Zgodnie z moją wczorajszą obietnicą przedstawiam Państwu VIOLETTĘ VILLAS u radiowych Matysiaków. Nienapuszona, swobodna konwersacja (na tyle na ile można było wtedy być 'swobodnym' rozmówcą w Polskim Radiu //- lata 60. i cenzura!//), poprzedzająca wykonanie przez piosenkarkę songu "List do matki". 1968. PR 1. Archiwalne spotkanie zapowiada red. Paweł Sztompke /26. 05. 2024/. ↓↓↓ Premiera na YouTube! Violetta Villas jakiej (muzycznie, wokalnie) Państwo nie znają! (?) Rok 1968: https://www.youtube.com/watch?v=0zrf-... --------- ★VIOLETTA VILLAS, "Ave Maria No Morro" (1966) & ❤️ Orkiestra STEFANA RACHONIA (!). HD: https://www.youtube.com/watch?v=UGfRQ... PIOSENKI / BALLADY/ PROTEST-SONGI (ulubione) u CzarMuzyki. My favorite popular SONGS: https://www.youtube.com/playlist?list...
(Artist Biography by Robert Cummings) *** Johann Sebastian Bach was better known as a virtuoso organist than as a composer in his day. His sacred music, organ and choral works, and other instrumental music had an enthusiasm and seeming freedom that concealed immense rigor. Bach's use of counterpoint was brilliant and innovative, and the immense complexities of his compositional style -- which often included religious and numerological symbols that seem to fit perfectly together in a profound puzzle of special codes -- still amaze musicians today. Many consider him the greatest composer of all time. Bach was born in Eisenach in 1685. He was taught to play the violin and harpsichord by his father, Johann Ambrosius, a court trumpeter in the service of the Duke of Eisenach. Young Johann was not yet ten when his father died, leaving him orphaned. He was taken in by his recently married oldest brother, Johann Christoph, who lived in Ohrdruf. Because of his excellent singing voice, Bach attained a position at the Michaelis monastery at Lüneberg in 1700. His voice changed a short while later, but he stayed on as an instrumentalist. After taking a short-lived post in Weimar in 1703 as a violinist, Bach became organist at the Neue Kirche in Arnstadt (1703-1707). His relationship with the church council was tenuous as the young musician often shirked his responsibilities, preferring to practice the organ. One account describes a four-month leave granted Bach, to travel to Lubeck where he would familiarize himself with the music of Dietrich Buxtehude. He returned to Arnstadt long after he was expected and much to the dismay of the council. He then briefly served at St. Blasius in Mühlhausen as organist, beginning in June 1707, and married his cousin, Maria Barbara Bach, that fall. Bach composed his famous Toccata and Fugue in D minor (BWV 565) and his first cantatas while in Mühlhausen, but quickly outgrew the musical resources of the town. He next took a post for the Duke of Sachsen-Weimar in 1708, serving as court organist and playing in the orchestra, eventually becoming its leader in 1714. He wrote many organ compositions during this period, including his Orgel-Büchlein. Owing to politics between the Duke and his officials, Bach left Weimar and secured a post in December 1717 as Kapellmeister at Cöthen. In 1720, Bach's wife suddenly died, leaving him with four children (three others had died in infancy). A short while later, he met his second wife, soprano Anna Magdalena Wilcke, whom he married in December 1721. She would bear 13 children, though only five would survive childhood. The six Brandenburg Concertos (BWV 1046-51), among many other secular works, date from his Cöthen years. Bach became Kantor of the Thomas School in Leipzig in May 1723 and held the post until his death. It was in Leipzig that he composed the bulk of his religious and secular cantatas. Bach eventually became dissatisfied with this post, not only because of its meager financial rewards, but also because of onerous duties and inadequate facilities. Thus, he took on other projects, chief among which was the directorship of the city's Collegium Musicum, an ensemble of professional and amateur musicians who gave weekly concerts, in 1729. He also became music director at the Dresden Court in 1736, in the service of Frederick Augustus II; though his duties were vague and apparently few, they allowed him freedom to compose what he wanted. Bach began making trips to Berlin in the 1740s, not least because his son Carl Philipp Emanuel served as a court musician there. In May 1747, the composer was warmly received by King Frederick II of Prussia, for whom he wrote the gloriously abstruse Musical Offering (BWV 1079). Among Bach's last works was his 1749 Mass in B minor. Besieged by diabetes, he died on July 28, 1750.
