text:
© RIA Novosti / Ruslan to Krivobokova in photobacteria Kalashnikov. Archival photo© RIA Novosti / Ruslan to Krivobokova the image Bank
Parliamentarians can support the initiative of the socialist party on the introduction of a compensation of ten times the cost of the ticket for airline passengers who have suffered because of overbooking, told RIA Novosti on Monday the first Deputy head of the economic Committee of Council of Federation Sergey Kalashnikov.
Have you ever faced this problem?
- Yes, I know(a) on the registration of that plane is no more
- I'm not experienced(Las), but friends are unable to fly because of lack of space
- No, all flights were normal
Yes, I know(a) on the registration of that plane is no more
I'm not experienced(Las), but friends are unable to fly because of lack of space
No, all flights were normal
All prosegregation in the faction «Fair Russia» in the state Duma announced the development of the bill.
«I think that the amount of compensation is justified, and the initiative of the socialist-revolutionaries will be supported by the Parliament,» — said Kalashnikov.
He believes that with such violations on the part of airlines need to fight, and «fines are a very effective measure.»
According to Kalashnikov, in such cases, parliamentarians are confronted with the dilemma: «who we are for the rights of people or for profit companies.» In his opinion, the conclusion is obvious.


text:
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subset: commoncrawl


text:
It's time for another Codec Call, and in episode XXIII Andy and Matt are dealing with the aftermath of the world wide phenomenon that is Pokemon Go. One is excited for if, the other really not interested, and they both deal with your questions about the mobile monster chasing game. Might be worth following this link on server stability too if you want some details on why switching them on might not be as easy as it sounds.
Podcast: Download
Subscribe: Android | Email | RSS
Pokemon Go isn't the only topic though (even if it is in every news story going at the moment); check out:
- What games have they been playing?
- Andy's horrific vault of death (see image below)
- Will anyone be surprised that Carmageddon isn't as good as people had hoped?
- Southern Rail Tycoon allows you to become a train cancelling overlord!
- June's #CodecMomentum winner and changes to the monthly completion badges.
- A special ice cream interval (if it's not been edited out…)
- And what we think of digital vs physical prices.
As usual, if you've got any comments or want to hear our thoughts on a particular subject, drop us a message on Twitter or Facebook, send us an email, or even send us a morse code message (seriously, we love them!). No Pokemon Go monster pictures though… there's too many of them already.
Latest posts by Matt (see all)
- #CodecMomentum… Catching Up The Backlog – May 22, 2018
- The Codec Moments Flash Briefing – 18th March – March 18, 2018
- Normal Service Resumes – January 19, 2018


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Florida State University researchers are seeing promising results from "video games" they created as a potential new option to treat Attention-Deficit/Hyperactivity Disorder without medication. It's a unique idea. There's nothing else like it worldwide — a patent is pending — and encouraging preliminary results have captured the attention of the federal government.
GAP Awards help move projects to the marketplace
Four teams led by Florida State University faculty members will receive funding from the university as they work to translate their innovative research into successful commercial products. We spoke with one team about the GAP Program and what it means for its research.


text:
Breaking News: Joplin tornado destroys 30% of the city
The aftermath of the devastating tornado in Joplin, MO
The recent tornado in Joplin, MO was an EF4 tornado that literally ripped through the entire city. The devastating storm produced 198 mph winds and very, very destructive winds that killed at leas 116 citizens. The devastating tornado stormed and ripped about 6 miles of the city and flattened out everything in it's path. It hadn't spared even one thing. About 2,000 buildings were destroyed in this devastating, devastating tornado. Everything was destroyed in the path of the tornado.
The storms were so severe in this humid climate that even the satellite showed the area purple and blue which is passed severe, severe. The poor city Joplin had no idea of what was coming. It all just happened quickly. The tornado quickly ripped through and destroyed half the city. A firefighter had said that the city was literally cut in half. Nothing else that anyone could say. Just silence after the devastating storm.
"The National Weather Service warned there was a 45% chance of another tornado outbreak — with the peak time between 4 p.m. and midnight Tuesday — over a wide swath, including parts of Texas, Oklahoma, Arkansas, Missouri and Nebraska. The Storm Prediction Center placed several large cities in the most high-risk area, along with other cities including Kansas City, Missouri; Dallas; Topeka and Wichita, Kansas; and Oklahoma City and Tulsa, Oklahoma."
-from CNN
That shows have bad these storms have been. The Joplin tornado hit the small town on Sunday evening. No one had any idea of what would happen other than the rain and severe winds. No one was warned quick enough. The Joplin tornado had been expected to only be a strong storm. Only until the cold air came in the other way. That was when the big monster was born. Though it only lasted for a little bit it still took a big toll and many lives were lost making this one of America's worst storms wince the National Weather Service kept records of storms 61 years ago.
Sad, indeed, Karthik. Thanks for taking time out of tech-land to acknowledge this tragedy. I lived in Springfield, about 50 miles from Joplin, for several years.
Let's hope that the 55% chance that major storms won't develop tomorrow evening will prevail!


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Has your company become a successful one? Some of the most obvious business success signs are that its revenue or profits are increasing. However, there are actually several signs that your company has become successful. They include the following Yair Hamami success ones:
- Cash flow to invest
If your company is succeeding then its cash flow will be high enough to invest revenue in order to achieve future growth. Sometimes this happens quickly, and other times it can take years.
What's important is that if your company is profitable enough, you can double-down to make it even more successful. Make sure to invest some profits back into the company!
- Company bounces back
It's quite normal for companies to have tough times. This is often the case for startups, although it can happen just about any time during the history of your company.
What's important is whether or not your company is able to bounce back. If it is, then it's often a sign that your company has achieved business success.
In fact, sometimes your company might hit rock bottom. It's especially important during those times for your company to beat the odds and get back on track. If your company can do that then it's a good sign that your company has achieved success.
- Firing customers
When you have to fire employees it's often a sign that you have to downsize because the company is going through tough times.
However, in the case of firing customers, it usually means that you can let certain customers go because they're not profitable for your business success, or are providing small profit margins.
There are different reasons why you might have to fire customers. However, one of the most common ones is due to customers being too demanding. In that situation, it makes sense to consider firing them. That's because it can put a lot of strain on your company in terms of money and labor needed to meet their needs.
- Customer referrals
This shows that your company is probably on the right track. If customers are happy with your company's products or services, they'll probably be likely to refer your company to other people. That can help your business success to grow exponentially.
In fact, you could make it part of your company's sales processing. It's always a plus to find customers that it would help your company if they could make referrals for people who are for similar products or services.
This highlights the importance of producing quality products/services and providing good customer service. If you keep your customers happy they'll be more likely to help you find new ones.
- Media outlets notice your company
This is yet another sign that your company has found business success. It could take the form of ratings, reviews, articles, etc. It shows that word of mouth or a good customer experience has made it worth reporting the products, service, etc. of your company.
It's always a plus if media outlets start noting your company, whether it's a TV station, newspaper, magazine, etc. In fact, just one news article can help to boost your company's sales and make your company even more successful.


text: I think I will have Venison for dinner tonight, the deer ate a HUGE part of my beloved roses. Mostly new shoots and that hurts the most! I just got in from spraying them with deer repellent that would repel pretty much any living thing with the smell... Worst part is I saw the deer earlier in the evening in the driveway and still didn't protect the roses with spray. Guess it's partly my fault, so now to prepare a venison dinner in my roses honor.


