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Relevant bibliographies by topics / Paderewska

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Academic literature on the topic 'Paderewska'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

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Journal articles on the topic "Paderewska"

1

Plach, Eva. "Helena Paderewska: Memoirs, 1910–1920." History: Reviews of New Books 45, no. 1 (December 12, 2016): 11. http://dx.doi.org/10.1080/03612759.2017.1255019.

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Cioffi, Kathleen. "Paddymania Returns to America (and Poland)." Theater 50, no. 3 (November 1, 2020): 49–61. http://dx.doi.org/10.1215/01610775-8651193.

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Kathleen Cioffi provides an overview of the ambitious Paderewski Musical Project, examining the collision of American and Polish dramaturgies across three pieces—3 Paderewskis, Virtuoso, and Memory Laws. All three were part of a 2017 competition encouraging American writers to propose a musical celebrating Poland’s hundred-year anniversary of independence by valorizing Jan Paderewski. Cioffi concludes that the nationalistic impulses of the right-wing government are shielded by their choice of American artists for a state-sponsored project, and of Paderewski, household name and national hero, as the subject.

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Sainsbury, R. Mark. "Paderewski Variations." Dialectica 64, no. 4 (October 22, 2010): 483–502. http://dx.doi.org/10.1111/j.1746-8361.2010.01240.x.

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Saul, Jennifer. "The Best of Intentions: Ignorance, Idiosyncrasy, and Belief Reporting." Canadian Journal of Philosophy 29, no. 1 (March 1999): 29–47. http://dx.doi.org/10.1080/00455091.1999.10717504.

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Context plays a crucial role in our propositional attitude reporting practices. A belief-reporting sentence (containing no obvious indexical elements) which seems true in one context may seem false in another, as Kripke showed us in ‘A Puzzle About Belief.’ To put it a bit sloppily, (1) may seem true when we are discussing Peter's beliefs regarding Paderewski-the-pianist and false when we are discussing his beliefs regarding Paderewski-the-statesman.(1) Peter believes that Paderewski is a fine musician.A number of recent theorists have taken this contextual variation very seriously, and attempted to provide accounts which accommodate it in one way or another. Salmon and Soames accommodate the variation in pragmatics, arguing that our intuitions about attitude reporting often result from mistaking pragmatic implicatures for semantic content. Other theorists have offered semantic accounts which yield contextually varying truth conditions for belief reporting sentences. I have a great deal of sympathy for the project: I think the contextually varying intuitions do exist, and that they need to be accommodated, in one way or another. I am not so sure, however, that this can be done.

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Marcus, Kenneth H. "Modjeska, Paderewski, and the California Landscape." Southern California Quarterly 100, no. 1 (2018): 69–105. http://dx.doi.org/10.1525/scq.2018.100.1.69.

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Two Polish artists—the renowned actress Helena Modjeska and the famous composer and pianist Ignacy Jan Paderewski—were drawn to California in the 1870s and 1910s respectively. Their bond with the California landscape in Modjeska’s ranch, El Refugio, near Santa Ana, and Paderewski’s Rancho San Ignacio, near Paso Robles, offered them retreats from their performance tours, restored their health, and gave them a sense of belonging. In turn, both transformed the landscape of the imaginary as they developed productive agriculture.

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DEUTSCH, Max. "THE PADEREWSKI PUZZLE AND THE PRINCIPLE OF SUBSTITUTION." Grazer Philosophische Studien 83, no. 1 (2011): 123–41. http://dx.doi.org/10.1163/9789401200721_008.

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Biskupski, M. B. "Paderewski, Polish Politics, and the Battle of Warsaw, 1920." Slavic Review 46, no. 3-4 (1987): 503–12. http://dx.doi.org/10.2307/2498100.

