|Polish Music Newsletter
March 2002, Vol. 8, no. 4. ISSN 1098-9188. Published monthly.
Los Angeles: Polish Music Center, University of Southern California
ANNUAL PADEREWSKI LECTURE
The first Annual Paderewski Lecture, featuring composer-pianist Zygmunt Krauze, with the participation of the Polish Folk Dance Ensemble Krakusy, will take place on 3 May 2002, 8 p.m. Alfred Newman Recital Hall, USC Campus, Los Angeles. The Lecture will be preceded by the opening of a Paderewski Exhibition, featuring scores, manuscripts, and documents from the collection of the Polish Music Center, including Paderewski's piano rolls, photographs, letters, as well as concert programs of his tours in the 1920s, and numerous publications of his music (recordings and early editions). The Exhibition is prepared by Maja Trochimczyk (content) and Ljiljana Grubisic (presentation); it includes material in 18 display cabinets.
Ignacy Jan Paderewski, portrait by Styka, 1916.
Ignacy Jan PADEREWSKI (1860-1941), a pianist, composer, politician, humanitarian, and orator, was greatly acclaimed as a virtuoso musician and a charismatic personality. Throughout his musical career he was actively lobbying for Poland to regain independence; he collected funds for the benefit of the country, soldiers, and the victims of the war. His campaign resulted in Poland returning to the map of Europe; he then became the first Prime Minister of Poland and the first Polish delegate to the League of Nations. In order to celebrate Paderewski's musical talents and his connection to California (he settled in Paso Robles where he had a vineyard; he also received an honorary doctorate from USC) the Polish Music Center at the University of Southern California presents a lecture series, supported by the Kosciuszko Foundation of New York. These lectures, or lecture-recitals in case of pianists and other performing musicians, will spotlight Polish and Polish-American composers and musicians of international stature. The invited guests (one per year) will give a one-hour lecture about their music and their connection to Polish culture. The lectures will be recorded and published by the Polish Music Center: the texts in the Polish Music Journal and the lecture-recitals on CDs. The events will be widely advertised nationally and internationally. The lecture series - through recordings and publication - will become a permanent tribute to Paderewski and to the vitality of Polish culture.
The selection of Paderewski as the patron of the lectures held at USC highlights both his role in California and his connection to this esteemed University. This eminent composer-statesman received an honorary doctorate from USC in 1923 (from the School of International Relations). During that event held at Bovard Auditorium, Paderewski made a speech, but did not perform; a music program was presented by an international array of artists. Participants in this celebration included USC deans and professors, representatives of Polish-American Community; musicians and a patriotic organization called the Native Sons of the Golden West. The audience consisted of USC faculty members and students, diplomatic corps from L.A. area; journalists and the general public. The same groups of listeners are expected at the 2002 Annual Paderewski Lecture featuring Zygmunt Krauze accompanied by members of the Los-Angeles-based Polish Folk Dance Ensemble Krakusy.
Zygmunt KRAUZE (b. 1939) was recently described by Mark Swed in the Los Angeles Times as a "major composer" of our times. Krauze has been active as a pianist and composer since the late 1950s. His original style of "unistic" compositions was inspired by constructivist Polish paintings by Strzeminski. His music later borrowed material from folk songs of central Europe and Poland. With a keen ear for sonority, Krauze created an original sound world of subtle arabesques and fluid textures. His connection to Polish traditions of piano music may be seen in his interpretations of, and improvisations based on, works by Chopin, Szymanowski, and Paderewski. His lecture-recital will present a unique approach to Polish national style and its place in the international music world.
The Annual Paderewski Lectures are sponsored by the Polish Music Center at the University of Southern California, the Kosciuszko
Foundation of New York, and the Consulate of the Republic of Poland in Los Angeles.
For more information visit the site (after April 15): ../index.htmllecture02.html
Friends of Polish Music at USC in collaboration with the Helena Modjeska Polish Arts and Culture Club of Los Angeles present an evening dedicated to "The Life and Music of Zygmunt Stojowski (1860-1946)." The program consists of a conversation with Henry Stojowski, the composer's son and an architect based in New York and a recital of Stojowski's songs by Beata Balon, soprano, accompanied by Lisa EDWARDS, piano. Saturday, 6 April 2002, 6:30 p.m. Studio City.