Fryderyk Franciszek CHOPIN – the most outstanding Polish composer and pianist, born in the village of Żelazowa Wola in the district of Sochaczew. The composer and his family held his date of birth to be 1 March 1810, yet the certificate of baptism signed in the parish church of Brochów is dated 22 February. That discrepancy has still not been entirely resolved, although today it is the date celebrated by Chopin and his family that is more often used. Fryderyk Chopin entered the world in a manor house belonging to Count and Countess Skarbek, where his father, Mikołaj (Nicolas) Chopin (1771–1844), a Polonised Frenchman who came to Poland at the age of sixteen, was working as a tutor. Mikołaj Chopin assimilated with his new homeland to such an extent that in 1794 he took part in the Kościuszko Uprising (probably in defence of Warsaw) and never left Poland. He worked mainly in education, teaching the scions of noble houses: one of his pupils was Maria Łączyńska, later famed as Madame Walewska. Fryderyk Chopin’s parents, Justyna and Mikołaj [Nicolas]. Ambroży Mieroszewski, drawing In 1806, Mikołaj Chopin married Tekla Justyna Krzyżanowska (1782–1861). Born a year later was Ludwika, married name Jędrzejewicz (1807–1855). Fryderyk was the Chopins’ second child. He also had two younger sisters: Izabela, married name Barcińska (1811–1881), and Emilia (1812–1827), who died young. Six months after Fryderyk’s birth, the Chopin family moved to Warsaw, where Mikołaj took up a post at the Warsaw Lyceum. The Chopins moved into the Saxon Palace. Childhood. Fryderyk came into contact with music at a very early age. In the subject literature, it is frequently mentioned that his mother played the piano and sang, and his father is known to have played the flute and the violin. His elder sister Ludwika also showed musical talent from a young age and learned to play the piano. The atmosphere in the family home was warm and hearty. It was the home – diligently run by his parents, in accordance with the best models from the Polish aristocracy – that would remain for Chopin a symbol of peace, security and love, a kind of lost arcadia, which the composer would cherish throughout his adult life. Chopin’s first contact with the piano probably came at home during his early childhood. He first tried playing by himself under the guidance of Ludwika, and at the age of six he began regular lessons with a private music teacher, the Czech immigrant Wojciech Żywny (Cz. Vojtěch Živný; 1756–1842). Żywny soon realised that his young pupil was remarkably gifted and devoted himself to introducing him to the world of the great masters, mainly Bach and Mozart, closely observing his progress in pianism and free improvisation. The first compositions were not long in coming: polonaises, marches and variations. Initially written with his father’s help, they almost immediately brought him a reputation as a child prodigy. In 1818, the Pamiętnik Warszawski noted: ‘a true musical genius: not only does he play the most difficult pieces on the pianoforte, with the greatest ease and exceptional taste, but he is also the composer of several dances and variations, by which musical experts are constantly amazed.’ That was a watershed in little Freddie’s life. Over subsequent years, he gave countless guest performances in the drawing-rooms of the Warsaw aristocracy, including the homes of the Czartoryski, Radziwiłł and Zamoyski families and the milieu of the Russian tsar’s viceroy in Poland, Duke Constantine. His musical talent developed incredibly quickly. In 1822, Wojciech Żywny told the Chopins, as a faithful friend, that he could not develop his pupil’s skills any further. Fryderyk began taking less regular private lessons with the most outstanding teachers in Warsaw: composition with Józef Elsner and probably piano and organ with the influential virtuoso Wilhelm Würfel. The next few years were spent learning and giving numerous performances. Praised for his proficiency and for the expression in his interpretations, unheard of in such a young pianist, he also began cultivating the difficult art of improvisation, both privately, among his close friends, and in aristocratic salons. Yet Chopin’s education was not confined to music alone. In 1823, he entered year IV at the Warsaw Lyceum, where he gained an all-round education. He regularly spent the summer holidays on the country estates of his close friends, where he absorbed, with the passion of a folklore scholar, the customs, the rituals and especially the music of the common folk. (...) *** https://chopin.nifc.pl/en/chopin/etap-zycia/1_fryderyk-franciszek-chopin
GNIEZNO! Is a city in central-western Poland, some 50 kilometres (31 miles) east of Poznań, inhabited by about 80,000 people. One of the Piast dynasty's chief cities, it was mentioned by 10th century A.D. sources, including the Dagome Iudex, as the capital of Piast Poland. Its Roman Catholic archbishop, the Archbishop of Gniezno, is the Primate of Poland. These historical facts make its position in Polish history similar to Esztergom, Canterbury or Rheims.