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News: Griffin launches non-MTF service for physical forwards
News: Griffin launches non-MTF service for physical forwards
December 16th, 2013
London 16th December 2013 – Griffin today launched a non-MTF execution service for physical gas and power products.
The new service – which operates on Griffin's existing ICE platform – comes in response to growing demand from the market for an efficient discretionary execution service.
Griffin's solution has received approval from the UK Financial Conduct Authority (FCA) and will enable participants to execute transactions using a discretionary workflow outside of the MTF regime.
Griffin's transparent fees remain unaffected. All existing fee caps and rebate schemes will continue in force offering reductions on fees for trades executed across the platform. Griffin leads the way in offering the same fee structures for all users of its platform and is open and transparent about publishing these on its website for customers.
Conscious of the need to minimise technical changes for customers, Griffin has designed its non-MTF service with the objective of avoiding any IT implementation work. As a result, users of Griffin's platform will be able to start using the new non-MTF service – known as the Whiteboard Assisted Execution (WAX) – without any delays for IT work.


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The best way to swatch test lipstick is not by doing it on the back of you're hand its actually better to do it on your nails!! WHY?!
Becasue nails and lips are made up of very similar things so to see what a colour is really going to look like on you're lips TEST ON THE TIPS OF YOU'RE NAILS! :)


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"We had our one heavy night, 'cus we're playing on Saturday morning. We know that today we've gotta take it easy. That said – what time is it? Like 4'oclock? How many shots have you had?"
I'm sat backstage at ArcTanGent with Brighton trio Poly-Math, and bassist Joe is grinning at Tim, the band's guitarist. This is the general vibe amongst most band's playing the three day festival. Whilst it's a great opportunity to perform to thousands of like-minded individuals and catch some of the hidden gems littered throughout the math-rock/post-rock/fuck-rock/genre-rock scene, it's also one massive piss-up where pretty much everyone knows each other.
Poly-Math were one of the hidden gems I was thankful to discover at the very first ArcTanGent. Funnily enough, their slot at this year's festival was the very same they'd played two years ago – first on at the Bixler.
"I love the Bixler stage," beams Joe. "I like it just because it is a little bit more intimate. I guess that is what all smaller bands say [laughs] 'cus they can't get on the bigger stages! But I do really like the Bixler, because it's like a big festival, but it still feels like everyone's right there – right in front of you"
As is often the case with festivals like this, popping into a tent on a whim could have you discovering your new favourite band. This is one of the great things about ArcTanGent, with that very first year being unreal for discoveries. The response came as a slight shock to Poly-Math.
"We were surprised at that. We were expecting to play to no one really, because no one had heard of us. We hadn't released anything and we'd probably played about four gigs" remarks Tim.
"We didn't have anything released, nothing physical," adds Joe, continuing "so we went down there with 500 download codes that we'd printed out – What was virtually a live recording that we'd put together in a day"
With a small stock of shirts, fistfuls of download codes and not much else, Poly-Math rocked up to Fernhill Farm with pretty clear intentions, as Joe continued
"…we were like – what we'll do is, we'll play to no one because no one knows who we are, then we can spend the rest of the festival basically flyering it to try and get our name out there. But we'd got through all of the download codes straight after the gig… We weren't even on the merch stand, I think we had our 'WAGS' [laughs] selling the t-shirts in the crowd."
This year, a flurry of banana related antics on social media (Joe "Potassium's important") helped shape their plans for ArcTanGent, with a cryptic photo appearing on Facebook preceding their arrival. "We've got thirty one metre long inflatable bananas that we're going to be distributing into the crowd, along with squeezy bottles of tequila…" smiled Joe, "We're playing at 11:30, so the idea is that hopefully we can in some way get people going on more than…"
"Try to create a bit of an atmosphere I think," adds Tim "…We'll be playing one new track off an EP we've just recorded, our new EP. So we're playing one track off that just to let people know what they're in for [laughs] A little taster"
Said new track is taken from an upcoming EP from the trio called 'Melancholia', recorded with Lee McMahon, who was behind their last record 'Reptiles.' This time around, Poly-Math are stretching the length of the record, opting for longer songs in lieu of the number of tracks being recorded. Another change comes in exactly what is going into the record, as Tim explains "In this one, we've recorded stuff that we probably won't play live as well… More creative interludes as such, but constructed interludes, so there's not just free-form, there's points to it. Things that we wouldn't necessarily play live but would add to a record as you're listening to it, as you go from start to finish. I think that's what we've tried to make different and progress from the last record"
"We always try and do concept records, in as much as an instrumental record can be concept," remarks Joe. "The last one was all based on Escher artwork or lithographs by Escher, and all the tracks and the title of the EP are titled appropriately for that, as is the artwork tied in with that. This time round, we've not only gone to the same producer but the same artist as well, Sam Hall, who's doing us some new art. This time we're basing it on Durer's artwork, in particular his piece of work 'Melancholia I' which is the title of the EP"
"I think, because you don't have lyrics or anything like that, you kind of need to have a theme," adds Tim, continuing "That's kind of how we try to base things around things we like, things we enjoy. It all ties it together I think, as the music all ties together. We've done it so one song rolls into another and another – that's how it's intended to be listened to. I think [laughs]"
"It's probably all wank" grins Joe.