Zygmunt Stojowski (b. 14 May 1870 in Strzelce; d. 6 November 1946 in New York), is a fascinating figure in Polish music of the 20th century. A recent revival of interest in this pianist, composer, teacher, and humanitarian activist, has started with conductor Joseph Herter's search for musical material, including the long-lost cantata "A Prayer for Poland"which will be performed in a concert of Stojowski's music on 11 November 2002 in Warsaw, Poland. After immigrating to America in 1905, Zygmunt Stojowski became a very active member of New York's Polish-American community, a role he played until the end of his life. His Polonian activities were many and multifaceted, including cultural, patriotic and charitable endeavors. As a musician and composer, Stojowski was friends with Piotr Tchaikovsky, Ignacy Jan Paderewski, Marcellina Sembrich Kochanska, and numerous American conductors with whom he performed as a soloist. He taught piano performance at the Juilliard School of Music and in his private school, that he directed together with his wife, an eminent Peruvian pianist, Louisa Macedo Morales. He published articles about music in the leading music periodicals. Stojowski is widely recognized as an original piano teacher of great stature in his time. Paderewski himself had the following to say about his colleague and one-time student (in a note dated 13 May 1924, New York; PIASA Archives):
"It has been my privilege and my joy to assist Mr. Sigismond Stojowski in his studies as a pianist for a number of years. Remarkable pianist and composer, extraordinary musician, highly educated and refined man, he has done me the honor of adopting my method and style to such an extent that, whenever listening to some young people who had enjoyed his guidance and tuition, I have the impression to hear my own pupils. Among the few really great piano pedagogues of the present day, Mr. Stojowski occupies a very prominent position, for he has no superior."
The Slavic and East European Folklore Association, an affiliate of the AAASS (American Association for the Advancement of Slavic Studies), is a non-profit organization devoted to the exchange of knowledge among scholars interested in Slavic and East European folklore. SEEFA seeks to promote instruction in this subject, to organize panels at national and international conferences, to encourage the preparation of teaching materials and translations, and to foster joint research projects, scholarly exchanges, summer programs, and fieldwork in Slavic and East European folklore.
Individual membership in SEEFA is $20 per year for regular members and $10 for students. For information write to the Secretary-Treasurer, Professor Jeanmarie Routhier-Willoughby, Russian and Eastern Studies, 1055 Patterson Office Tower, University of Kentucky, Lexington KY 40506-0027, USA. Email: firstname.lastname@example.org. Members receive the SEEFA Journal, which is published twice a year. For further information please see the SEEFA web page at http://www.virginia.edu/~slavic/seefa/INDEX.HTM.
The 100th birth anniversary of Polish-American film composer, Bronislaw Kaper took place, unnoticed in February. He was born on February 5, 1902. He was the first Pole to win an Academy Award for film music (1953); his award was for the best song of the year - Hi-Lili, Hi-Lo. [JH].
Over 300 eminent artists from Poland and abroad (Great Britain, Czech Republic, Finland, Ukraine) will perform during this year's Festival at the palace of Łancut. The list of performers includes: Ewa Malas-Godlewska, soprano, Alena Baeva, violin, Belcea Quartet, Lindsay S. Davidson, bagpipes. Eight concerts of the festival will take place in the ballroom of the palace of Potocki and Lubomirski, between 18 and 25 May this year. The artistic director of the Festival is the music director of the Rzeszow Philharmonic, Tadeusz Wojciechowski.
An exhibition of authograph scores by Beethoven, Schubert and Chopin has just been opened at the Jagiellonian University in Krakow, Poland. The exhibition is located in the new building of the Library and serves as one of the events accompanying the Beethoven Festival held each spring in the city and sponsored by Elzbieta Penderecka's talent agency. The director of the exhibit is Agnieszka Mietelska-Ciepierska who selected thirty manuscripts for display from the Jagiellonian Library and from the collections of the former Prussian State Library. The holdings of the library are much larger, but there are only six display cases of suitable quality for displaying manuscripts.
AWARDS AND COMPETITIONS
The founder of the Poznan Nightingales Boys Chorus, Stefan Stuligrosz recently received a honorary doctorate from the Poznan Academy of Music He is a graduate of this school: in singing and conducting. He also taught there for years, reaching the dignities of professor and rector of the whole school. Prof. Stanislaw Kulczynski stated that Stuligrosz's tenure of 14 years at the helm of the Academy of Music is a Polish record. Stuligrosz has previously received honorary doctorates from the University of Adam Mickiewicz in Poznan (1995), and from the Pope's Institute of Sacred Music at the Vatican in 2001. The Poznan Academy of Music has previously awarded honorary doctorates only to two musicians: Ignacy Jan Paderewski i Krzysztof Penderecki.