Franz Schubert, in full Franz Peter Schubert, (born January 31, 1797, Himmelpfortgrund, near Vienna [Austria] — died November 19, 1828, Vienna), Austrian composer who bridged the worlds of Classical and Romantic music, noted for the melody and harmony in his songs (lieder) and chamber music. Among other works are Symphony No. 9 in C Major (The Great; 1828), Symphony in B Minor (Unfinished; 1822), masses, and piano works. Vide: https://www.britannica.com/biography/Franz-Schubert
Wolfgang Amadeus Mozart was born in Salzburg, Austria, where his father Leopold was a violinist and composer. Wolfgang (or Wolferl, as his family called him) was a child prodigy. He composed his first piece of music at age five; he had his first piece published when he was seven; and he wrote his first opera when he was twelve. By the time Wolfgang was 6, he was an excellent pianist and violinist. He and his sister Maria Anna (known as Nannerl) traveled all over Europe performing for royalty. When he grew up, Mozart moved to Vienna, and tried to earn a living as a pianist and composer. But he had a lot of trouble handling the fact that he was no longer a child prodigy. Mozart was still a musical genius, but after he stopped being a cute kid, people stopped making a big fuss over him. Back then, musicians were treated like servants, but Mozart did not, and could not think of himself as a servant. Mozart was only 35 when he died. During his short life, he composed in all different musical forms, including operas, symphonies, concertos, masses, and chamber music. Today, he is still considered a genius!
https://polishmusic.usc.edu/research/publications/essays/briefest-history-of-polish-music/ *** Poland in comparison with the United States, is five times older as a nation. This difference in age is nowhere more obvious than in the music. The history of Polish music begins with the acceptance of Christianity by the Slavic nation in the 10th century. American music arises from the rich heritage of many immigrant communities and the cultural mosaic of native traditions that have made the United States a microcosm of the world. Polish music history commences with the liturgical chants of the Latin Church that reached Poland from Rome via neighboring Bohemia. The arrival of a new cultural practice fostered an outpouring of religious music, much of it centered on the praise and worship of the Virgin Mary. Bogurodzica [The Mother of God] is the earliest hymn notated in Polish; its earliest preserved sources date from the 15th c. while the chant itself is said to have been composed in the 13th century. The text is a document in the history of the Polish language as well as the country’s earliest “national anthem:” Bogurodzica was sung by the Polish army in defensive wars with the Knights of the Cross, most notably at Grunwald (1410). Other famous hymns were written to praise Polish saints, such as St. Adalbertus and St. Stanislaus, the addressee of Gaude Mater Polonia [Rejoice, Mother Poland], which is still sung at official university events, e.g. the beginning of the academic year. The notated music of the Church was preceded, however, by an oral musical tradition of the pre-Christian Slavs, which many believe to have survived in the treasury of Polish folklore that has inspired numerous composers, with the best known names of Fryderyk Chopin (1810-1849) and, recently, Henryk Mikolaj Gorecki (b. 1933). The folklore of Poland differs from one area to the next: the music of Mazovia (in central Poland) is often taken as the “standard” Polish form of folk music with its array of dance forms, such as mazurkas, obereks, polkas, etc.). The distinct styles of songs and instrumental music preserved in the