warsaw.html

The rebuilt monument is in Ujazdowski Park, and not right by the Palace as placed in Sapporo... There is a large reflective pool right in front of the bronze sculpture of a weeping willow, with branches tangled by wind, and a composer "inspired" sitting in its shade. 

After looking at the composer's photographs, I noticed that the monument shows the suffering, inspired pianist in reverse, with the lock of hair above the frown flowing dramatically to the left, from hair parted on the right.  The historical accuracy has to give in to the artistic vision... For a detailed story of the concept and genesis of the monument read the article by Waldemar Okon, "The Monument of Fryderyk Chopin by Waclaw Szymanowski: Concepts and Reality" in The Age of Chopin, edited by Halina Goldberg, 2004. 

The Sapporo Snow Festivals are held every winter since 1950, when six snow sculptures were placed in Odori Park; and various winter games were played. Over 50,000 visitors showed up and a tradition was born.  In recent years, one huge replica of a well-known building was constructed each year. So far, the Sapporo Snow Festival featured 

In 2020, to celebrate the 100th anniversary of diplomatic relations between Poland and Japan, Polish landmark was chosen, the classicist palace, a favorite estate of King Stanislaw August Poniatowski. The snow building, constructed by over 100 soldiers of Japanese Self-Defense Forces, is 14-meter-tall, 26-meter-broad and 20-meter-long.  The Chopin Monument placed on the side, is considerably smaller. 



Photo of the Lazienki Palace and the Chopin Monument to the right in Sapporo from:

According to the "Royal Baths" website (Lazienki Krolewskie), in Warsaw, the history of this site reached back to the 17th century: "The origins of today’s Palace on the Isle date back to the late seventeenth century. The Bathhouse was built at the behest of Prince Stanisław Herakliusz Lubomirski, one of the most important politicians, writers and philosophers of the time. The Baroque garden pavilion, designed by the Dutch architect, Tylman van Gameren, was intended as a place for resting, leisure and contemplation. The interiors of the Bathhouse were stylized on a grotto with a spring which symbolized the Hippocrene, a fountain on Mount Helicon in ancient Greece, which was the source of poetic inspiration for the Muses."

"In 1764, when looking for a place in which to build his summer residence, King Stanisław August purchased the Bathhouse together with the Ujazdowski estate. Thanks to two architects – the Italian born Domenico Merlini and Johann Christian Kammsetzer, who was born in Dresden – the King transformed the Baroque Bathhouse pavilion into the neoclassical Palace on the Isle. Modelled on Italian architectural solutions, such as the Villa Borghese, Villa Albani, Villa Medici and Villa Ludovisi, it was intended to symbolize the dream of an ideal, modern and sovereign state."

https://www.lazienki-krolewskie.pl/en/architektura/palac-na-wyspie

There are no mentions of the "Royal Baths" Lazienki Palace in Chopin's letters - during his time, it was still a Royal Palace, not open to the public, but rather used by the Russian rulers of Poland.  His letters have some mentions of beautiful parks with ancient huge trees. Mentions of such parks are found in his correspondence to family and friends, sent from Scotland in 1848, for instance, describing the charms of the Calder House estate, with a beautiful park. . . 

Calder House in Scotland, where Chopin visited in 1848, photo from:

March 1, 1810 is Chopin's birthday celebrated today as the accurate date - it was celebrated by his family during his lifetime. There is another, earlier date, celebrated on February 22, as written on Chopin's baptismal certificate. Scholars still have not come to terms as to which date is correct, but the majority is inclined to follow Chopin's family tradition of March 1. 



The commemorative plaque in The Holy Cross Church on Krakowskie Przedmiescie in Warsaw, where Chopin's heart is held in one of the columns, bears the date 22 February 1810, instead of March.

This "confusion" is actually a bonus for Chopin Festival organizers as they schedule events for the whole week from Feb. 22 to March 1, and bring lots of Chopin's music to the public. For instance, in Chicago, jazz vocalist Grazyna Auguscik is one of the organizers of the week-long Chopin in the City Festival, held from February 22 to March 1, with an eclectic range of concerts, not just Chopin's piano works being featured.







