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Journal articles on the topic 'Paderewski'
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1
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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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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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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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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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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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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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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Fiszer, Stanisław. "Anita Prazmowska, Ignace Paderewski et la renaissance de la Pologne en 1919." Revue des études slaves 86, no. 4 (December 31, 2015): 520–23. http://dx.doi.org/10.4000/res.768.
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Krulikovska, Tetyana. "Władysław Zaremba (1833–1902) – a forgotten Polish composer from Podolia and his collection titled Little Paderewski." Edukacja Muzyczna 13 (2018): 223–41. http://dx.doi.org/10.16926/em.2018.13.13.
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Błaszczak, Anna. "Teaching Academic Honesty and Ethical Standards." EDUKACJA 2020, no. 1 (March 25, 2021): 67–76. http://dx.doi.org/10.24131/3724.200105.
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The considerations presented in this paper refer to the idea of developing academic honesty and introducing ethical standards in research among high school students of the International Baccalaureate Diploma Programme. The mission of the International Baccalaureate Organization is to form a better world through education. One of the ways to achieve this is to create international educational programmes that include the development of a respectful, principled and caring attitude among their students. Teaching about academic honesty and ethical standards in research as well as introducing these principles in everyday school life is the best way to put these rules into practice. In the following paper, the regulations of the International Baccalaureate on academic honesty in general and ethical guidance for psychology in particular will be presented, followed by examples of good practice from one of the IB schools, the Międzynarodowe Liceum Paderewski in Lublin, Poland.
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Dziadzio, Andrzej. "Urząd Generalnego Delegata Rządu dla Galicji (1919–1921)." Przegląd Sejmowy 4(165) (2021): 37–64. http://dx.doi.org/10.31268/ps.2021.45.
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In early March 1919 the government of Ignacy Paderewski established the office of General Delegate of the Government for Galicia. This ended a stage of provisional management of the post-Austrian district, which resulted from political and systemic changes in the first months of the independent Polish state’s existence. New structures of authority, such as the Polish Liquidation Commission or the Ruling Commission, emerged in opposition to the Polish administration of Austrian times and were based on political and civic rather than professional factors. This complicated the situation so much that the administration of Małopolska by the government in Warsaw became difficult. The appointment of Kazimierz Gałecki as the General Delegate of the Government for Galicia and placing the official structures from the Austrian times at his disposal stabilised administrative relations in the lands of former Galicia, strengthening the authority of the reborn Polish state.
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Biedka, Karolina. "Laurence Alma-Tadema (1865–1940) jako popularyzatorka historii i kultury polskiej." Annales Collegii Nobilium Opolienses 1, no. 10 (December 31, 2021): 111–33. http://dx.doi.org/10.15804/acno2020104.
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The main goal of the article is to present the activities of the British poet and writer Laurence Alma-Tademy (1865–1940) to popularize Polish history and culture in Great Britain during World War I and in the preceding period. A biographical sketch of Alma-Tedema and the most important threads related to her pro-Polish activities are outlined. Various directions of her activity were presented, as well as her special relationship with the Polish pianist and composer Ignacy Jan Paderewski. Alma-Tademy’s relations with other Polish activists – Roman Dmowski and Henryk Sienkiewicz were also presented. Laurence Alma-Tadema, as she claimed, loved Poland and chose it as her homeland. She tried to familiarize the British with Polish culture and history. Moreover, her commitment to helping Polish victims of the war, now forgotten, is not without significance. The article discusses the most important aspects of Alma-Tademy’s work for the Polish cause.
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Więch, Arkadiusz S. "Polishness as a Superior Value in the Social Activism of Erazm Józef Jerzmanowski." Perspektywy Kultury 25, no. 2 (July 1, 2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2502.05.
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The “Polish Nobel,” “Polish baron,” and “the one that illuminated America,” are just some of the nicknames given to Erazm Jerzmanowski (1844-1909), participant of the January Uprising, a Polish migrant, inventor, businessman and philanthropist. Jerzmanowski obtained a high position in the world of American business of the 1880s and 1890s. He was the only Pole on the list of the top American millionaires of the time. He realized positivist ideals of grassroots work and devoted himself to a wide array of social and philanthropic activities addressed both to the American Polonia and the Poles under occupation. His crowning achievement was the establishment of the awards which were compared to the Alfred Nobel Foundation (the laureates included Henryk Sienkiewicz and Ignacy Jan Paderewski). The overriding value in his activities was his work for the economic, cultural and scientific improvement of the Polish society which was intended to lead to the restoration of Poland’s independence.