Whilst not quite replicating the legendary studio antics of the likes of soft-rock cocaine enthusiasts Fleetwood Mac, Tim did almost take on the role of Lindsey Buckingham, as he jokes "…We've lost all perspective. As you come to the end of the recording session, you go – was that full week utter shite?"
"One of the tracks has fifty-five guitars on it at one point." Joe adds, with drummer Chris nodding in agreement "It's big."
"Lee was constantly trying to make it sound a bit different," confirms Tim "I quite agree with that. He was like – right, we've got to make this bigger and better. From that approach, it just ended up more guitars [laughs]"
Not content with the equipment at hand, experimentation in the studio also extended to seeking out other gadgets and methods. Whilst one instance of recording drum takes involved taping a guitar to the front of Chris' kick drum, other methods were not so complex.
"There's Iphone on this one as well, isn't there," reflects Joe "We wanted a Mellotron on it, but of course a Mellotron is about five grand. So we downloaded a free Mellotron app, plugged it through your pedal board and…"
"We wanted to experiment a bit more, even if it was through a phone. I don't care, it sounded alright!" says Tim.
Melancholia will also feature vocals – a first for the band. Spoken word will appear on the new EP, as Joe excitedly explains "A friend of ours called Peter Young, who's a German feller who works with Chaos Theory (who are a really great London based promoter,) I contacted him saying 'because we're doing Durer, it's a German artist; I'd like to get some German spoken word describing some of his artwork.' As it happened, Peter was in Germany, in a studio recording another band. So he not only recorded it for us, he also got – to have something different – the lead singer in the band he was recording, who was a girl, to record it again. So we had a girl and a guy vocal, which was great"
"That adds another texture to the record. I think we're trying to just not make the same record again; it's quite easy to fall into a rut." Confirms Tim, continuing "Fair enough, there's lots of similar bits to it 'cus it's the band, but we try to push it a bit"
Sensing the opportunity for a dig, a grinning Joe dives in "Tim's a really two-dimensional guitarist, so anything we can get to…" which Tim, quite rightly, rises to with a laugh "Can I just tell you… the reason that there are so many guitars on it, is because Joe's bass had to be muted, because he couldn't play it properly. I had to play through so many octave pedals and bass sixes to actually drown him out…"
The opportunity to get back in the studio and work with Lee again, comes in part from the response to their recent Kickstarter campaign. Back in April of last year, before it became all the rage, the trio put together a campaign to help fund the production costs behind their debut full length EP Reptiles. Being unrepresented at the time, and with a desire for the record to come out on vinyl (who can blame them), they put up half the costs themselves, with the rest of the funds coming from supporters. The response was overwhelming, with 71 backers digging deep and helping the band out with the costs.
"It was a great idea, because again I thought, no one's really heard of us," admits Tim. "I think we only raised thirteen hundred quid, we only asked for maybe twelve or something like that. We were thinking – right, if we get five hundred quid, it's something towards it. Didn't expect to even hit the target, which was amazing. Recording's expensive, so any little helps. Us giving CD's and records away is just part of it; if people want to pay for it that's amazing. We didn't realise we had that many people that were interested to be honest"
Unfortunately, the original date for release had to be pushed back, something which the band were gutted about.
"We did feel bad about keeping them waiting essentially a year…" laments Joe. Chris and Tim nod in agreement, with Tim adding "…The release date and everything like that, it just all got put back and put back. We tried to keep updating people, and I felt by the time it got released we felt very guilty for it not actually coming out. You're getting people going 'when's it coming out?'…I really wish I knew. We do feel guilty about that. So we apologise [laughs]"
The staggering support for the debut EP has really lit a fire under the band, allowing them to not only get back in the studio to focus on the new record, but also to get out and play more shows. Another hand in this comes from their recent signing to Tone MGMT under the tutelage of artist manager Joe Danher, which will no doubt do wonders for them.
New material has already begun to creep into sets. But whilst they would like to have the new EP out as soon as possible, they admit the prospect might not be too realistic. The finishing touches are set to be added over the coming months, and they've made a decision to not release it over the Christmas period, citing it as being a slightly dead period (definitely not because they're miserable bastards!)
Even whilst work carries on with Melancholia, the three-piece have already got their sights on its follow up. "We wanna do the next one, we've already got ideas for the next one, and we wanna start playing it," confirms Tim "If we start playing it and no one can hear it…then you get bored of playing it as well, 'cus you wanna play your new stuff"
"We're trying one track. The problem is, with each new record we write we try different tuning – which is obviously fine for Chris," adds Joe with a smirk. "Chris doesn't have to do anything differently other than hit those four or five things that he has to hit…'Cus we choose different tunings for each EP it's going to get complicated, 'cus they're not normal tunings that we can switch between on one guitar, so at the moment we have two guitar changeovers"
The guitar changeover is a scenario which is only going to get more complicated, as the boys joke of their continuous changes in tuning. "…There'll be more guitar changes than there are songs" smirks Joe.
"That's true," adds Tim with a laugh, continuing "'cus our songs are so long, we only play about two per set…We've got a half hour slot, and we were timing it thinking – right we can play these songs. It was like, that's half an hour already – that's four songs. This is a proper prog band now isn't it [laughs]"
Like what you see? Why not stick around and check out the other articles and interviews!
Don't forget to follow Birthday Cake For Breakfast on Facebook, Instagram and Twitter!