Tatra Mountains (Gorale music [listen!]), and in the lake district in the North-Western Poland (Kurpie region) are of particular interest, especially because of their current cultural vitality. Yet, it is the heritage of religious music, preserved in richly ornamented manuscripts, that reveals the great talents of Polish composers such as Waclaw z Szamotul (born c1524, died c. 1560), Mikolaj Zielenski (17th c., dates unknown; his works were published in Venice), Marcin Mielczewski (died in 1651) and many others. These eminent artists did not work in isolation, but benefited from lively cultural contacts between Poland and other European countries. The 16th and 17th centuries, periods of economic prosperity and peace, created ideal conditions for the cultivation and advancement of all the arts — it was the Golden Age of Polish culture. Various forms of secular and religious music thrived; musicians from Hungary, Italy, France, and Germany found employment at the royal court (Wawel Castle in Krakow, Cracovia–as pictured in the print; the site when the famed tapestries are held), in the chapels of the aristocracy, and in the church. It was during this period that Polish art music took form and flourished, with its forms of vocal polyphony (choral music), dances for the court, and various types of songs for one and many voices. In 1569, the treaty of Lublin united Poland with Lithuania (the result of an earlier marriage between the royal families of the two countries). Since that time, Poland’s cultural and ethnic amalgam has included Germans, Jews, Ukrainians, Byelorussians, Scandinavians and Tartars, along with ethnic Poles and Lithuanians. The religious mix has comprised Roman Catholics, Jews, Orthodox, Protestants and Muslims. Each of these cultural groups has significantly enriched Poland’s musical life, but their role in the development of Poland’s musical heritage has not been fully examined. The 18th century was for Poland a time of wars and internal instability, culminating in the 1790s with the partition of the country among Austria, Russia and Prussia. Poland no longer appeared on maps of the world. In these distressing circumstances, the musical life suffered and regressed. However, Polish composers continued to create works in styles popular in contemporaneous Europe, such as symphonies [listen to a Symphonie by Wanski] and operas. Throughout the 19th century, Poland strove unsuccessfully to regain its independence. During this period, the greatest Polish composer, Fryderyk Chopin, became a national symbol of resistance and a source of cultural identity. (...) *** https://polishmusic.usc.edu/research/publications/essays/briefest-history-of-polish-music/
Anna Magdalena Czarska, ps "Magdalena" -- Born in Warsaw, National Army (AK) soldier. Insurgent of Warsaw Uprising: https://www.youtube.com/playlist?list=PL7Ya_z08dGHn4nWbyw0q9Ttf8Mmz1kM_K , Soldier of Battalion "Parasol", and actress of many polish theatres (theater courses with Juliusz Osterwa).
KRZYSZTOF JAXA-CHAMIEC -- an excellent Polish actor. He was born on February 2, 1930 in Andruga near Włodzimierz Wołyński, in the Sarnański district in Wołyń. He died on October 11, 2001 in Warsaw. * Znakomity polski aktor. Urodził się 2 lutego 1930 w Andrudze k. Włodzimierza Wołyńskiego, w powiecie sarneńskim na Wołyniu. Zmarł 11 października 2001 w Warszawie.Syn ziemianina Bronisława Jaxa-Chamiec i Jadwigi z domu Mierzejewskiej, pisarki. Po II wojnie światowej był dwukrotnie aresztowany za przynależność jego rodziny do AK, najpierw przez Rosjan, a następnie przez SB. Ukończył studia ekonomiczne na Uniwersytecie Marii Curie-Skłodowskiej w Lublinie. 