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Łopatowska-Romsvik, Dagmara. "Ernst von Dohnányi’s concerts in Kristiania." Studia Musicologica 58, no. 2 (June 2017): 225–38. http://dx.doi.org/10.1556/6.2017.58.2.5.
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Ernst von Dohnányi visited Kristiania, nowadays Oslo, the first time in 1906. Receiving very good reviews, he became a frequent guest in the city playing usually for full concert halls. He came to the city numerous times as a soloist performing music of the leading European composers of the nineteenth century and Beethoven’s and Bach’s works as well. He appeared on the stages in Kristiania also as a chamber music performer. Besides, his music was played there being prized high. He was considered a permanent and very wanted guest in the city and became an artist recommended as a piano teacher to the young Norwegian students by for example Edvard Grieg. His name was also used by the Norwegian piano factory’s owners together with the names of other famous artists such as Leschetizky, Paderewski, Carreño and others in the commercials of the instruments for many years. Eventually, his music was played there not only by the artist. This article’s aim is to show all the aspects of presence and reception of Dohnányi’s art in Kristiania in the period the artist used to show up in the city’s musical life.
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Smialek, William, Maria Marchwica, and Andrzej Sitarz. "Warsztat kompozytorski, wykonawstwo i koncepcje polityczne Ignacego Jana Paderewskiego. [The Compositional Work, Performance, and Political Conception of I. J. Paderewski]." Notes 49, no. 3 (March 1993): 1033. http://dx.doi.org/10.2307/898964.
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Moseley, Roger. "Chopin's Aliases." 19th-Century Music 42, no. 1 (2018): 3–29. http://dx.doi.org/10.1525/ncm.2018.42.1.3.
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The ambiguity of Chopin's music and its amenability to reinvention help account for its enduring appeal to pianists, composers, and critics. This article examines the conditions under which such ambiguity has taken shape on the page and at the piano. Just as curves become jagged—or “aliased”—when represented by the grid of discrete pixels that form digital displays, so have the contours of Chopin's music been both veiled and disclosed by the straight lines that define the staff and the keyboard. Despite the term's contemporary ring, the issues raised and reflected by aliasing are rooted in a set of nineteenth-century dichotomies concerning the discrete and the continuous, artifice and nature, instruments and bodies, virtuosity and poetry, machines and voices, and constraints and liberties, all of which Chopin's music was heard both to invoke and to elude. By way of recordings and transcriptions by Leopold Godowsky, Marc-André Hamelin, Josef Lhévinne, Vladimir de Pachmann, Ignacy Jan Paderewski, and Arthur Rubinstein, the article presents various instances of aliasing and attempts to mitigate it via a range of compositional, pianistic, and cultural techniques that reveal how aliases can produce ambiguity by calling the very distinction between identity and difference into question.
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Ramos, Pedro. "El enigma de Kripke: una solución formal-intensional." Crítica (México D. F. En línea) 26, no. 76-77 (January 7, 1994): 51–92. http://dx.doi.org/10.22201/iifs.18704905e.1994.930.
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In this article, as its title says, I present a formal solution in the intensional line to Kripke’s paradoxes on belief. I analize and formalize the main three cases he expounds, about Tully-Cicero, Paderewski and Londres-London, according to his principles and presuppositions in one version, I think, developing my solution to each case in another. My idea is that if Kripke’s principles and presuppositions lead to paradoxical ascriptions of belief in these cases, that is enough to suspect that they cannot have the non-restrictive application Kripke thinks they have. My solution to those paradoxes fundamentally presupposes the following facts (or at least I think it does): (i) the existence of idiolects; (ii) the existence of dispositions to substitution of expressions inside the sentences that subjects assent to, which are able to show the idiosyncratic understanding of certain expressions possessed by some subjects in some cases; and (iii) with respect to the “meaning” of proper names, that it is only necessary to take into account their idiosyncratic reference and the mentioned dispositions. (i)–(iii) allow us to see a solution to the paradoxes intermediate between Fregean solutions and Russellian ones, as it does not presuppose so much as the Fregean notion of sense nor so little as the Kripkean thesis that the meaning of names is just their reference.