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In 1920 the Polish army defeated the Bolsheviks before the gates of Warsaw. The Polish victory preserved the independence of the reborn state, delayed Russian expansion for a generation, and left to historians a number of controversial issues. Certainly the most passionately debated aspect of the war is the authorship of the Polish victory. Gradually western scholarship has come to credit the laurels to Poland's Marshal Jozef Pilsudski, but there are still those who emphasize the role of other Polish soldiers or of the Frenchman, General Maxime Weygand. From the midst of this historiographical controversy, we may discern the dim outlines of a simultaneous, yet obscured episode: the aborted political comeback of Ignacy Jan Paderewski. It is the purpose of this essay to reconstruct the latter against the background of the former.

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Woźna-Stankiewicz, Małgorzata. "Nieznane fakty z biografii (nie tylko) Paderewskiego." Muzyka 67, no. 1 (April 27, 2022): 96–142. http://dx.doi.org/10.36744/m.1182.

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Nieznane fakty z biografii Paderewskiego i związanych z nim twórców zostały opisane w szerokim kontekście osobowo-instytucjonalnym z uwypukleniem związków przyczynowo-skutkowych między biograficzno-artystycznymi fenomenami. Udokumentowana źródłowo relacja składa się z dwóch części. W pierwszej - Pobyty Paderewskiego w Krakowie, Kąśnej i Lwowie: 1896–98 – kolejne fragmenty dotyczą krakowskich uroczystości (3 IX 1896 r.) Józefa i Antoniny Szumowskich z udziałem Paderewskiego oraz sprowadzonego przez Edwarda Kerntopfa fortepianu jego rodzinnej firmy, na którym grał wówczas nie tylko Paderewski, ale przedstawiony mu Henryk Melcer, który po raz pierwszy zaprezentował swoją transkrypcje moniuszkowskiej Prząśniczki. Tytuły następnych fragmentów to: pożegnanie Paderewskiego w salonie Żeleńskich 9 IX 1896 r. i jego uczestnicy; lato 1898 r. w Kąśnej i pierwszy zagraniczny przekaz o posiadłości Paderewskiego; Paderewski w salonie Żeleńskiego 27 sierpnia 1898 roku i poznanie „Janka”; „Kantata” Paderewskiego w salonie Żeleńskiego, a wizyta pianisty we Lwowie i Kąśnej w listopadzie 1897 roku. Część druga – koncerty Paderewskiego w Wielkiej Brytanii: 1898–99 – obejmuje krótkie tournée pianisty w grudniu 1898, jego udział w pierwszym London Musical Festival 9 V 1899 r. i pofestiwalowe sukcesy między 10 a 16 maja oraz lipcowe występy w salonach londyńskich potentatów, natomiast w końcu listopada 1899 roku recitale przed czwartym tournée amerykańskim.

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Misiurska, Agnieszka. "Artist No Longer. Powrót Ignacego Jana Paderewskiego do Polski w grudniu 1918 r. na łamach francuskiej i brytyjskiej prasy." Annales Collegii Nobilium Opolienses 1, no. 10 (December 31, 2021): 87–109. http://dx.doi.org/10.15804/acno2020103.

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This publication is devoted to the mission undertaken by Ignacy Jan Paderewski in December 1918, his arrival in Poland, through his visit to Poznań, until the successful political talks with Józef Piłsudski and the formation of a coalition government, which led to the recognition of the Warsaw authorities by the Entente countries and establishing the composition of the Polish delegation to the Paris peace conference shown the French and British press. The chronological scope of the article covers a relatively short period, which is, however, crucial for the reconstruction of independent Poland. For its needs, the outgoing press in France and Great Britain was reviewed and articles describing Paderewski’s activities at that time were analyzed. To achieve this purpose, the French and British newspaper titles were selected that represented different political circles and achieved a significant circulation. This publication is mainly based on the method of analyzing press sources, using the philological method, which in this case involves translating the texts of press articles from French and English. However, the key research method used to write this article is the comparative method, consisting in juxtaposing information relating to the same events at the turn of 1918 and 1919 in the French and British press, and pointing to similarities and differences in the terminology used and the assessment of Ignacy Paderewski and its activities.