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Apartament Katedra is set in Toruń, 100 metres from Bulwar Filadelfijski Promenade, a 3-minute walk from Copernicus Monument, as well as a 3-minute walk from Old Town Hall. The Planetarium is within 400 metres of the apartment.
The apartment includes a kitchen with a dishwasher and an oven, as well as a kettle.
Galeria Copernicus Shopping and Entertainment Centre is a 10-minute walk from the apartment, while Nicolaus Copernicus University is 2.6 km away. Bydgoszcz Ignacy Jan Paderewski Airport... is 43 km from the property.
|Zeglarska 4/2


text: Job Discussion Forums :: View topic - Reminder to avoid Fenny/Perlandas/PELCC Get TEFL Certified & Start Your Adventure Today! Job Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in Reminder to avoid Fenny/Perlandas/PELCC Job Discussion Forums Forum Index -> China (Job-related Posts Only) View previous topic :: View next topic Author Message the lowlanderJoined: 10 Oct 2010Posts: 171Location: The Oort Cloud Posted: Tue Oct 16, 2012 8:58 pm Post subject: Reminder to avoid Fenny/Perlandas/PELCC Just to let you all know, and to keep this thread current, PELCC/ Perlandes/Fenny are still up to their old tricks! They have learned nothing from their former bad publicity, are still trying to extract fees from teachers via reduced "probation" salaries which are sprung on you at the last moment. Interestingly, they have now stooped to making appointments to meet potential teachers at various exits in metro stations, rather than in an office. Make of that what you will. They are also still pulling the old "bait and switch" whereby all of the really juicy jobs they have advertised have gone by the time you turn up to meet Fenny at EXIT D in Shenzhen North, but there is still a really rubbish job available, minus 2,000 RMB per month "probation". Even if you decide to accept a lesser job, as the crowds push pass you on their way to the train, and you agree that 2,000 RMB can be deducted from your salary for three months, you may still not even get an interview, with proposed visits to the school/phone calls from the school being continually cancelled (by PELCC) re-arranged, and then cancelled again. If you are dealing with this crew, then it's quite possible to spend an hour on the metro, all dressed up in the belief that you are going to visit a school for an interview, only to be told upon your arrival at the agreed metro station that the visit has been scrubbed, or that the person who was supposed to meet you isn't there and no-one is answering their phones. You could easily spend two weeks doing a grand tour of the Shenzhen metro system chasing a phantom job/school to no avail. I have no idea what is really going on with this company regarding the metro station meetings and the continued cancellations of school visits and interview phone calls, but I do know you should avoid them like the plague if you are serious about finding a real/decent job.Last edited by the lowlander on Sat Oct 20, 2012 7:12 am; edited 2 times in total Back to top SongbirdJoined: 09 Jan 2005Posts: 629Location: State of Chaos, Panic & Disorder... Posted: Tue Oct 16, 2012 11:21 pm Post subject: Embarrassed to say that a couple of years back I did approach them about a position I saw that looked appealing. I didn't get close to meeting them or anything though. They just gave me the run around over and over- every time I applied for a certain position, they kept asking 'tell us which position you are applying for'. It was ridiculous and unprofessional. Thankfully I gave up. The warning alarm as well is the unusually high salaries, even for Shenzhen. If anyone is unsure of average salaries, check out the various job vacancies on echinacities .com. Avoid Locanto like the plague- that's usually taken up by PELCC ads anyway!! Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Job Discussion Forums Forum Index -> China (Job-related Posts Only) All times are GMT Page 1 of 1 Jump to: Select a forum Where to Begin----------------General DiscussionNewbie ForumCurrent Events ForumTechnology ForumOnline Teaching Forum Africa Forums----------------General Africa Forum Asia Forums----------------CambodiaChina (Job-related Posts Only)China (Off-Topic)Hong KongIndiaIndonesiaJapanMalaysiaPhilippinesSingaporeTaiwanThailandGeneral Asia ForumVietnam Caribbean Forums----------------General Caribbean Forum Europe Forums----------------Czech RepublicFranceGermanyGreeceItalyMacedonia and the BalkansPolandRomaniaRussia & C.I.S.SpainTurkeyUkraineUnited KingdomGeneral Europe Forum Latin America Forums----------------ArgentinaBrazilChileColombiaCosta RicaMexicoMexico (off-topic)PeruGeneral Latin America Forum The Middle East Forums----------------BahrainEgyptIsraelKuwaitOmanQatarSaudi ArabiaUnited Arab EmiratesGeneral Middle East Forum North America Forums----------------General North America Forum Oceania----------------Australia/New Zealand You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum This page is maintained by the one and only Dave Sperling. Contact Dave's ESL Cafe Copyright © 2018 Dave Sperling. All Rights Reserved. Powered by phpBB © 2001, 2002 phpBB Group Teaching Jobs in China


text:
Category Archives: News
New Markets Section
Have you seen our new markets section? Take a look here
Recent 18001 Audit
BSI have conducted an audit for 18001, the audit had a positive outcome with no none conformities
Take a Look at our Brochure
Have you seen our brochure? Why not take a look at our rubber compounding capabilities?
Eastland Compounding joins Twitter
Eastland Compounding gets social! Follow us twitter at @EastlandCmpound


text:
a 3 bed rom flat for rent/Duplex house for rent
Duplex house in Gated Community, Near to NizamPet- Bachupally, Pragathi Nagar
Rent – Rs. 10,000 only + Maintenance
It is really very good place to live for families. 1 park and 1 Play area for kids, Wide open Cement road in the society is ideal for Skating, Cycling, jogging for kids. Mostly flats Owned/Rented by IT people from (Infosys, Accenture, CTS, TCS, Oracle, HSBC, etc.) Here are the details:
Area: 1900 sft, West Facing, 100% Vaastu.
– The house has 3 bedrooms and 1 study room. – 1 bedroom, hall, and kitchen at ground floor. – 2 bedrooms and 1 study room at first floor. – All rooms with shelves. – 2 Balcony
– All doors and windows has mosquito mesh fitted.
– Mirror cabinets and exhaust fans are fitted in bathrooms.
– Storage Geysers provided in 3 bathrooms.
– Curtain rods, bathroom rods available.
– Good ventilation and gets ample sunlight.
Hyderabad, IND


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Monday was a day of excitement and celebration in our home and on the streets of Kampala… Eid was finally here!
Approximately 12% of Uganda's population is Muslim (according to the last census, taken in 2002) but the day is always declared a national holiday. In true Ugandan spirit, huge parties were scheduled for beach resorts in Kampala and Entebbe, and there was a definite party feel on the streets too.
In our Muslim home, the atmosphere was a little more serious and reflective however, marking the end of a long month of fasting and abstaining from 'bad behaviour' such as arguing, fighting and listening to hip hop and dance music. For Fahad, Madina's oldest son, who had been fasting whilst at school, and not eating or drinking until sunset every day (7pm), Eid was both a relief and a sense of achievement.
Everyone woke up early and put on their best clothes, the kids receiving an extra-thorough scrubbing down from Madina in one of the plastic basins. I and another volunteer who arrived last week from Denmark were asked if we wanted to go with them the mosque, so of course we said yes! After putting on our long dresses and veils, all 12 of us piled into the car for the short drive to the mosque.
We arrived just in time and joined the throngs of people streaming inside, splitting off into men and women. We went up onto one of the balconies with the children whilst the boys and men stayed on the ground floor where the imam and other leaders were. After the prayers in Arabic, the imam spoke in Luganda so even with my improving language skills, I only picked out a few words and phrases about setting an example to others and leading a holy life.
Afterwards, we were directed outside to join everyone for food, which was being served on huge dishes on mats on the grass. Although it was only 10:30 in the morning, everyone tucked in to the rice, meat and chapattis with great enthusiasm, passing round bottles of fizzy drinks and water.
The rest of the day was spent at home, relaxing and cooking yet more food – a chicken was bought and killed for the occasion. I didn't eat it but this lot enjoyed it… Eid Mubarak! 🙂


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engine swap on a 98 forester?
I need a engine for a 98 forester. I cooked my current one at 265k. Many places advertise
like they have them, but don't really have it or can get it. I really wanna keep this car.
2 Answers
I believe 98 is dohc and I don't know off hand all the Subaru models and years you can swap with. I would check subaruforester.c0m or some other forums and start a newbie thread and ask for help. Forums are really helpful in that aspect. I hope you find what you need quickly. Keep in touch.
Hey thx, I'll do that. The saga continues...
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Monday, January 19, 2009
it's finally quiet ...
I'm babysitting for Kiernan for a few days, which is lots of fun, but exhausting. Add in a cocker spaniel puppy and I'm beat. But I wouldn't trade it for anything. Right now, Kiernan's asleep (hopefully for the night) and Woody is napping. He'll have to go out again in a bit, but right now he's quiet in his crate, so I'm letting him be. It's the most quiet the house has been all day (which began about 5:30 this morning).
Woody is cute, but he gets so excited and jumps on Kiernan, which knocks the boy down, so I try to make sure Kiernan is in his high chair or play pen (or taking a nap) when I let Woody out of his crate. And Kiernan is 1 and walking and getting into everything, so I have to have him someplace safe while Woody goes out and does his business. (And of course, adding to the entertainment are the two cats, Franklin and Winston-- they stay clear of Woody, though, but they roam around at night and make odd noises.)
So above are a couple of pics: Woody attacking a stuffed fish and Kiernan with his toy mower (which we gave him for his birthday and it's very fun and noisy). He actually pulls it along behind him more than pushes it, but he seems to enjoy it all the same.
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- bouquetofphotos
- 8 years ago
We both knew it was right early on in our relationship, so we mutually decided we would get married soon, within a year or two. We sat down and told both of our families, and the the waiting game started.
He told me in August it'd happen by the end of the year… And we're still not engaged.
I guess I'm just not quite sure what he's waiting on. I brought this up last night, and told him I was becoming unsure of how he felt because it hasn 't happened yet. He assured me this is still 100% what he wants..
It's hard because we've already set a date in October and I'm trying to plan, yet also trying not to be too overbearing because we're not "officially" engaged yet.
I find it hard to not talk to him about wedding things all the time. I try each day to tell myself, "not today.. don't say a word!" but it usually doesn't end up happening.
I rarely mention "the ring", though, I figure it will happen sooner or later!
I feel bad because I feel like all this pressure is on him! Anything I can do to relieve it or things I can do to try to keep myself from talking about wedding things to him?