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Presseisen, Filip. "Organ accompaniment to silent films, part 2." Notes Muzyczny 1, no. 15 (June 22, 2021): 57–66. http://dx.doi.org/10.5604/01.3001.0014.9690.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the second part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the process of adding sound to silent films, creating publications containing the so-called genre music (i.e., music for specific tyles of scenes), as well as cue-sheets which appeared since 1909 and which were particularly useful for improvising pianists and organists. It also describes the practice of orchestra accompaniment and different sizes of lineups connected with it.
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Presseisen, Filip. "Organ accompaniment to silent films, part 3 – the activity of Robert Hope-Jones and its importance." Notes Muzyczny 2, no. 16 (December 30, 2021): 87–100. http://dx.doi.org/10.5604/01.3001.0015.5491.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the third part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article focuses on the profile of Robert Hope-Jones, an eccentric creator of cinema organ. It describes the period preceding the time when typical theatre instruments called “Mighty Wurlitzer” acquired their final shape, i.e., from the introduction of first electromagnetic tracture innovations in England, to the establishment of Hope Jones’s collaboration with the Wurlitzer company in the United States of America and the creation of instruments of the Unit Organ type.
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Krochmal, Anna. "„Czarodziej klawiatury” w świecie dyplomacji. Rola Ignacego Jana Paderewskiego w walce o polskie granice (1919-1920)." Teka Komisji Historycznej Towarzystwa Naukowego KUL 17 (November 12, 2020): 27–59. http://dx.doi.org/10.18290/teka.20.3.
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Ignacy Jan Paderewski (1860-1941) – światowej sławy pianista, kompozytor, polityk oraz mąż stanu i dyplomata odegrał znaczącą rolę w kształtowaniu się odrodzonego państwa polskiego i jego granic. Aktywną działalność polityczną podjął w okresie pierwszej wojny światowej. W latach 1915-1918 pozyskał dla sprawy polskiej prezydenta Stanów Zjednoczonych, Woodrowa Wilsona i jego najbliższe otoczenie polityczne oraz ponad 4-milionową Polonię amerykańską. Realny wpływ na kształtowanie się terytorium i granic państwa polskiego zyskał po objęciu urzędu premiera polskiego rządu i ministra spraw zagranicznych, co miało miejsce 16 stycznia 1919 r. Doprowadził on do uznania odrodzonego państwa polskiego na arenie międzynarodowej przez Stany Zjednoczone (30 stycznia 1919 r.), Francję (23 lutego), Wielką Brytanię (25 lutego), Włochy (27 lutego), a następnie inne państwa. Reprezentował Polskę w Paryżu jako delegat na konferencję pokojową. W trakcie kilku miesięcy obrad walczył o włączenie do państwa polskiego Galicji Wschodniej, Śląska Cieszyńskiego i Górnego Śląska oraz Gdańska wraz z Pomorzem. Wspierali go w tych działaniach znani polscy uczeni, zarówno historycy (Szymon Askenazy, Oskar Halecki, Władysław Konopczyński), jak i geografowie (Eugeniusz Romer). Razem z Romanem Dmowskim podpisał w Wersalu w dniu 28 czerwca 1919 r. traktat pokojowy kończący I wojnę światową. Po rezygnacji z funkcji premiera w dniu 9 grudnia 1919 r. i wyjeździe z kraju, nadal interesował się sprawami polskimi. Do działalności politycznej powrócił w okresie inwazji bolszewickiej na Polskę. Od lipca 1920 r. do maja 1921 r. był na prośbę rządu polskiego i naczelnika państwa Józefa Piłsudskiego polskim delegatem na konferencje międzynarodowe oraz przedstawicielem przy Lidze Narodów.
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Dziedzic, Tadeusz. "David Lloyd George a sprawa polska na konferencji wersalskiej." Miscellanea Historico-Iuridica 19, no. 2 (2020): 349–65. http://dx.doi.org/10.15290/mhi.2020.19.02.16.
