Synonyms for ekier or Related words with ekier
Examples of "ekier"
Arthur Rubinstein and Jan
have also acted as honorary chairmen.
His first wife was the Polish actress Danuta Szaflarska.
died in Warsaw, two weeks short of his 101st birthday.
(29 August 1913 – 15 August 2014) was a Polish pianist and composer known for his authoritative edition of Chopin's music for the Polish National Edition.
On 17 April 2000,
was awarded the Commander's Cross with Star of the Order of Polonia Restituta. On 21 October 2010, he received the Order of the White Eagle.
The jury panel for this competition includes Jan
, Andrzej Jasiński, Piotr Paleczny, Martha Argerich, Bella Davidovich, Philippe Entremont, Nelson Freire, Adam Harasiewicz, Kevin Kenner, Michie Koyama, Katarzyna Popowa-Zydroń, Dang Thai Son, and Fou Ts'ong.
The cadence to the coda (bar 66) contains the only white key, F-natural, to be played by the right hand. But in the original editions the two thirds (G-flat - E-flat and D-flat - F) are placed on the left hand staff, though editors like Jan
recommend them to be (partially) played by the right hand.
Members of the jury in the piano competition have included: Raoul Koczalski, Rudolf Firkusny, Lazar Berman, Lev Oborin, Pál Kadosa, Ilona Štěpánová-Kurzová, Guido Agosti, Eugene List, Pavel Štěpán, Jerzy Zurawlew, Jan
, Jacques Février, Vera Gornostayeva, Jacob Lateiner, Josef Palenicek, Fanny Waterman, and Barbara Hesse-Bukowska.
Polish pianist and editor Jan
(1913-2014) writes in the "Performance Commentary" to the Polish National Edition that this étude is "always performed slower or much slower than is indicated by [Chopin’s] tempo [MM 100]." The original autograph (first draft) bears the marking "Vivace" changed to "Vivace ma non troppo" in the clean copy (Stichvorlage) for the French edition.
observes: "Only in print did Chopin change it to "Lento ma non troppo" simultaneously adding a metronome mark." The middle section, especially the bravura passage in sixths at the climax, is always played at a much faster tempo than the A section. An argument in favor of Chopin’s fast metronome mark, according to
, is the fact that the middle section "has the marking "poco più animato" [not in bold print], which suggests only a slight acceleration of the opening tempo." This indication is not found in the autographs, showing that Chopin originally envisioned a fast and unified tempo for the étude. Chopin disliked excessive sentiments expressed during performance, as it tore the musical structure he initially intended. Chopin also eschewed a beleaguering tempo with distinct pulse since it destroyed the significance of the 2/4 time signature.
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan
, both of which contain detailed explanations and discussions regarding choices and sources.
was born in Kraków, Poland. As a youth, he studied piano with Olga Stolfowa, and later composition with Bernardino Rizzi at the Władysław Żeleński School of Music. He continued formal music studies at the Warsaw Conservatory, where his teachers included Zbigniew Drzewiecki (piano) and Kazimierz Sikorski (composition). He was awarded the International Chopin Piano Competition's 8th prize in 1937. He was later an organ student with Bronisław Rutkowski.
Szaflarska was born in Kosarzyska, Piwniczna-Zdrój (Galicia, Austria-Hungary, now Poland). She married her first husband, Jan
, a pianist, in 1942. They had one daughter, Maria. The pair divorced. Her second husband, Janusz Kilański, was a radio announcer. He was the father of Szaflarska's second daughter, Agnieszka. Kilański and Szaflarska also divorced. Szaflarska turned 100 in February 2015. She was a regular player of Teatr Rozmaitości in Warsaw, specializing in modern and progressive drama, and in her later years appeared in four different plays at the theatre.