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Happy 4th of July!
I would be a horrible aunt if I didn't post on my adorable nephew and rack up some embarrassment points on his behalf by posting this bath picture in honor of his first birthday which took place on Saturday. Really, how cute is this little guy!?
That Guy and I are both actually off today so we've made plans to celebrate the fourth. He's off at the moment hanging out with his hospice lady. We're driving out to Elgin for the afternoon to a friends party and then coming back in to town to watch the fireworks from the roof of the theatre I work at! It is the best place ever to watch them because they are shot off from the baseball diamond in the park adjacent to the theatre building, so you can see them shot off and exploding above - really fantastic! It's within walking distance of our apartment also so we get to avoid the traffic.
And now for some finished objects!
Looking at my list of what's on the needles I realized that a couple of things actually have been finished. This linen facecloth is pretty much done. I may add a crochet border and it needs a good blocking, but otherwise it is ready to go in the gift pile (at this point it is the gift pile!).
I wasn't happy with any of the handle options I explored and then one day I realized that the felted bag was really meant to be a pouch. Last night I sewed in a zipper and ta da! It quickly found some yummy Patagonia organic cotton nestled inside for a future project.
Perhaps the most important FO of them all - the Longhorn Hoodie is finished! This picture is of the inside intarsia work, although there are a few places where it was more logical to carry the yarn which is why you can see some stranding going on. I'll try to get That Guy to take some action shots of me wearing it to post. The couple that I took of it on the dress form don't look all that different from some of the progress photos, except there aren't any ends hanging down now!
I've wondered for some time now - am I a process knitter or a product knitter? I've worked on this hoodie for several months now and was particularly pleased with myself when I figured out how to make the chart and the results when I swatched it. It's my first sweater and the first project with lots of finishing required. As I got closer and closer to finishing I resisted all urges to cast on another project. Yet now that it's finished I've simply moved on to the next thing. I did show it proudly to That Guy and plan to show it to several people at work, but I was surprised that I didn't feel like going around knocking on the doors of my neighboring apartment dwellers and completely weirding them out by shoving the thing in the face and asking them how cool it this! It could also be that the temperature in Austin reaches highs in the 90's everyday and I won't really be able to wear it for another 5-6 months! Given my excessive yarn hoarding during the past few months and the sheer number of projects I have planned I guess I'm mainly a process knitter who likes to see things get done. This bodes well for the long anticipated Pearl Buck Swing Jacket, which as you can see below I have cast on and started. I just tell myself that it's cheaper then therapy.
Have a very safe and happy holiday out there!


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My career has hit a fork-in-the-road. I think it's clear that I'm unhappy with my current working situation, and I think it's time for me to move on. (I had drafted a long complainy post about that, but making it public is a bad idea.)
The problem is I LOVE my job – but because I don't have the support, the resources, and now the time that I need to do it properly, the program has become embarrassing. After reading a post on Serendipity's Guide to Saving about her positive experience working for a non-profit, I realized that I don't feel like my job is serving its purpose anymore. It could be such an amazing thing but I'm sadly starting to think that it only exists to look good on grant applications.
For me, theatre is about teaching and engaging people – not pumping out low-brow entertainment to make a quick buck, afraid to try anything new or challenging for fear of driving away audiences. I want to challenge the audiences/students that come to the theatre. I want them to develop skills (physical, kinesthetic, artistic, creative thinking, social, etc.), to think, to be inspired, and to have fun doing it. I want theatre to have a meaningful message, and not tell kids, yet again, that "drugs are bad, mkay?", or perhaps not even have a message at all. It's what I believe in. It's what I went to school for. It's what (I thought) I was hired for. But it's not what I'm doing.
As the head/sole employee of the department, is it up to me to revive it? To change what I know needs to change? To fight for the resources and funding it needs? To offer more to the public? To spend every spare moment at work researching new ideas and techniques? To basically give it all I've got?
Or is it too late? Since moving to this city, I know of at least two new, comparable organizations that have swooped in to fill the void they identified in our programming before we did. The high schools here are also doing more and more theatre every year (Yay! But also boo…). And to be honest, I already feel like I'm sacrificing so much of ME for this job (my health, my relationships, my interests, my financial security, my sanity!); I don't know that I have any more to give – especially with the little voice in the back of my head telling me it's a lost cause.
Money, of course, is another big issue. If I decide to stay, I will have to continue working part-time as well, because I cannot survive on the income from this one job alone. My work/life "balance" would remain 90% work, and 10% life, and that's not really a life…
Fun Fact: In 2012, I've worked close to 400 hours at my part time job –
that's equal to 10 weeks (2.5 MONTHS) of full time work!
This isn't the first time I've considered moving on, but something always stopped me from taking the leap – management would ease up on me, the job hunt would not go so well, I didn't feel financially stable enough to take the risk, or in most cases, I was just too scared.
And I am scared. Terrified! This is what I spent 6.5 year of school and tens of thousands of dollars for. This is my first job out of school. It's the only reason I moved to this city. What if I can't find anything else? What if I regret quitting? What if the job gets better after I leave? What if my new job is worse? What if I'm still unhappy? What if, what if, what if???
I know that I can't use fear as an excuse to live the life so perfectly described in the first few paragraphs of Living For Monday's "Find a Job that Matters" post:
"Everyday that you wake up is a struggle to get out of bed. You hear the alarm go off and your first thought is something like this: please just let me go back to sleep. Is it the weekend yet? What excuse would fly so that I don't actually have to get in the car and go to work today?" (Continued at the source; definitely worth the read.)
But what do I do?
I considered a compromise between giving it my all and giving up: put in the extra effort at work, but also keep looking for a new job. But (as the boyf pointed out) would I really be giving the job my all if I was still looking to get out of it? Or conversely, would I really be looking for a new job if I was still investing so much into the current one?
Do I give it my all? Or is it time to give up?