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The Treaty of Versailles was signed after several months of deliberations at a peace conference convened to Paris after the end of World War I on 28 June 1919 in Paris by Germany and the Entente countries. It entered into force on 10 January 1920, i.e., on the day of its ratification. Delegations of 27 winning countries participated in the peace conference in Paris. The treaty completely changed the map of Europe and the prevailing political order. Many small countries found their place on the map, including the Republic of Poland re-emerging on the maps of Europe, although in smaller territorial ownership than before the Partition of Poland. The Polish delegation, including among others: Ignacy Jan Paderewski and Roman Dmowski, tried their best to restore the Poles to their lands. Lands which, as a result of the Partition, came under the rule of three powers, namely: Prussia, Austria, and Russia. However, the peace conference in Paris showed much reluctance on the part of the Big Five, which decided about the fate of post-war Europe towards Poland. Expectations of the Poles that their case would be supported by friendly British, American, or French politicians turned out to be deceptive. Especially the French, who seemed very favourable to Poland, at the peace conference completely obeyed the will of the British, who even intended to prevent the Poles in their quest to restore the pre-partition Polish borders. The British Prime Minister David Lloyd George, who turned out to expose his unfavourable attitude towards the Polish cause, was so uncompromising in his position that no arguments invoked by the Polish delegation appealed to him.
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Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (December 10, 2020): 59–72. http://dx.doi.org/10.5604/01.3001.0014.5748.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.
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Krochmal, Anna. "Źródła do odbudowy państwa polskiego w archiwach polonijnych w USA." Teka Komisji Historycznej 15 (2018): 111–36. http://dx.doi.org/10.18290/teka.2018.15-9.
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The article discusses the role of Polish and Polish diaspora organizations in the USA, and the role of their archives, libraries, and museum deposits in the study of the first years of the independent Polish state. The most important ones, created in the USA in the 19th and the 20th century by Polish immigrants, are the Józef Piłsudski Institute of America (located in New York), the Polish Institute of Arts and Sciences of America (located in New York), the Polish Army Veterans’ Association in America (located in New York), the Polish Museum of America (located in Chicago), the Polish Archive in the Polish Catholic Mission in Orchard Lake near Detroit, and the Polish Music Center in Los Angeles. The key role in the study of the restoration of the Polish state in 1918-1923 plays the Józef Piłsudski Institute of America, established on 4 July 1943 as a descendant of the Institute for Research into the Modern Polish History functioning in Warsaw between 1923 and 1939. The institute holds the so-called Belvedere Archives, saved in 1939 from Warsaw and taken from Europe to New York. It contains the documents of the Adjutancy Commander in Chief from the years 1918-1922, illustrating the struggle for the borders of the restored Polish state; documents of the Ukrainian Military Mission, showing Polish-Ukrainian cooperation in the face of the threat from Bolshevik Russia; documents from three Silesian uprisings, and archives of well-known supporters of Piłsudski, e.g. General Julian Stachiewicz and Marshal Rydz-Śmigły. Other additional sources from the years 1918-1923 are stored by Polish diaspora institutions, including priceless and understudied documents concerning the prominent composer, diplomat, and politician Ignacy Jan Paderewski, as well as unique materials concerning Polish volunteers from the USA fighting along with General Józef Haller’s so-called Blue Army.
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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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Chrenowicz, Jakub. "Walerian Bierdiajew, dyrektor Państwowej Opery im. S. Moniuszki w Poznaniu i profesor Państwowej Wyższej Szkoły Muzycznej w Poznaniu." Konteksty Kształcenia Muzycznego 4, no. 1 (October 18, 2017): 29–35. http://dx.doi.org/10.5604/01.3001.0010.5348.