Stefan Stuligrosz was born in August 1920 in Poznan. As a boy he was a member of the Poznan Cathedral Choir. During the war he directed a chamber ensemble; afterwards he completed his education and founded the world-famous "Poznanskie Slowiki." The ensemble gives about 60 concerts per year and has over 1000 compositions in its repertoire.
Ewa Podles, Wojciech Drabowicz and Anna Cymmerman received awards named after Andrzej Hiolski, for the best operatic performances of the past season. Ewa Podles (contralto) received her prize for Rossini's Tancredi performed at the National Opera in Warsaw. The same stage presented the prize-winning performance of Wojciech Drabowicz (baryton), who sang the title role in Szymanowski's King Roger. Anna Cymmerman received her prize in the operatic debut category, she performed Blanche in Poulenc's The Dialogues of the Carmelitans in Łodz. This was the second edition of the competition.
First prize winners of the 8th International "Chopin for the Youngest" Competition in Antonin, Poland were:
Julia Kociuban won the Grand Prix at the 16th International Piano Competition named after Johann Sebastian Bach and held in Gorzow Wielkopolski and Frankfurt am Oder. The competition is for high school music students and took place between 12 and 16 March, with the participation of over 80 students of music schools from five countries: Poland, Lithuania, Norway, Germany and Belarus. Kociuban also received the special prize for the best performance of Bach's music and for the best performance in the youngest age group, up to 11 years. The second prize in her age gropu went to Nikodem Wojciechowski. The middle group winner (up to 13 years), Tomasz Stankowski won the first prize.
Wojciech Koprowski won the first prize at the Third National Competition named after Georg Philipp Telemann and held in Poznan. This is a violin competition for musicians under 15 and one of the prizes is a possibility to participate in master classes of Prof. Adam Kostecki in Krzyzowa. The competition, as well as the Bach competition and Beethoven, indicates a recent resurgence of interest in German culture in south-western Poland.
Winners of the IV International Competition for Young Pianists in memory of Vladimir Horovitz were presented in a concert on 24 March at the Lyceum in Old Town Alexandria, Virginia. First prize winners Mariya Kim (Senior group), Dmytro Onischenko (Intermediate group) and Kyrylo Keduk (Junior group) performed music by Chopin, Kosenko, Liszt, Rachmaninoff and Tchaikovsky.
The final round of the Rachmaninoff Piano Competition held in Pasadena, California, includes one pianist from Poland, Jan Krzysztof Broja (age 29), who is regarded as one of the two popular favorites of this event. The competition began on March 22 and the final round will take place on Tuesday, and Wednesday 2-3 April. Other finalists are from Russia, the U.S., Italy, and Japan.
Students Folk Ensemble KATOWICE of the University of Silesia in Poland now has a web site in Polish (http://katowice.us.edu.pl) and in English (http://katowice.us.edu.pl/english/).
"Polish Bookstore - Ksiegarnia Literacka" in New York has a web site where one may order books and music from Poland. This site is a recent addition to their traditional mail order business: www.polbook.com The Bookstore assures us that "without costly and time consuming travels, at convenience of your own home, you can now browse through our rich collection of Polish books (including new bestsellers), music on CD's and educational multimedia programs." More information may be received from email@example.com.
Oxford University Press has just released a new book on the late Polish composer, Witold Lutoslawski, called "Lutoslawski Studies." Edited by Zbigniew Skowron, professor of musicology at the University of Warsaw, the book (Library of Congress catalog no. ML410 L965 L87) consists of fourteen academic essays by several Polish music scholars: Steven Stucky, John Casken, Charles Bodman Rae, Martina Homma, Adrian Thomas, James Harley and Irina Nikolska, among other Polish musicologists, and Maja Trochimczyk. Her "study of works relating to night and death can also be recommended, not least for her insights into Lutoslawski's seldom discussed attitude toward religion." This is what Nick Reyland wrote in his review of the book for the March 2002 issue of BBC Music magazine. He called the book "an indispensable read for specialists and students of his music." Reyland concluded his favorable review with "What a pity that the book's drab cover and startling price tag do little to convey the passion, diversity, colour and accessibility of Lutoslawski's music - nor of the writing it inspires." [WW]
Piotr Grella-Mozejko provided us with the following list of his recent performances:
"The Complete Songs of Paderewski" (23 at last count) were performed by the Polish Theatre Institute, Nina Polan, artistic director in Greenpoint, Brooklyn, New York on 23 March. Soloists were soprano Monika Krajewska, mezzo Eugenia Roszczenko-Kurianowicz, tenors Robert Dingman and Gregorio Rangel accompanied at the piano by music director, Pablo Zinger.