Monday, October 20, 2014

Chopin's Life after Death ... Aya Okuyama and a New Sound of an Old Pianino (Vol. 5, No. 12)


October 17, 2014 - the 165th anniversary of the death of Fryderyk Chopin. Is he really dead yet? Not now and not ever. When a hostile critic like the German poet Ludwig Rellstab (1799-1860), the editor of Berlin-based journal The Iris,  wanted to kill his reputation for too much novelty and creativity - breaking the rules was punishable by ridicule in his opinion - Chopin survived. When the Nazis banned Chopin concerts and dismantled his famous statue in the Lazienki Park in Warsaw, using the metal to make weapons - Chopin survived. Poles played in and attended clandestine Chopin recitals in private homes. The plans for the monument were hidden and used to rebuild the Waclaw Szymanowski's Art Nouveau fantasy in the 1950s. The concerts in the park by the reflective ponds take place every Sunday through the summer and fall. It is one of the attractions of Warsaw. Chopin - the survivor!


There is so much that has been discovered about his life, family, friends, and music in recent years. The 150th anniversary of his death in 1999, the 200th anniversary of his birth in 2010 gave rise to a large number of conferences and events around the world. Many books were published with proceedings of these congresses and conferences. New insights, new discoveries, new themes, new interpretations. I had a chance to review all this frantic activity while editing the Second Revised Edition of Frederic Chopin: A Research and Information Guide that will be published next year by Routlledge in New York. I'm a co-editor of this project with its original editor, William Smialek.



One of the most interesting discoveries  is the "Real Chopin" - of the CD series issued by the National Fryderyk Chopin Institute in Poland, with an astounding version of the Berceuse op. 57 by Tatyana Shebanova, as well as recordings by Nelson Goerner, Fou Ts'ung, Dang Thai Son, Marek Drewnowski, and others.  These recordings are all made on historical Pleyel and Erard pianos from Chopin's time. An Amazon.com reviewer wrote:

"The reason for 21 discs, and not fewer (as in some other Complete Chopin Edition's), is that there is some duplication of some pieces (played alternatively on either a Pleyel or an Erard). The most glaring of these duplications are the waltzes, played by Marek Drewnowski (Pleyel) (tracks 1-18) on one disc, and Tatiana Shebanova (Erard) (tracks 1-14, omitting the last few included by Drewnowski and ending instead with Ecossaises Op. 72, Barcarolle Op. 60 and Barceuse Op. 57) on another. Those wanting the Nocturnes or Mazurkas grouped together in self-standing programmes (as DG did in their edition) will be disappointed here. Instead what we get is one disc of Nocturnes (played nicely by Dang Thai Son on an Erard), the rest being interspersed elsewhere and played by other pianists. Complete, self-standing surveys of the Etudes, Preludes, Impromptus and Ballades however can be found, these discs being filled up with a few other pieces."

http://www.amazon.com/Real-Chopin-Complete-Period-Instruments/dp/B004EQAUZQ/ref=cm_cr_pr_product_top


CHOPIN ON A PIANINO BY AYA OKUYAMA


Grand pianos are not the only instruments that Chopin played. In fact, his apartments were often furnished with smaller upright pianos, "pianinos" - such as the one in the room he had in the Monastery in Valldemossa on Mallorca. He composed his Preludes Op. 28 on this instrument - a Pleyel pianino. How did that instrument sound like? Did its particular mechanism affect the texture and structure of the music?

These are all very interesting questions, and before finding all the answers you might as well listen to the music. The pianino was restored. Its twin, another Pleyel Pianino from 1838 was restored to full glory by Oliver Fadini and played by Japanese pianist Aya Okuyama. The result is an inspired and intriguing CD that makes Chopin's music sound really different from the grand, massive, voluminous, and uniform sonorities of the modern Steinways. The CD is released by Nomad Music in France.

https://www.youtube.com/watch?v=VYnIyx7NX6E

It is also different from the percussive sounds of some historical recordings made on instruments with leather hammers that are too dry and make the sounds too harsh for what Chopin had in mind. But now, with the new recording being released we have to find life after death, new in the old...

https://www.youtube.com/watch?v=VYnIyx7NX6E

AYA OKUYAMA

Aya Okuyama, pianist and pianofortist, has a passion for historical instruments, especially those made by Pleyel between 1831 and 1849, during the "Chopin period". She applies herself to finding their "corps sonore" (sounding body) by approaching the game not as the adaptation of the language of the modern piano, but as a re-appropriation of ancient keyboards. By choosing excellent instruments, she rediscovers the original stamp of this great piano maker's choices: lightness of touch, depth and extreme sweetness of tone.

Regularly invited to give recitals and chamber music concerts, Aya plays all over Europe and in Japan. She has recorded works of J.N.Hummel with Solamente Naturali - Brilliant Classics - and recently pieces for piano by Lili Boulanger - NoMadMusic.

Aya Okuyama is a graduate of CNSMD Paris (1999) and CNR Paris (2002) in piano, pianoforte and chamber music.