1 marca 1949 zadebiutował w lubelskim Teatrze Muzycznym, gdzie grał do 1951. MOZART, CHOPIN, Później przeniósł się do Szczecina, gdzie występował w Teatrze Polskim (1951--1952). W latach 1952--1953 grał w Teatrze im. Aleksandra Fredry w Gnieźnie, a w latach 1954--1955 w Teatrze im. Wojciecha Bogusławskiego w Kaliszu. W 1954 zdał aktorski egzamin eksternistyczny w PWST w Krakowie. W latach 1955--1957 ponownie aktor Teatrów Dramatycznych w Szczecinie. Występował na deskach Starego Teatru (1957--1959) i Teatru im. Juliusza Słowackiego w Krakowie (1959-62), a następnie w Teatrze im. Stefana Jaracza w Łodzi (1962--1967). Od 1967 związany z teatrami warszawskimi: Klasycznym (1967--1968), Ateneum (1968--1971), Narodowym (1971--1974 i 1981--1990), Polskim (1974--1981), Na Woli (1990--1991) oraz z Centrum Sztuki im. Stanisława Ignacego Witkiewicza (1991--1992). Występował w Teatrze Telewizji i Teatrze Sensacji "Kobra" oraz w Teatrze Polskiego Radia. O swoim zawodzie mówił: "Teatr jest dla aktora nie wysychającym źródłem emocji. Nawet jeśli chwilowo mam go dosyć, po pewnym czasie powraca jeszcze silniejsza fascynacja. Liczyłem, że w końcu się od niej uwolnię, ale nic z tego!. Udaje mi się to tylko do momentu, póki nie wejdę do teatru..." .Na ekranie filmowym zadebiutował w 1961 rolą hrabiego Alfreda Łaskiego w Komediantach Mari Kaniewskiej. Wystąpił w kilkudziesięciu filmach polskich i zagranicznych. Jego emploi (męski, wyniosły, pewny siebie) predestynowało go do grania ról mundurowych, zwłaszcza oficerów, ludzi wykształconych, dyplomatów, arystokratów, cudzoziemców; często odtwarzał postaci historyczne. Zmarł na raka płuc[, a został pochowany w grobowcu rodzinnym na cmentarzu w Krężnicy Jarej k. Lublina. -- Komedianty (1961) -- hrabia Alfred Łaski -- Barwy walki (1964) -- podporucznik "Kruk", zastępca "Kołacza" -- Panienka z okienka (1964) -- Cornelius, bratanek Szulca, agent Danii -- Pierwszy dzień wolności (1964) -- Hieronim -- Kapitan Sowa na tropie (serial telewizyjny) (1965) -- "Orlando" (odc. 2. Uprzejmy morderca) -- Walkower (1965) -- dyrektor kombinatu -- Weekend z dziewczyną, 1968 -- Stawka większa niż życie (serial telewizyjny) (1967--1968) -- Sturmbannführer Lothar (odc. 1. Wiem kim jesteś i odc. 5. Ostatnia szansa) -- Kierunek Berlin (1968) -- porucznik Kaczmarek -- Ostatnie dni (1969) -- porucznik Kaczmarek -- Martwa fala (1970) -- chief -- Wielka miłość Balzaka (serial telewizyjny) (1973) -- książę von Szwarcenberg (odc. 4. Komedia ludzka) -- To ja zabiłem (1974) -- prokurator Sadzewicz, oskarżyciel Morawskiego -Zwycięstwo (1974) -- porucznik Kaczmarek -- Kazimierz Wielki (1975) -- król Kazimierz III Wielki -- Trzecia granica (serial telewizyjny) (1975) -- Obersturmführer Lemke (odc. 4. W matni i odc. 7. Mylne szlaki) -- Lalka (serial telewizyjny) (1977) -- hrabia "Anglik", sekundant barona Krzeszowskiego (odc. 3. Wielkopańskie zabawy i odc. 9. Dusza w letargu) -- Życie na gorąco (serial telewizyjny) (1978) -- Adolfo Tomassini, w rzeczywistości gestapowiec Tommer (odc. 4. Malavita) -- Strachy (serial telewizyjny) (1979) -- Zygmunt Modecki -- Krach Operacji Terror (1980) -- Feliks Dzierżyński -Polonia Restituta (1980) -- Ignacy Jan Paderewski -- Urodziny młodego warszawiaka (1980) -- pułkownik -- Zamach stanu (1980) -- generał Gustaw Orlicz-Dreszer -- GWIEZDNY PYŁ (1982) -- Stary (GŁOS Janusza Paluszkiewicza!) -- Kamienne tablice (1983) -- poeta Jan Tokarski, radca w ambasadzie Polski w Indiach -- Kim jest ten człowiek (1984) -- major Jan Stanisław, agent niemiecki "Wotan" -- Tumor Witkacego (1985) -- Andrzej Sitkowski grający rolę profesora Alfreda Greena -- Ballada o Januszku (serial telewizyjny) (1988) -- Romeo i Julia z Saskiej Kępy (1988) -- Leopold -- Rzeczpospolitej dni pierwsze (1988) -- Ignacy Jan Paderewski -- Szwedzi w Warszawie (1991) -- Stefan Czarniecki -- Przypadek Pekosińskiego (1993) -- generał Bagno -- Na dobre i na złe (serial telewizyjny) (2000). -- POZOSTAŁA JESZCZE NIEZLICZONA ILOŚĆ WSPANIALE INTERPRETOWANYCH RÓL W POLSKIM RADIU! -------------------