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From last week's homily:
The Universal manner of receiving Holy Communion is on the tongue. It is only by special permission that we are allowed to receive in the hand. The Holy See may revoke this privilege at any time. Since the desecration of the Blessed Sacrament by a university professor in Minnesota several weeks ago, Catholics are finally understanding the danger of Communion handed out so freely.
If you chose to receive in your hand, you may kneel or remain standing. The Sacred Body must be consumed immediately. Do not return to your seat with the Host in hand. Also, you are not allowed to dip the Sacred Host into the Precious Blood. The regulations of the Church are very clear in this regard.
Return to your seat and, on your knees, pray in thanksgiving. Do not remain standing after Communion. Kneeling until I sit is not appropriate either. We are not here to honor one another. It is Jesus Christ alone whom we honor.
Please sit when I close the tabernacle door and I proceed to the credence table to purify the sacred vessels.


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7 years ago
Thursday, February 3, 2011
Yes, I know it has been a year!
I know it has been over a year since I have posted ANYTHING! Life has been wild and crazy and I just plain didn't feel like posting. Ha ha! I won't make any promises that I will be keeping up on the blog from now on, just a, "I will try." (It's not like anyone looks at my blog anyway.) A lot has happened this past year and there is NO way that I can play catchup. Maybe I will just put the girls' b day pics up or something.
Leave a comment so I don't feel like a loser! Rachel Gilsen at 2:32 PM 5 comments
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She also got herself mehendi done, a standard fixture at all exhibitions, whatever the theme, being this, apart from of course a tattoo guy, a roti maker and the electric tandoor fellow!!
Celebrated my 33rd birthday with African beauties and a lovely Ganesha painting from Navy, cards from Anushka and my Dad, lovely clothes from my mother and MIL and a million wishes from even long lost friends. Also being a Sunday completely indulged the senses with
A great movie called Pasanga
A relaxed lunch at Bella Ciao
A book called First Family by David Baldacci and some chill out time with my paati and amma


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I know this song has gone incredibly mainstream and is played on all of all the pop radio stations and at all of the top 40 clubs, which is often the kind of music I loathe. BUT, I just have to write, again, to express my love for it… even though it is way overplayed and probably way under appreciated! It is so beautifully written and the lyrics really just RESONATE, don't they?
"I used to carry the weight of the world, but I only have two hands. I hope I get the chance to travel the world, but I don't have any plans. Wish I could stay forever this young, not afraid to close my eyes. Life's a game made for everyone and love is the prize."
You don't have to like this kind of music to appreciate and relate to that message.
This song was written by Mike Einziger (who is playing guitar on the track), Aloe Blacc (who is singing) and of course Avicii.
Props guys. For real. ❤


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Reading - every night from their classroom browsing box.
Spelling - from the STEPS programme. Each week your child will bring a list from the programme to learn and these are tested within the programme. I would like to also see these words put into a sentence each in the homework book.
Maths - There are lots of activities on the blog that link in with what we are doing in the class. For activities that are not on the computer you can play maths games such as King of the Mountain. This is a dice game; roll 2 dice and add, subtract, divide, multiply the numbers together. You can also use playing cards in a similar way. The emphasis is quick recall of basic facts and just knowing the basic facts to 10 and 20.
Our School is an Enviro School and are reducing the photocopy sheets of work that get glued into books that are often not completed or get lost.
In my day my small country school did not have a photocopier and we had to write into our own books! Interesting how dependent we can become and how times change!
The home learning I have given is to reduce the impact on the environment and to support the students self management. I try to support all the different ways of learning and try to give a variety of options that fit within the busy lives of children. Home learning is developing the self management skills that students need in their future lives.
It is the 21st Century!
It is the 21st Century!


