Ignacy Jan Paderewski

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Paderewski, Ignacy Jan


Born Nov. 18, 1860, in Kuryłówka, Podolia; died June 29,1941, in New York. Polish pianist, composer, and statesman.

Paderewski studied piano at the Warsaw Conservatory (until 1878) and composition with F. Kiel in Berlin. From 1884 to 1886 he studied piano with T. Leschetizky in Vienna. After making his debut in Vienna at the age of 27, he gained world renown as one of the leading pianists of his time. A pianist of the romantic school, Paderewski combined virtuosity and verve with a refinement of execution. Chopin’s works dominated his extensive repertoire, and between 1935 and 1940 he was one of the editors of a complete edition of Chopin’s works. Paderewski wrote many short piano pieces, as well as the opera Manru (staged by the Wielki Theater in Warsaw in 1901 and subsequently by many of the world’s largest theaters), a symphony, and a piano concerto.

Paderewski became active in politics during World War I, when he joined the pro-Entente Polish National Committee. He served as the committee’s representative to the USA in 1917. From January to November 1919, he was prime minister and foreign minister of Poland. Paderewski and R. Dmowski represented Poland at the Paris Peace Conference in 1919–20. In 1936, while living in Switzerland, he helped create a bloc of bourgeois parties (Morges Front) opposed to the sanacja regime. In 1940 he became chairman of the émigré National Council.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Poland (Ignacy Paderewski), Greece (Eleftherios Venizelos), China (Wellington Koo), Syria (Faisal I bin Hussein bin Ali al-Hashemi) and other countries had legitimate claims, pressing them with various degrees of effectiveness.
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Encouraged by Ignacy Paderewski to pursue a career as a concert pianist, we're informed that Liberace embarked on a 20-year relationship with teacher and mentor Florence Bettray Kelly, who entered him in numerous local competitions, paving the way for his performance of Lizst's "Liebestraum'' with the Chicago Symphony.
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The following passage concerning the large audience of Polish immigrants who attended Ignacy Paderewski's piano recitals in the United States exemplifies Parakilas's perceptiveness, as well as his occasional tendency to repeat himself:
In addition to Chopin's nineteen songs there are also songs by Stanislaw Niewiadomski, Stanislaw Moniuszko, Karol Szymanowski and Ignacy Paderewski. Fortunately, all thirty-one songs are sung in Polish and it is hard to single out any one in particular: when pressed, this reviewer would opt for Chopin's 'My Darling'.
The conference also paid tribute to Henryk Sienkiewicz the man, described by Ignacy Paderewski in 1915 as "the most praiseworthy, most estimable of all the living sons of Poland."
Alone among composers in partitioned Poland just before the generation of Karol Szymanowski, Karlowicz steered away from (so-called) nationalist incorporations of folk elements, as in the salon works of his near-exact contemporaries Feliks Nowowiejski, Eugeniusz Morawski, and Ignacy Paderewski. Born to privilege in Lithuanian territory, schooled in his early years at Heidelberg and Dresden, Karlowicz came to music study as a citizen of Europe and, as Wightman illustrates, absorbed the language of late romanticism through study of Edvard Grieg, Peter Tchaikovsky, Richard Wagner, and Richard Strauss.
The studies in part 3 of the book, although nominally consigned to the category of "reception," nonetheless include valuable information on "style" while offering "profiles of the music." James Methuen-Campbell reviews the traditions of Chopin performance, including the approaches of early champions like Clara Schumann and Franz Liszt, as well as those of Theodor Leschetizky, Ignacy Paderewski, Vladimir de Pachmann, and Alfred Cortot, all of them major Chopin interpreters.
(Loeffler auditioned incoming violinists at Juilliard for three years, regularly turning down invitations to teach there on a full- or part-time basis.) Knight also successfully re-creates the moneyed world of Boston "society," a world peopled by individuals who thought nothing of hiring the entire BSO or an artist of the level of Ignacy Paderewski to play for a private concert.
Poland in the nineteenth century, divided up by its neighbors, was made illustrious by the virtuoso musicians who escaped it, from Maria Szymanowska and Frederic Chopin through Henryk Wieniawski and Carl Tausig to Ignacy Paderewski. The names of a remarkable number of these musicians are still familiar worldwide through their compositions, though Chopin was the only one of them for whom composing can be considered much more than a byproduct of performing.