"Rivaled only by Nikolaus Harnoncourt, Neville Marriner was one of the most important of the early figures who spearheaded the reawakening of modern interest in Baroque and early Classical music. In the 1950s, he founded Academy of St. Martin-in-the-Fields, the first British early music ensemble to find a large international audience. Marriner has since become one of the most popular conductors in the world, acclaimed for his interpretations of composers from Bach to Britten. Marriner was first taught the violin as a child, by his father, and attended the Royal College of Music, beginning at age thirteen. Wounded during World War II, he met future collaborator Thurston Dart during his hospitalization. In 1948 he became professor at the Royal Academy of Music. As well as joining the Martin String Quartet as second violin, he formed a violin-and-harpsichord duet with Dart, and their performances led to the formation of the Jacobean Ensemble, an early music group that recorded the Purcell trio sonatas in 1950. Around this time, he began studying conducting with Pierre Monteux at Monteux's school in Maine. Marriner's reputation in general music circles also grew; in 1956 he was appointed principal second violin with the London Symphony Orchestra. A turning point came in 1959, when Marriner was asked to supply music for the church of St. Martin-in-the-Fields, in London's Trafalgar Square. Marriner formed a chamber orchestra which he named the Academy of St. Martin-in-the-Fields. The group's work attracted the attention of the Decca imprint L'Oiseau Lyre, which recorded its performance of Couperin's Les Nations. Favorable reviews and unexpectedly robust sales of this recording led to more recordings for L'Oiseau Lyre and its sister label Argo, and by the end of the 1970s the Academy of St. Martin-in-the-Fields had become the best-selling chamber orchestra in recorded music's history. The group expanded from 13 players to twenty or more, and performed Classical symphonic works and twentieth century British music as well as Baroque material. The sound of Marriner's Academy recordings is crisp, with an extremely bright sound, using period performance standards with modern instruments. Marriner's name remains closely associated with the Academy of St. Martin-in-the-Fields, and the group now has more than 300 recordings to its credit. These include the soundtrack for the 1984 film Amadeus, for which Marriner selected, arranged, and directed works of Salieri and Pergolesi, in addition to Mozart. In 1969 Marriner he organized the Los Angeles Chamber Orchestra, and he later took this orchestra on a tour of Europe. Additionally, he served as a guest conductor with leading U.S. orchestras, and in England held an appointment as conductor of the Northern Sinfonia, based in Newcastle. In the late 1970s and early 1980s, he spent most of his time in the U.S., primarily as music director and conductor of the Minnesota Orchestra. After being knighted in 1985, Marriner went back to Europe, conducting of the Stuttgart Radio Symphony Orchestra from 1986-1989. Since then, he has conducted around the world, including at the Opéra de Lyon, and continues to record. His conducting is known for its vitality and brightness, as well as precise ensemble technique, a reflection of his violinist days. In a 1991 interview he said of his style: "I was never a potentate swinging a scepter, but was always in a dialogue with my musicians."