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|Polish Music Newsletter
August 2014, Vol. 20, No. 8. ISSN 1098-9188. Published monthly.
Anniversaries | Awards | Discography | Festivals | News | PMC News
| Performances
The music that filled Jan Jarczyk's heart ever since the day he was born in Kraków in 1947 fell silent on August 3, 2014. Throughout his rich and eventful life, there was a lot of Jan's music in places around the globe and it resonated deeply with his friends and fans. Just like the title of Jan's recent CD, Full Circle, his music came Round, Round & Round—to quote another CD title, featuring a lovely string quartet introduction on its opening track, There Is Always Time.
Yes, there is always time—or so it seemed so many years ago when we first met in Boston. It may have been a cold and dreary evening, but the exact details escape me now; they didn't matter at that brief moment at the end of the 1970s. It seemed like there was time, there will be time, and there was no hurry. Jan was finishing his studies at Berklee School of Music and began to teach there. One additional recital was required before Berklee would grant him a diploma. Besides being a brilliant pianist, Jan was also a great trombone player who needed a pianist to accompany him in that one final. I was still at the New England Conservatory and had rather limited contacts with jazz musicians or members of the Polish community in general. Jan, resourceful and thorough as always, somehow managed to reach my landlady on the phone and requested to be put through. In his rapid-staccato voice he went straight to the point. "I've got this recital coming up soon. Need a pianist for a few pieces, including Serocki's Sonatina for Trombone and Piano. You've got to do it." Jan always spoke hurriedly and—regardless of the language he used— his grammar resembled the telegraphic messages of long ago.
My visit to his Beacon Street high-rise flat in Boston's Back Bay was the beginning of a long friendship and collaboration on several musical projects. The Serocki (and few other pieces we breezed through for the Berklee recital) was but an introduction to Jan-the-musician and Jan-the-host. His warm-heartedness and hospitality would henceforth be on ample display at least once or twice a week, before I would return home from the Conservatory or from M.I.T., where I had a part-time teaching gig. I was expected, even required, to stop by Jan's place for a chat, interspersed with rounds of chilled vodka, herring, pickles, and dark rye. Many hours later Jan would insist on the courtesy of accompanying me downstairs and leaving me on the sidewalk, retreating to the lobby of his building only after making sure I departed his Beacon Street address in the approximate direction of my lodgings.
During the next few years, we collaborated on a variety of concerts, where each of us would share half of the program. Held in a variety of venues in and around Boston, some of them were summer outdoor affairs, and they attracted many Polish émigrés whom I befriended only because they were Jan's sworn fans. Our paths diverged at some point in the late 1980s—Jan moved to Montreal to work and teach there, and I began to spend more and more time in Europe and on the West Coast.
To my great joy, Jan reached out to the Polish Music Center about four years ago. Invited to perform by the Polish Consulate, together with Andrzej Olejniczak, Janusz Stefański and Darek Oleszkiewicz, Jan appeared at the Italian Cultural Institute in Westwood in a Chopin program arranged for jazz quartet. Once again, it was the same voice on the phone—the same grammar and articulation. Besides concertizing, Jan wanted to visit USC and study our archives, focusing on music by Bronisław Kaper and Henryk Wars—two composers whose collections are among our many treasures. Plans were eventually made for an extended stay and over a year later Jan drove across the continent with his wife, Danielle, arriving here in late winter. Immediately both of them settled to a lovely routine—Jan perused the scores, sketched out arrangements, checked out the recordings, and Danielle graciously joined us at lunchtime in the PMC reading room. A few weeks went by very quickly and, with his tasks completed, in his matter-of-fact way, Jan waved us goodbye and boarded his Mercedes on a long voyage back to Montreal in March of 2013.
As promised, Jan returned to USC exactly a year later for our March 29 concert, featuring his new arrangements of Kaper and Wars as well as his own compositions. His Newman Hall concert was a great success—the overflowing audience included the family of Henryk Wars, and Jan was mobbed at the reception afterwards (read a review of the concert in the April 2014 Newsletter). Many in the audience expected an encore. "I'm totally deflated," Jan said as soon as he was backstage after an uninterrupted hour and a half of music. "I can't go back tonight," he added.
It took quite some time to wind things down that evening. In between trying to help with bringing all kinds of gear back to the Polish Music Center, Jan finally sat down at the table, munching on the few edibles left from the reception. It was almost midnight. He poured himself a glass of wine and wanted to talk. That's when I heard that a few months earlier, just before Christmas, Jan was diagnosed with cancer. The experimental drugs were working miracles, he quickly assured me. Nothing has changed—it was still the same Jan, energetic, optimistic, making all kinds of plans for the future. The hospital and doctors at McGill were the best—and he was responding to therapy beyond the wildest expectations of his attending physician. Then there was a retirement party for Jan at McGill on May 15. Jan's e-mail was laconic and inimitable, "Come and Join the Gang!" A few weeks later, on the phone, he told me matter-of-factly, "Oh. The party was fine. I'm enjoying myself now. Doing a few concerts this summer." The birds chirped in the background and city traffic hummed on the other end of the line. Finally, it was spring in Montreal—time to make plans. Jan was going places, just like his memorable CD had announced a decade ago. The music would continue to accompany his life. The harmony—Jan's sonorous companion and source of inspiration—with its progressions of chords could be always embellished with a melodic flourish or two on the piano. It would round off the sensuous bass line and fit into the groove laid out by the drummer. If there was a sax player—or another soloist—Jan's handiwork would neatly dovetail into it, just so, without exaggeration. Easy, man—he seemed to say as his hands instinctively covered the keys and conjured up all kinds of magical sounds. We've gone full circle now and Jan's music may have stopped, but his body and soul continue to sing.
For more tributes to Jan, please visit: ottawacitizen.com and www.facebook.com.
The spring and summer of 2014 has turned out to be a busy season for PMC, with all kinds of new and exciting developments. On February 12, the Polish Music Center family gained a new member: Lincoln Robert Requa. This healthy and good-natured young fellow is the first born son of PMC Assistant Director Krysta Close and her husband, Kenneth Requa. Already, Lincoln and his entourage have paid several visits to the PMC and found the place quite agreeable for playtime and naps. Obviously, the study of books and scores will come later, in due course. Throughout the ages, libraries have proven to be excellent places for siestas for countless generations of students, and we're quite happy to observe that Lincoln is already exhibiting the signs of a budding music scholar!
Another big arrival—closely related to the one above—was that of Natalie Kozłowski (pictured below at left), a USC English Literature student, who helped with the day-to-day operations of the Polish Music Center during Krysta's maternity leave. Thanks to Natalie, telephone calls and e-mail inquiries didn't go unanswered, paperwork was filed, mail collected, and stories for the monthly Newsletter were gathered each month in anticipation of the monthly rush to publish it all online.
In this tricky task of converting the plain text to HTML and formatting the PMC Newsletter to its familiar graphic guise, Natalie was greatly helped by Chuck Bragg (pictured above at right), our longtime volunteer wizard of the web. Chuck has generously donated lots of his free time to making sure that the PMC Newsletter is correctly uploaded and properly displayed on our website. Advising us on database design and maintenance, Chuck also managed to convince his wife, Alice (an USC alumna) to volunteer in such critical PMC tasks as record entry and library materials processing. With Krysta on leave from mid-February to mid-May, there were a few tense moments where FTP uploading protocols for the Newsletter did not function as expected. On one such harrowing occasions, it took a lot of clever tinkering on Chuck's part (with telephone assistance from Krysta) to set everything aright and deliver on schedule the news of the latest developments in Polish music to our worldwide readership.