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Niniejszy artykuł ma na celu usystematyzowanie wiedzy na temat poznańskiego okresu działalności Waleriana Bierdiajewa. Punktem wyjścia dla rozważań o słynnym dyrygencie są materiały archiwalne zgromadzone w Archiwum Teatru Wielkiego im. S. Moniuszki w Poznaniu oraz w Archiwum Akademii Muzycznej im. I. J. Paderewskiego w Poznaniu. Na podstawie analizy archiwaliów omówione zostały osiągnięcia Waleriana Bierdiajewa w dwóch nurtach jego aktywności: dyrygenckiej i pedagogicznej. Autor artykułu zaprezentował fakty dotyczące premier operowych i baletowych, poprowadzonych przez Waleriana Bierdiajewa w poznańskiej Operze, a także przeanalizował osiągnięcia pedagogiczne Waleriana Bierdiajewa w Akademii Muzycznej w Poznaniu oraz w innych uczelniach, w których słynny dyrygent pracował. Działalność Waleriana Bierdiajewa wiąże się z artystami, z którymi współtworzył on swoje spektakle. Studenci, spośród których kilku zostało słynnymi dyrygentami (symfonicznymi i chóralnymi) to postaci, przez pryzmat których można mówić o Bierdiajewie jako o pedagogu. Źródła związane z Walerianem Bierdiajewem stały się dla autora artykułu pretekstem do wspomnienia związanych z nim artystów – niektórych określanych dziś jako legendarnych, innych – mniej znanych czy wręcz zapomnianych. The article aims to systematize the information on Walerian Bierdiajew’s activity during his residency in Poznań. The starting point for reflections on the famous conductor are archive materials collected by the Archives of the S. Moniuszko Grand Theatre in Poznań and the Archives of the I. J. Paderewski Academy of Music in Poznań. Based on the analysis of the aforementioned materials, the two kinds of Walerian Bierdiajew’s achievements – conducting and teaching – have been discussed. The author of the article presents facts regarding opera and ballet premieres, conducted by Walerian Bierdiajew in the Poznań Opera House, as well as analyzes his didactic achievements at the Academy of Music in Poznań and other educational institutions he worked for. Walerian Bierdiajew’s activity is interconnected with other artists, with whom he co-created his performances. His students, some of whom became famous conductors (symphonic and choral ones), are personages who cast light on Walerian Bierdiajew as a pedagogue. Bierdiajew‑related sources have become a pretext for the author to recall the artists associated with the conductor – some of them are now described as legendary, while others are less known or even forgotten.
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Łukomski, Grzegorz. "Ententa i Niemcy wobec polskiej polityki wschodniej 1918–1919." Przegląd Archiwalno-Historyczny 5 (2018): 63–82. http://dx.doi.org/10.4467/2391-890xpah.18.004.14921.
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Podjęto problem stosunku państw Ententy do kwestii restytucji państwa polskiego w latach 1918–1919. Przeanalizowano relacje twórców Rzeczypospolitej, szczególnie Romana Dmowskiego, Józefa Piłsudskiego oraz Ignacego Jana Paderewskiego, z Wielką Brytanią, Francją i Stanami Zjednoczonymi, kluczowymi partnerami i graczami politycznymi w okresie paryskiej konferencji pokojowej (1919 r.). Na relacje powyższe długi cień rzucały stosunki Ententy z pokonanymi Niemcami oraz – w równym stopniu – z „białą” i bolszewicką Rosją. Państwa Ententy dbały przede wszystkim o zachowanie i poszerzenie swoich wpływów w E europie Środkowej i Wschodniej. Bardzo ważne były też interesy niemieckie i niemiecka Ostpolitik w tym regionie Europy, prowadzona konsekwentnie od schyłku XIX w. Tak więc polityka mocarstw wobec Polski była jedynie funkcją ich stosunku do Rosji i Niemiec. Stawiało to Polskę, u zarania jej nowego bytu politycznego, w niezmiernie trudnych warunkach, zwłaszcza w zakresie walki o granice. W tym szczególnie wschodnie rubieże państwa. Polska jako w pełni samodzielny podmiot polityczny nie mieściła się w ówczesnej konfiguracji europejskiej, a nawet w mentalności polityków, zwłaszcza brytyjskich, myślących kategoriami kolonialnymi. Z ich punktu widzenia była państwem nowym, tworzonym niejako z nadania swoich protektorów. Jedynie Francja i w niepełnym zakresie Stany Zjednoczone traktowały Polskę jako samodzielny oraz suwerenny byt polityczny. Dla Niemiec możliwe było istnienie Polski jedynie jako państwa buforowego, kadłubowego i niesuwerennego, które byłoby łatwym terenem penetracji i eksploatacji. The attitude of the Triple Entente and Germany towards Polish eastern policy in the years 1918–1919 The article discusses the problem of the attitude of the Tripe Entente states towards the restoration of Poland in the years 1918–1919. Relations between the creators of the Republic of Poland (in particular Roman Dmowski, Józef Piłsudski, and Ignacy Jan Paderewski) and Great Britain, France and the USA — the key partners and political players in the period of the Paris Peace Conference (1919) — were analyzed. Those were greatly affected by the relations between those states and the defeated Germany, as well as “White” and Bolshevik Russia. The Triple Entente cared mainly about maintaining and expanding their influence in Central and Eastern Europe. Also, of major significance were the German interests and Ostpolitik in this region of Europe, consistently implemented from the late 19th century. Therefore, the policy of the world powers towards Poland was indirectly affected by their attitudes towards Russia and Germany. In the early days of Poland’s political existence, it put Poland in an extremely difficult situation, especially when fighting for its borders, in particular in the east. Poland, as a fully independent political entity, did not fit in the European model of the time — even in the minds of politicians, especially British, who were still thinking in co82 Grzegorz Łukomski lonial categories. From their point of view, Poland was a new state, created upon the will of its protectors. Only France and, to some extent, the United States treated Poland as an independent and sovereign political entity. For Germany, Poland could exist only as a buffer, rump, non-sovereign state, which would be easy to invade and exploit.