The non-profit Polish Theatre Institute, dedicated to the promotion of Polish culture in the U.S. through musical and theatrical performances, has recently performed The Cabaret of the Great Three and the opera "Halka" by Moniuszko in Poland and Ukraine, as well as in New York and Washington, D.C. CD's and videos of these performances are available from: (212) 724-9323 or via e-mail: Poltheatreinst@aol.com.
Maria Knapik, who made her soprano debut at the age of three-and-a-half in her native Poland was heard in her debut in the US on March 26, 2002, at New York's Carnegie Hall. The soprano was featured in an all-Bethoven program with the New York Grand Orchestra and a two-hundred-ten voice chorus conducted by Vincent La Selva on the 175th anniversary-to the day-of the composer's death. For that evening, the Opera Orchestra was augmented by the Shrewsbury Chorale, the Metropolitan Greek Chorale directed by Constantine Kitsopolous, and by the Dalton Alumni Chorale directed by Stephen Michael Smith. At Carnegie Hall on March 26, the Orchestra, Chorales, and soloists will present Beethoven's Ninth Symphony, the composer's final symphony, as well as his Coriolan Overture in C Minor for Orchestra and also the Sanctus and Benedictus from the Missa Solemnis.
Hyperion has just released Sigismond Stojowski's two Piano Concertos (CDA 67314) with the BBC Scottish Symphony Orchestra led by Martyn Brabbias and soloist Jonathon Plowright at the piano. The Second Concerto was dedicated to Ignacy Jan Paderewski, his teacher and friend. www.hyperion- records.co.uk.
This recording of Stojowski's piano concertos has been named "record of the month" by the Polish music monthly "Muzyka 21." Not only have they given it a review that takes up an entire page, but they also have the CD cover as part of the magazine's front cover. The review is for the most part a translation of the liner notes by Joseph A. Herter. It also includes abundant praise of the pianist Jonathan Plowright, the orchestra and - above all - the music. They call the release of the recording, "A great (musical) event of world-wide proportions." [WW and JH].
Piotr Anderszewski, a "pianist of inspirational brilliance" (The Guardian) is at it again. This time, his rendition of Mozart's Piano Concertos is again calling attention to him. David Fanning writes in the April issue of Gramophone, "Anderszewski treats Mozart's most operatic concerto to a romantic and superbly involving reading." I, personally, am waiting for his recording of Szymanowski's piano music, which he desperately wants to do: if only he can convince Virgin Classics to do so!
Also reviewed in Gramophone by Bryce Morrison: Hanssler Classic 98 399. Chopin's Preludes and music by Debussy, Haydn and Janacek recorded live during the Spring Festival in Prague 2000 with pianist Ivan Moravec.
Rare treasures found in the Winter Music Sale 2002 Catalog of Daedalus Music (1-800-395-2662), which specializes in discounted CDs: Two Chopin CDS: one of the 51 Mazurkas and one of the 21 Nocturnes played by the late pianist Andrzej Wasowski, whom Time magazine called "the greatest Chopin interpreter of modern times" in 1946 and whom Artur Rubinstein called a "brilliant pianist." He was lauded for his lyrical singing tone and poetic interpretations. The New York Times wrote "a noble performance...an almost epic treatment." Priced at only $9.98 each, these CDs, "especially the previously unreleased 1989 recording of Wasowski playing Chopin's 21 Nocturnes is a true revelation and a collector's item."
Also available from them:
PIOTR MOSS: BETWEEN TWO CITIES
Born in Bydgoszcz in 1949, raised in the medieval city of Torun and educated at the Warsaw State Higher School of Music (today's Chopin Music Academy), for the past 25 years the distinguished and award-winning composer Piotr Moss has been dividing his time between two cities which he calls home: Paris and Warsaw. Next month Mr. Moss celebrates his 30th anniversary as an artist.
Joseph A. Herter: How did the sharing of your life between two European capitals come about?