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Dziadek, Magdalena, Justyna Kica, and Michał Jaczyński. "Ignacy Jan Paderewski w polskim dyskursie satyrycznym z lat 1898–1936." Muzyka 67, no. 3 (November 9, 2022): 78–113. http://dx.doi.org/10.36744/m.1405.

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Polski dyskurs satyryczny odnoszący się do osoby i działalności Ignacego Jana Paderewskiego był prowadzony w polskiej prasie humorystyczno-satyrycznej od chwili, gdy zaczął on odnosić wielkie sukcesy jako pianista, do momentu, gdy ustała jego działalność na arenie politycznej. Zgromadzone na potrzeby artykułu źródła prasowe dotyczące tematu pochodzą z lat 1898–1936. Są to dokumenty literackie (anegdoty, wiersze, mini-dialogi) oraz ikonograficzne (karykatury i rysunki satyryczne) zebrane w prasie reprezentującej trzy główne ośrodki Polski porozbiorowej: Warszawę, Lwów i Poznań. Pochodzą głównie z trzech pism warszawskich: „Muchy”, „Kuriera Świątecznego” i „Kolców”, lwowskiego „Szczutka” i poznańskiego „Bociana”. Prezentowany materiał źródłowy został poddany wieloaspektowej analizie, uwzględniającej w pierwszym rzędzie potrzebę odszyfrowania zawartych w nim treści odnoszących się do aktualnych wydarzeń historycznych. Treści te, ukazywane w poszczególnych pismach w różny, nieraz skrajnie odmienny sposób, na co wpływ miała ich barwa polityczna, w znaczący sposób uzupełniają oficjalną biografię Paderewskiego, a przy okazji charakteryzują zróżnicowane postawy polskiego społeczeństwa, którego reprezentantami są satyrycy, wobec tych wydarzeń. Dzięki czujności i bezkompromisowości autorów z pism satyrycznych poznajemy zakulisowe aspekty takich epizodów z życia Paderewskiego, jak obchód grunwaldzki, udział w konferencji paryskiej i w Lidze Narodów, rok rządów jako premiera RP, kontakty z polonią amerykańską, założenie dziennika „Rzeczpospolita” i poszczególne próby powrotu do władzy w latach 30. Drugim celem pracy jest dokonanie ogólnej charakterystyki zebranego materiału z punktu widzenia studiów wizerunkowych. Wzięty został pod uwagę sposób przedstawiania Paderewskiego w karykaturach, które stworzyli Bogdan Nowakowski, Zygmunt Kurczyński, Kazimierz Grus, Antoni Romanowicz, Bronisław Fedyszyn i kilku autorów anonimowych.

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Dissertations / Theses on the topic "Paderewska"

1

Paderewska, Joanna [Verfasser], and Claus [Akademischer Betreuer] Neurohr. "Epidemiologische Analyse und Erfassung von Prädiktoren bei Patienten in prolongiertem Weaning : Daten eines spezialisierten Weaningzentrums / Joanna Paderewska ; Betreuer: Claus Neurohr." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2021. http://d-nb.info/1231233354/34.

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2

Pluta, Agnieszka. "The pianism of Paderewski." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/73065/.