After graduating from Nagoya Municipal Kikuzato High School Music Department, she studied piano, organ, conducting and chamber music under prof. Atsuko Ohori, prof. Both Lehel and Yuzo Toyama at Aichi Prefectural University of Arts and Music. During her postgraduate studies in Aichi, her talent was spotted by prof. Jan
, during his visit to Japan. They met in Nagoya and prof.Ekier invited her to Warsaw. She studied at Chopin Music Academy in Warsaw (Fryderyk Chopin University of Music in Warsaw) and gained her diploma in 1994.
(August 29, 1913 - August 15, 2014), pianist, composer and the 20th century's world's greatest Chopin scholar - visited Japan five times. His last visit was early in spring in 1990. From Hokkaido to Kyushu, "changing hotels 13 times, meeting very talented young pianists", he gave Chopin lectures and masterclasses all over Japan. In 1990 Kawai was studying at Aichi Prefectural University of Arts and Music and had his lesson in Nagoya. She played Chopin's Sonata in B minor Op.58. After the lesson prof.Ekier immediately told Kawai to come to Poland, to his class at Chopin Music Academy in Warsaw. During the Japan tour prof.Ekier had lessons with over 60 talented pianists, mainly Chopin Competition participants in October 1990, but only Kawai was invited as his pupil. At that time prof.Ekier told the masterclass interpreter about Kawai: "She has great potential. And she has very good hands as a pianist."
Łukaszczyk was born in the capital city of Poland, Warsaw, on March 1934. During the German occupation of Poland during the Second World War, he and his twin brother Jacek Łukaszczyk (1934–2013) were engrossed with the music of Wolfgang Amadeus Mozart. In the '50s he studied at the Higher State School of Music in Warsaw. His professors were Margerita Trombini-Kazuro, Zbigniew Drzewiecki, and Jan
. Later he studied at the University of Music and Performing Arts, Vienna under Hans Kann. He became intensely interested in the music of Frédéric Chopin. In Inland and abroad he became an interpreter of Chopin. In 1966, Łukaszczyk arrived in Darmstadt, and initially worked there as an Répétiteur at the Landestheater Darmstadt.
Polish music, including orchestras, also went underground. Top Polish musicians and directors (Adam Didur, Zbigniew Drzewiecki, Jan
, Barbara Kostrzewska, Zygmunt Latoszewski, Jerzy Lefeld, Witold Lutosławski, Andrzej Panufnik, Piotr Perkowski, Edmund Rudnicki, Eugenia Umińska, Jerzy Waldorff, Kazimierz Wiłkomirski, Maria Wiłkomirska, Bolesław Woytowicz, Mira Zimińska) performed in restaurants, cafes, and private homes, with the most daring singing patriotic ballads on the streets while evading German patrols. Patriotic songs were written, such as "Siekiera, motyka", the most popular song of occupied Warsaw. Patriotic puppet shows were staged. Jewish musicians (e.g. Władysław Szpilman) and artists likewise performed in ghettos and even in concentration camps. Although many of them died, some survived abroad, like Alexandre Tansman in the United States, and Eddie Rosner and Henryk Wars in the Soviet Union.
Chopin's metronome mark, given in the original French and German editions, is MM 69 referring to dotted quarter notes. The English edition has MM 69 referring to quarter notes instead. Austrian pianist and composer Gottfried Galston (1879–1950) suggests a tempo of MM 50 referring to dotted quarter notes, as "the carrying power of the modern piano's cantabile allows for a broader layout of the cantilena." He also believes that "the tempo of this étude is subjected to the most multifarious fluctuations." Polish pianist and editor Jan
(born 1913) writes in the "Performance Commentary" to the Polish National Edition that this étude is "always performed slower or much slower than is indicated by [Chopin's] tempo. […] the tempo becomes as much as three times slower than the authentic one, thus changing the metronomic unit from dotted quarter notes = 69 to eighth notes = 69. The causes could be discerned in certain performance "traditions" prevailing during the second half of the nineteenth century, which had little in common with those derived directly from Chopin."
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