Piotr Moss: It's almost as though I had been predestined to go to Paris. My professor at the Warsaw Academy Piotr Perkowski (1901-1990), who had studied with Karol Szymanowski in Paris, kept telling me that I must go and continue my studies in Paris after I finish my studies in Warsaw. And, thanks to a French Government Scholarship, I became the last Pole to study with the legendary Nadia Boulanger (1887-1979).
JH: What was Nadia Boulanger like as teacher?
PM: When I went to study in Paris, Boulanger was almost completely blind. Lessons would consist of my playing my own compositions for her at the piano and then listening to her criticisms and suggestions. Since I was already a trained composer, much of our lesson time would be spent talking about music, especially about musical aesthetics. Boulanger believed that the ability to compose was a gift from God and that the composer in humility gave thanks for this divine gift by composing. Following my studies with Boulanger in 1977, I received the award named for Boulanger's younger sister, Prix de l' Association des amis de Lili Boulanger.
JH: Where do you find the most success with your music - in France or in Poland?
PM: I have to say that my work as a composer is quite different in Paris than it is in Warsaw. In Paris, I am better known as a composer of "classical" music. While in Warsaw, though, I'm known better as a "commercial" composer for the music I write for the radio, television, theater and documentary films. My activity as a composer, though, is not just limited to these two countries. I have been very successful with my music in Germany as well, where my Meditations und Psalm was recently performed in the Berlin Philharmonic Hall for the 100th anniversary of the Berliner Sängerbund.
JH: When martial law was declared in Poland, you were in Paris. How long did you stay there before you returned to Poland, and did you make any musical statements to reflect the political situation in your native land?
PM: Martial law certainly had an effect on my life, but more of a personal effect rather than a musical one. In Warsaw, I was always getting commissions to write pieces. In Paris, I suddenly had a crisis to face - that of starting life anew. It was I who had to go around knocking on doors to see if I could write anything for anybody. I was there for ten years before I came back to Poland. I really didn't make any political statements in my music during martial law. However, you could say the shock of its declaration did show its way both dramatically and intimately in my Cello Sonata which I was writing at that time.
JH: Was it hard to get back into the Warsaw musical scene once you returned?
PM: Yes and no. I never lost my contacts in Warsaw, but finding a free place in the business upon my return was difficult. The troubles I had when I returned, though, were the same ones that my colleagues who stayed in Warsaw were having: finding work. In democratic Poland, music no longer played the same role in society as did under the Communists and so there was no longer the same amount of money allotted to the budgets of musical institutions which once flourished under the old system.
JH: What compositions are you currently working on?
PM: At the moment I am working on pieces to be performed in both Paris and Warsaw. For example, I am writing the music to a documentary film about the writer Tadeusz Konwicki, directed by Andrzej Titkow. Also, there's a new work for four French horns and electronic sounds, and I'm making sketches for a new piano concerto that will be called Portraits and premiered in Slupsk at The Polish Pianistic Festival in 2003. I'm also writing a Stabat Mater for mezzo-soprano and eight cellos for the Cello Festival in Beauvais as well as a symphony with choir for the Festival Paris de la Musique. And there's also an oratorio that I'm writing for the French City of Lille, which will be named the Cultural Capital of Europe for the year 2004.
JH: Where in Warsaw can we hear your music performed in the near future?
PM: On April 12 and 13, my orchestral piece Fresque will have its Polish premiere with the Warsaw Philharmonic with Tomasz Bugaj conducting. This is the piece which had its world premiere in Paris with the Orchestre National de France, Leonard Slatkin conducting. Also, on May 15, at the Lutoslawski Studio at Polish Radio on Woronicza Street there'll be the world premiere of my solo cantata Dzien - Noc (Day -Night) which was commissioned by the station Polish Radio II. It's set to the poetry of futuristic Polish poets and will be performed by Jadwiga Rappé and the Polish Radio Orchestra, conducted by Krzysztof Slowinski. Should you be in the vicinity of the Indian Ocean in July, however, the French island of La Réunion will be the venue for the world premiere of my Suite LA that's based on Latin American dance music. A youth orchestra of 700 musicians (!) from all over the Indian Ocean islands will give its first performance.
NOTE: This interview first appeared in the April 2002 issue of Warszawa - What, When, Where."
A CHOPIN RECORDING?