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Many aspects of Ignaz Jan Paderewski’s life and career have been the subject of previous research, but some important areas remain uninvestigated. Moreover, many biographies, especially those written in English, have hitherto rarely adopted a critical stance. My aim here is to examine those elements of Paderewski’s performance style that have not hitherto been fully studied. Unique Polish sources include unpublished letters written to his father and Helena Górska, his secretaries’ letters written in 1935 and between 1938-39, and of course his correspondence with his pupils, which sheds considerable new light on his views on, and success in, piano teaching. This dissertation discusses in detail his stylistic approach, attitude towards piano playing, preparation for performance and methods of interpretation. Unpublished letters between Paderewski and his pupils deal with such issues as: choosing concert programmes, techniques of pedalling and advanced interpretational issues. To further evaluate changes in Paderewski’s playing style over his career I have analysed a representative selection of his recordings made over the course of his career. Although Paderewski’s style did not change radically, some of the recorded pieces do demonstrate significant differences in interpretation, and his experiments in phrasing, dynamics, tempo and pedaling. I additionally compare some of the recordings of the same pieces by Paderewski and his contemporaries. For instance, Arthur Friedheim’s recording of Liszt’s Hungarian Rhapsody No. 2 in C sharp minor. An approach such as this will illuminate, for example, some differences in style between representatives of the ‘Liszt School’ (of which Friedheim was one of the most celebrated exponents) and that of Leschetizky (as represented by Paderewski). This documentation and evaluation of Paderewski’s performance style has naturally influenced my own performances of his works. The accompanying recital therefore includes one of Paderewski’s most substantial piano pieces, the Sonata in E flat minor, contrasted by a Sonata by Paderewski’s contemporary, Sergei Rachmaninov, and completed by works of Chopin in Paderewski’s repertoire, and a piece by his pupil, Ernest Schelling, also recorded by Paderewski. The recital therefore constitutes a practical application of Paderewski’s performance and programming styles as discussed in the dissertation.

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3

Nelson, Anne Marie. "Ignacy Jan Paderewski's Piano sonata in E-flat major, opus 21 insights into his compositional technique and performance style /." connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/nelson%5Fanne%5Fmarie/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Apr. 25, 1994, July 31, 1995, Nov. 17, 1997, and Nov. 18, 2002. Includes bibliographical references (p. 183-192).

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4

Choi, Yun Jung. "The use of the Polish folk music elements and the fantasy elements in the Polish fantasy on original themes in G-sharp minor for piano and orchestra, opus 19 by Ignacy Jan Paderewski." Thesis, Lecture recital, recorded Mar. 6, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3690.

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5

Perkowska-Waszek, Małgorzata. "The letters of Ignacy Jan Paderewski as a source of knowledge concerning cultural relationships of Europe." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15954.

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The issue of the cultural relationships that have existed without doubt over the centuries between Central Europe, Eastern Europe and Western Europe also finds its reflection in, among other places, the correspondence of Ignacy Jan Paderewski, distinguished Polish pianist, composer and politician.

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6

Nelson, Anne Marie. "Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4150/.

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The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program.

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Keym, Stefan. "Zur Bedeutung des Nationalen bei der deutschen Rezeption polnischer Musik von 1900 bis 1914 am Beispiel von Szymanowski und Paderewski." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21335.

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Dass 'die nationale Bedeutung oder Färbung eines musikalischen Phänomens [. . . ] zu einem nicht geringenTeil eine Sache der Auffassung und der Übereinkunft: der Rezeptionsweise'1 ist, wird an der polnischen Musikgeschichte besonders deutlich. Das außergewöhnliche politische Schicksal Polensim 19.Jahrhundert - das Verschwinden eines fast tausend Jahre alten Staates, die Aufteilung seinesTerritoriums unter drei fremden Mächten und das Andauern dieses Zustands über mehr als hundert Jahre, ausgerechnet in der Hochphase des Nationalgedankens - hatte zur Folge, dass den Künstlern bei der Wahrung der nationalen Identität eine führende Rolle geradezu aufgedrängt wurde.

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Keym, Stefan. "Vom Patriotismus zum Pantheismus: die 'per aspera ad astra'-Dramaturgie in der polnischen Symphonik um 1900 am Beispiel von Noskowski, Paderewski und Karłowicz." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16021.

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Ruskoski, David Thomas. "The Polish Army in France: Immigrants in America, World War I Volunteers in France, Defenders of the Recreated State in Poland." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/history_diss/1.