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Dodson, A. "Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas." Journal of Music Theory 53, no. 1 (March 1, 2009): 57–94. http://dx.doi.org/10.1215/00222909-2009-021.
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Trochimczyk, Maja. "An Archangel at the Piano: Paderewski’s Image and His Female Audience." Polish American Studies 67, no. 1 (April 1, 2010): 5–44. http://dx.doi.org/10.2307/25698900.
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Ładyżyński, Andrzej. "Family as a Place of Ignacy Jan Paderewski’s Upbringing. One of the Creators of Polish Independence." Czech-Polish historical and pedagogical journal 11, no. 1 (2019): 70–75. http://dx.doi.org/10.5817/cphpj-2019-008.
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Cook, Nicholas. "Performance Analysis and Chopin's Mazurkas." Musicae Scientiae 11, no. 2 (July 2007): 183–207. http://dx.doi.org/10.1177/102986490701100203.
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Reporting on work carried out in conjunction with Andrew Earis and Craig Sapp, this paper introduces recently developed approaches to the analysis of recorded music, illustrating them in terms of selected Chopin mazurkas. Topics covered include the stylistic characterisation and aesthetic values of Paderewski's playing of Op. 17 No. 4, contrasted with performances from the last quarter of the twentieth century, as well as relationships between different pianists' interpretations of Op. 68 No. 3. A possible performance genealogy of performances of the latter is proposed, in which recordings by Rubinstein and Cortot play a key role, while clustering based on Pearson correlation of tempo data yields relationships supported in one instance by documented teacher/pupil relationships. Representing the early outcomes of a more extended research project, these findings are encouraging in that it appears possible to draw meaningful conclusions from the consideration only of tempo data. The current phase of the project is also working with rhythmic and dynamic data, which should significantly enhance the potential for objective modelling of musically meaningful relationships.
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Urgacz, Maria. "„Nie wojna nas zabija i demoralizuje”… Komentarz do powojennych wydarzeń z Polski i zagranicy w Dzienniczku z czasów wojny 1914-1921 Franciszka Dudy." Rocznik Biblioteki Naukowej PAU i PAN 64 (2019): 187–243. http://dx.doi.org/10.4467/25440500rbn.19.011.14154.
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‘It is Not the War that Kills and Demoralises Us’…A Commentary to Postwar Events in Poland and Abroad in a Diary from the War Period of 1914–1921 By Franciszek Duda This source edition is a continuation of a fragment of A Diary from the War Period of 1914–1918 by Franciszek Duda, which was published in the “Annual Volume of the Scientific Library of the PAAS and the PAS in Cracow”, Vol. 58 (2018). In the previous part, the author brought the edition up to the moment of establishment of the Provisional People’s Government of the Republic of Poland led by Prime Minister Jędrzej Moraczewski. In the further part of his memoirs, Franciszek Duda leads the reader through the most important postwar events, including the victorious defence of Lviv in November 1918, Ignacy Paderewski’s return to Poland and his two visits to Cracow, events accompanying the signature of the Treaty of Versailles, the Polish-Czechoslovak war for the territory of Cieszyn Silesia, the Polish-Ukrainian war and the Upper Silesia plebiscite. The author of the memoirs was a representative of the Cracow intelligentsia, an employee of the National Archive of Castle and Land Records in Cracow (currently the National Archive in Cracow), and a declared advocate of the national ideas of Roman Dmowski. In his Diary..., Franciszek Duda does not report any new facts from that period that had been unknown to or rarely commented by historians until then. An interesting aspect of his memoirs is his own remarks and thoughts and a reflection of what others thought of current events and how information was circulated in Cracow at that time – who disseminated the news, what rumours spread around the city and how they were commented. Franciszek Duda gives us a very detailed account of moods and opinions that prevailed in Cracow in those days. It is worth mentioning that these comments are also very subjective and, given the fact that the same author expressed relatively moderate opinions in the previous part, loaded with emotions. We can suppose that even the time that passed from the time of writing the original Diary... till its rewriting in 1936 did not soften the author’s feelings regarding these events.