While doing construction work in France, the workers dug up an old metal
box. Inside the box they found a near faded letter and a glass
cylinder. Not knowing what they had found, they turned it over to a
local historian who was able to make out the writing. What he
The letter was written by one Hippolyte Sot, resident of the area in the 1840s. The letter described the techniques he had devised to record audio sounds using a glass cylinder. It went on to say that despite his efforts he was unable to obtain any interest nor recognition for his work. He therefore buried the details of this invention in the metal box along with one sample recording. The recording was none other than
The magazine says that the recording was made about 20 years earlier the those created by Leon Scott, the person normally attributed with the invention of audio recording. It also gives additional detail about the inventor and how the information was retrieved from the glass cylinder. And what's particularly interesting is that H. Sot had NOT invented a playback technique, and it took 20th century technology to recover the audio information recorded on the cylinder.
To get all the details, get a copy of the latest issue of CLASSIC CD magazine. And yes, the CD included with the magazine includes the recording. Its the only recording of Frederich Chopin, and he displays some pretty fantastic playing ability.
That the text above is a hoax you may find out from the following rebuttal:
"The recording of Chopin performing the "Minute Waltz" is a now world-famous musical hoax that was equisitely executed by the editors of a music magazine devoted to reviews of classical CD's about four-or-five years ago. To be precise, the hoax appeared on a CD that was sent as a free gift to all subscribers of the magazine, arriving with the April issue on April 1.
Now in hindsight, it is easy for those who never heard the CD or read the accompanying "historical" material to laugh at the obvious falsity of the "discovery." However, this hoax was so meticulously researched (it was based on a great deal of esoteric historical evidence that was in fact true)--and the recording itself was so brilliantly faked--that many musicians and musical experts were taken in, at least initially. I first heard the recording broadcast on the radio on the day it appeared. It introduced with great fanfare by an announcer who read about 15 minutes worth of the liner notes, and who called the recording "the musical equivalent of the discovery of the tomb of King Tutankamen." Was I fooled? Absolutely!
The original recording was not claimed to have been made on a cylinder. The basis of the hoax was Sot's experiments in recording sound on disks of glass covered with smoke. His experiments were amazing for their time. He understood the relationship of sound to the wavy lines traced on smoked glass with a diaphragm and a cactus needle. And evidently it was he who first came up with the idea of inscribing sound on a rotating disc--decades before Emil Berliner and Charles Cros were to patent their techniques. However, Sot never got beyond the inscribing stage; he could not figure out a way to play back the vibrations he had inscribed on the smoked glass disks.
The magazine's hoax took it from there, claiming that Sot had buried one of his smoke-covered disks in a sealed glass container in the hope that some day in the future science would have by then figured out a way to play back his precious vibrations. They claimed that the container had been recovered during a subway excavation at Nohant-sur-Seine (near Georges Sand's chateau), and that the sound had been reproduced and transfered by a prestigious French national scientific laboratory using optical lasers and digital conversion techniques.
Moreover, Sot was indeed a neighbor and acquaintance of Georges Sand during the period of her long affair (menage) with Chopin. What could be more natural than for him to have prevailed upon one of the world's two most famous living pianists who just happened to be living next door to play a little something for posterity?
The recording is absolutely fabulous!. First, what little musical sound that is audible is almost entirely covered by a loud continual banging, crashing, gritty surface noise of a kind one has never heard before--ostensibly the pits in the surface of the glass disk. Far in the distance, one can barely hear the tiny but very clear sound of a piano, playing the Minute Waltz from start to finish (in the correct key, of course.)
The most amazing thing about the performance is the tempo--which is insanely fast. Indeed, the piece is played in less than a minute. (BTW, I have read-- elsewhere--that the only pianist to have ever recorded the Minute Waltz in a minute was Liberace--even though the French word "Minute" did not here refer to a minute, but rather 'minute' as in small.) In any event, it is indeed humanly possible to play the piece at that speed. And if not Chopin, who then?"
NOTE: This news item was submitted to us by Dr. Barbara Milewski, a noted Chopin specialist, in response to a request from one of our readers who thought that an original chopin
CD may actually exist.
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Copyright 2002 by the Polish Music
Contributions by Joseph A. Herter and Piotr Grella Mozejko.
Sources of information: American Record Guide, Chamber Music, Fanfare, Gramophone, Ruch Muzyczny,
Nowy Dziennik, www.meloman.com, PAP, Los Angeles Times, and Schwann.
Formatting by Maja Trochimczyk, 04/01/2002.