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Independent Poland ceased to exist in 1795 and the various insurrections to restore the Polish state were thwarted by the Germans, Austro-Hungarians, and Russians. During the First World War, Polish statesmen called upon the thousands of Polish immigrants in the United States to join the Polish Army in France, a military force funded by the French government and organized by the Polish Falcons of America and Ignacy Paderewski, the world-famous Polish pianist. Over 20,000 men trained in Canada and fought in the final months of the war on the Western front. While in France they were placed under the command of General Jozef Haller and became known as Haller’s Army. At the conclusion of the war, the Allied leaders at the Paris Peace Conference decided to send the soldiers to Poland to fight in the Polish-Soviet War to stop the western advance of the Bolsheviks. When the war ended, the United States government, with the influence of Secretary of State Robert Lansing, funded the return of the soldiers to their homes in the United States. This dissertation focuses on questions of the relationships among foreign policy, nationalism, and immigration and investigates forced recruitment, dissatisfaction with the cause of Polish independence exacerbated by difficult wartime conditions, nationalism among immigrant groups, ethnic identity, and anti-Semitism.

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Jen, Yu-hui, and 任祐慧. "A Study on Paderewski''s Polish Fantasy on Original Theme." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/89megd.

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碩士
國立中山大學
音樂學系研究所
96
Polish Fantasy on Original Theme is one of the two piano concertos composed by the Polish composer─Ignacy Jan Paderewski. Affected by the sectional manner of the fantasy, unique rhythm and the melody of Polish dance music, Polish Fantasy on Original Theme presented the feature of Polish dance music, the style of the fantasy and the form of single movement concerto. This research includes three chapters. In order to comprehend Paderewski’s compositions, his music study, the career as a pianist, and as a statesman; the first chapter will investigate the life of Paderewski. The second chapter presents the development and the characteristic of fantasy, the advance of single movement concerto, the style and the feature of Polish dance music. The background of Polish Fantasy on Original Theme should be examined in detail in the last chapter. In the meanwhile the composition manner, the influences of the fantasy, single movement concerto and Polish dance music will also be discussed in the content.

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Books on the topic "Paderewska"

1

Paderewski, Ignace Jan. Paderewski. New York: RCA Victor Gold Seal, 1992.

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2

Weber, Bożena. Paderewski. Kraków: PWM Edition, 1992.

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3

Stevenson, Ronald. The Paderewski paradox =: Le paradoxe Paderewski. Lincoln: Klavar Music Foundation of Great Britain, 1992.

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4

Wapiński, Roman. Ignacy Paderewski. Wrocław: Zakład Narodowy im. Ossolińskich, 1999.

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5

Janowski, Włodzimierz, and Jolanta Louchin. Ignacy Jan Paderewski. Warszawa: Archiwum Akt Nowych, 2002.

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Stevenson, Ronald. The Paderewski paradox. Lincoln: Klavar Music Foundation of Great Britain, 1992.

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Bobrow, Ryszard, and Jerzy Gmurek. Paderewski i Warszawa. Warszawa: Muzeum Narodowe, 2005.

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Ignacy Paderewski: Poland. London: Haus Pub., 2009.

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Paderewski l'idole des années folles. Paris: J'ai lu, 1985.

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10

Fuchss, Werner. Paderewski: Une vie, une oeuvre. Yens sur Morges: Editions Cabédita, 1999.

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Book chapters on the topic "Paderewska"

1

"Paderewski:." In Steinway and Sons, 108–17. Yale University Press, 1997. http://dx.doi.org/10.2307/j.ctv9hvt04.14.

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"4 Paderewski." In De Lingua Belief. The MIT Press, 2006. http://dx.doi.org/10.7551/mitpress/2286.003.0006.

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"NINE Paderewski: Superstar and Super Salesman." In Steinway and Sons, 108–17. Yale University Press, 1997. http://dx.doi.org/10.12987/9780300247169-012.

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