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Astalosh, Gabriella. "The historical figure of Ignaсy Jan Paderewski through the prism of synthesis of artistic and political activity." National Academy of Managerial Staff of Culture and Arts Herald, no. 4 (December 30, 2021). http://dx.doi.org/10.32461/2226-3209.4.2021.250274.
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The purpose of the article is to reveal the role of I. J. Paderewski in realization the patriotic ideas of Poland's independence through the prism of synthesis of creative and political activity. In accordance with the goal the following tasks were set: to consider the figure's biography in interaction aspect of the basic spheres of functioning; determine the personal prerequisites for national ideas formation; to reveal the practical implementation of life credo; to characterize the historical, social and cultural, artistic contribution. Methodology. In course of the research the following methods were used to reveal the presented problems: historical (study of the life story), source studies (elaboration of existing scientific works on related issues), analytical and structural-logical (coverage of the chronological aspect of the problem, understanding the specifics of activities), method of theoretical generalization (to summarize). The scientific novelty. For the first time in the history of Ukrainian scientific thought the figure of І. J. Paderewski was considered as a complex phenomenon of the interaction of human's radically different spheres of activity. Conclusions. The personality of pianists, public figures, orators, politicians, and philanthropists became a main in both the musical and political life of Poland in the late XIX - early XX century. Thanks to his incredible musical talent and rich concert practice, he brought the problem of Polish national identity to the world level and enlisted the support of the most influential circles in matters of statehood. Paderewski’s phenomenon is in his indomitable spirit, faith in the independence of his country, efficiency in all spheres of his life, in the complex unity of poetic art and prudent politics. In the European cultural heritage, this is a unique case of coexistence of contrasting human activities, their mutual functioning in achieving the existential credo of an outstanding person.
Keywords: І. J. Paderewski, political activity, patriotic ideas, artistic heritage.
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"49. Ignace Paderewski, L'affaire de la Silésie de Teschen (1919)." Matériaux pour l'histoire de notre temps 41, no. 1 (1996): 78. http://dx.doi.org/10.3406/mat.1996.452764.
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Ossberger, Harald. "Klaviermeister in Europa: Von Czerny über Chopin und Liszt zu Paderewski." Österreichische Musikzeitschrift 60, no. 1-2 (January 2005). http://dx.doi.org/10.7767/omz.2005.60.12.31.
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"I. Lindemann in Physics." Notes and Records of the Royal Society of London 41, no. 2 (June 30, 1987): 181–89. http://dx.doi.org/10.1098/rsnr.1987.0004.
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LINDEMANN’S father was of French Alsacian origin and came to England around the time that Germany annexed Alsace-Lorraine in 1871. He married a widow whose first husband had bought ‘Sidholme’, the largest of the Regency villas in the part of Sidmouth (Devon) called Elysian Fields. The house was built in 1826 by the Earl of Buckingham and stands in 14 acres of grounds with 300 different varieties of tree. An addition had soon to be made to the house when the Earl fell out with the local rector and wanted to hold his own services; it became the music room in the Lindemanns’ time and was where Lindemann heard Paderewski play. Lindemann’s father had a laboratory and observatory in the grounds and some of Lindemann’s research was done there. When Mrs Lindemann died in 1927 the house passed to her son by her first marriage and the Lindemanns were distressed that he immediately sold it with the contents, forcing them to move. The observatory was given to the University College of the South West (which became Exeter University) and this was acknowledged in the 5th Annual Report and Prospectus of 1927. An Adam Hilger astronomical spectroscope dating from about 1885 is in a show case at the University and carries the statement ‘This spectroscope was probably used at Sidmouth, where A. F. Lindemann (father of the late Lord Cherwell) had an observatory at his home’. ‘Sidholme’ is now a Methodist Guild holiday home.
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Siekierski, Maciej. "Zarys historii polskich zbiorów Biblioteki i Archiwum Instytutu Hoovera w Kalifornii." Z Badań nad Książką i Księgozbiorami Historycznymi, June 19, 2017, 547–56. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.102.
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Biblioteka i Archiwum Instytutu Hoovera na Uniwersytecie Stanford to największa i najobszerniejsza kolekcja źródeł do historii Polski XX w. w Stanach Zjednoczonych. Zasoby, zarówno opublikowane, jak i niepublikowane, są ograniczone zakresem badań instytucji, która w dużej mierze koncentruje się na historii politycznej świata od czasów I wojny światowej. Artykuł zawiera zarys dziejów instytucji i jej polskiej biblioteki oraz zbiorów archiwalnych, jak również wymienia główny wkład kilku ich budowniczych. Trzy szczególne czynniki sprzyjające rozwojowi polskich kolekcji zasługują na uwagę: polskie sympatie i przyjaźń Herberta Hoovera z Ignacym Paderewskim, rola misji Jana Karskiego w Europie w imieniu Instytutu Hoovera w 1946 r. oraz możliwości gromadzenia poloników, jakie powstały dzięki rewolucji solidarnościowej i upadkowi bloku radzieckiego. W artykule zostały przedstawione niektóre z najważniejszych polskich zasobów archiwalnych zarówno emigracyjnych, jak i tych powstałych w Polskiej Rzeczypospolitej Ludowej – materiały funkcjonariuszy komunistycznych i dziennikarzy, które zostały nabyte przez Hoovera po 1989 r.
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Hrynchuk, Iryna, Halyna Misko, and Natalia Ovod. "Artistic Projects of Integrative Type: Research and Performance Aspects." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 31, 2022). http://dx.doi.org/10.32461/2226-3209.3.2022.266101.
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The purpose of the article is to consider the possibilities of using new educational technologies in distance and blended learning, in particular the creation of integrative art projects as in the case of representaing the creative personality of Vladyslav Zaremba as a Ukrainian composer of Polish origin. The research methodology consists in the use of historical-comparative and personalistic approaches, as well as the activity approach from the point of view of art pedagogy. The results of the experimental work prove that the involvement of technology of integrative art projects allows highlighting various aspects of the creative personality of Vladyslav Zaremba as a Ukrainian composer, music teacher, the author of the “Taras Shevchenko's Kobzar” collection, as well as samples of chamber vocal and instrumental music. Scientific novelty. Attention is focused on the role of Ukrainian composers of Polish origin, associated with Volyn and Podillia, in the development of professional Ukrainian music in the mid-nineteenth – early twentieth century. Among them: Joseph Dominik Vytvytsky (1813–1866), Michael (Michael) Zavadsky (1828–1887) and Vladyslav Zaremba (1833–1902). Different facets of Vladyslav Zaremba's creative personality have been traced, which are presented by separate scopes of student search and executive activities in the preparation and presentation of integrative art projects. In particular, the following areas have been presented: artistic Ukrainian–Polish relations in the context of the contribution of Ukrainian composers of Polish origin to the composers of the Dolysenko period; presentation of V. Zaremba's creative career; vocal and choral work of the composer; Shevchenko in the works of V. Zaremba (“Taras Shevchenko’s Kobzar” collection, Kyiv, 1889), the program book of the event dedicated to the 185th anniversary of V. Zaremba (vocal class of associate professor N. Ovod), the “Let’s Sing Together” project realised in collaboration with the Youth Choir (artistic director H. Misko) and Polish students. The composer's piano works have also been singled out, which include a piano cycle for children “Mały Paderewsky” (“Little Paderewsky”), translations of Ukrainian folk songs, plays “Farewell to Ukraine”, “Thought-Shumka”, “The Dnipro Roars and Moans”, “At the end of the dam willows rustle”, “All the burlaks gathered”, and a number of piano miniatures. A brief performing and pedagogical analysis of V. Zaremba's work “Oh, the moon, the moon” has been performed. Conclusions. The authors have generalised the role of the technological process of integrative art projects for intensification of searching and performing activities of music students, their analysis of certain aspects of Ukrainian-Polish cultural relations, the role of individuals in the development of musical culture of Ukraine.
Key words: musical art of Ukraine of the XIX century, modern art education, art projects, Vladyslav Zaremba.