Still more excitement followed in late May when Krysta returned to her desk and we welcomed yet another PMC collaborator to the library. After a few years of negotiations and meetings between the PMC and the National Archives in Warsaw, we entered into a partnership with the Archives and jointly sponsored the visit of Monika Płuciennik, a Gdańsk-based archivist who specializes in processing unusual music collections. With her wide experience and expertise, Monika settled into a 6-week exploration of the PMC archives. During her visit here, Monika created databases with specific categories applicable to two very rare PMC collections: the Bronisław Kaper Collection of film scores and the Henryk Wars [Henry Vars] Collection of symphonic music. Monika's great knowledge of procedures and nomenclature was most helpful to the PMC staff, since proper recording of our collection and listing it online to researchers worldwide is our ultimate goal. The first phase of our cooperation with the National Archives in Warsaw marks the beginning of a long journey that will lead to a detailed cataloguing of the entirety of our holdings to be made available online via the Archive's website. More meetings with the National Archives in Warsaw are scheduled later this fall, when subsequent steps in this process will be discussed.
With so much going on, the summer months went by very quickly and we're already looking forward to several events being prepared for the coming months. Two concerts in early October will celebrate the centenary of Sir Andrzej Panufnik. On October 5, the PMC will present its annual Paderewski Lecture-Recital, featuring the composer's widow, Lady Camilla, delivering the lecture, "Andrzej Panufnik—the Man behind the Music." Following her presentation, several of Panufnik's chamber works, including the Piano Trio, Five Vocalises - Hommage à Chopin, and String Quartet No. 2, will be presented at the Alfred Newman Recital Hall. A few days later, on October 9, Maestro Carl St. Clair will lead the Thornton Symphony Orchestra in performance of two of Panufnik's orchestral works—Tragic Overture (1955) and Harmony (1989)—at USC's premiere performing venue, Bovard Auditorium.
Looking forward to November, the PMC will co-organize and coordinate the Paderewski Festival in Paso Robles, held this year November 5-9. In addition to many interesting concerts featuring world-class performers, young students from Poland (and possibly also from the Ukraine) will come to perform during the Festival on as a part of the biennial Cultural Exchange Program. Performances by the Polish folk dance group, Krakusy, film screenings and exhibits will also accompany this year's Paderewski Festival, which becomes ever more popular with the public each year. Back in Los Angeles, Poland's Independence Day will be celebrated on November 11 at USC's Newman Recital Hall with a violin and piano recital presented by Mariusz Patyra and Krzysztof Herdzin. These two outstanding artists will present a virtuoso program, spotlighting some of the best-loved music by Chopin, Wieniawski and Paganini.
More details will follow in the Newsletter online and in other Polish media outlets in the coming weeks. As always, we look forward to seeing as many of our fans and supporters as possible at all of these events—most of them are free of charge!
2013 was an anniversary year for Krzysztof Meyer, who celebrated his 70th birthday last August. In recognition of Meyer's admirable accomplishments as a composer, many concerts and festivals throughout Europe commemorated the occasion with a slate of concerts devoted to Meyer's opus.
First and foremost, two of Meyer's operas were premiered in Poland: Gracze [Players] in January 2013 in Gdańsk, and Cyberiada in May 2013 in Poznań. The first is Meyer's completion of the unfinished score by Shostakovitch. Meyer's opera Cyberiada was written to a libretto by Stanisław Lem and recognized with the Grand Prix by Prince Pierre of Monaco in 1970. It was performed in Germany on a few occasions in the 1980s, but its staging in Poznań was a Polish premiere. The manuscript of Cyberiada is housed in the Polish Music Center's Manuscript Collection at USC.
During the 2013-1014 season, Meyer was composer-in-residence for the National Philharmonic in Warsaw. Four of his major works—Sinfonia da Requiem for Chorus and Orchestra (to texts by Adam Zagajewski), Mass for Choir, Organ and Orchestra, the Clarinet Quintet and the Second Sonata for Cello and Piano were heard during that season from the Warsaw Philharmonic stage.
Meyer's song cycle for soprano and orchestra to texts by Paul Verlaine received its world premiere in Duesseldorf, and the Bayerischer Rundfunk presented Meyer in June in a special evening program, highlighting his work. The Fourth International Shostakovich Music Festival in Gohrisch, Saxony, placed Meyer's works along those by Shostakovich and Britten during a weekend of concerts in late September 2013.
For a few years now, Meyer's music has appeared on the NAXOS label and the company's recently-completed project included a recording of all thirteen of Meyer's string quartets as performed by the Wieniawski String Quartet: String Quartets, Vol. 1 - Nos. 5, 6 and 8 (Naxos 8.570776); String Quartets, Vol. 2 - Nos. 9, 11 and 12 (Naxos 8.572656); String Quartets, Vol. 3 - Nos. 7, 10 and 13 (Naxos 8.573001); and String Quartets, Vol. 4 - Nos. 1, 2, 3, 4 (Naxos 8.573165). Upcoming NAXOS releases will feature Meyer's Piano Quartet and Piano Quintet.
The Music Academy in Poznań honored Meyer's birthday with a book, containing articles by several noted musicologists about the composer and his prolific catalogue of works. The publication of this volume was a fitting tribute to Meyer's teaching activities that spanned nearly half a century. Busy as always with composing, Meyer divides his time between his residences in Germany and Poland and is currently working on a composition for organ and orchestra, commissioned by the Łódź Philharmonic and scheduled for a world premiere in February 2015.
[Sources: email communication, naxos.com, ilharmonia.pl, ]
Already in full swing, the 2014 Panufnik Centenary celebrations are moving into festival mode for the summer, then leading towards the birthday month of September and the autumn season. Performances in the Americas will continue the tradition of American orchestras playing a prominent role in the history of works by Andrzej Panufnik: his Sinfonia Elegiaca was first performed in 1957 by the Houston Symphony under Leopold Stokowski and his Sinfonia Votiva received its first performance in 1982 by the Boston Symphony Orchestra under Seiji Ozawa. Other orchestral works premiered in America include Harmony, Katyn Epitaph, Symphony No. 10, Arbor Cosmica, and the Bassoon Concerto. In 2014, the Chicago Symphony and Riccardo Muti opens its season with Concerto in Modo Antico (October 2), and the St. Louis Symphony and John Storgårds perform Landscape (October 24). As a part of the Paderewski Lecture-Recital series in Los Angeles, the Polish Music Center at the University of Southern California will feature Panufnik's widow, Lady Camilla (pictured at left), in a talk on her late husband's life and music, and a chamber concert with mezzo-soprano Juliana Gondek, the Eclipse Quartet, and pianists James Lent and Nic Gerpe will follow the lecture (October 5). then four days later the Thornton Symphony Orchestra will perform Panufnik's Tragic Overture and Harmony at USC (October 9). Later in the fall in Brazil, the São Paulo Symphony Orchestra and Stanislaw Skrowaczewski will perform Tragic Overture (November 6).
Events in the UK also continue apace. Orchestral performances this summer include Kirill Karabits conducting Heroic Overture with the Bournemouth Symphony, part of a Panufnik feature at the Cheltenham Festival (July 2, 9), and Sinfonia Elegiaca at the Edinburgh Festival with the young players of the I, Culture Orchestra (August 17). The Presteigne Festival includes six Panufnik works including Sinfonia Concertante and Landscape (August 22). Panufnik's birthday on September 24 brings a special centenary concert by the City of Birmingham Symphony Orchestra, which in 1957 offered the émigré composer his first conductorship after his dramatic escape to the West. The program includes the Piano Concerto that Panufnik premiered with the orchestra, here with Peter Donohoe as soloist, and Sinfonia Elegiaca which received its UK premiere with the CBSO under his baton. The birthday also marks the launch of a major conference in Warsaw about the composer's music led by his biographer, Beata Bolesławska-Lewandowska. Then on November 30, Kings Place presents the Panufnik 100: A Family Celebration. This festival is a day of chamber music, films and talks, including all three quartets performed by the Brodsky Quartet, concluding with a Warsaw Cabaret.
The largest Polish celebration featuring 16 of his works will be held at the International 'Chopin & His Europe' Festival in Warsaw. The highlight of the Festival is an all-Panufnik program including his Symphony No. 10, Violin Concerto and Arbor Cosmica with Sinfonia Varsovia and Jerzy Maksymiuk (August 27). Autumn events in Poland continue with the London Symphony Orchestra and pianist Piotr Anderszewski under Maestro Antonio Pappano performing Symphony No. 10 within the opening celebrations for the new NOSPR concert hall in Katowice (October 18), repeated the following day at the Barbican in London. Kraków plays host to three days of concerts and a conference led by Ewa Siemdaj (October 23-26), and chamber events run throughout the autumn around the country presented by the Institute of Music and Dance.
In terms of recordings the Panufnik centenary has seen the completion of CPO's major survey of the composer's symphonies and concertos conducted by Łukasz Borowicz, and a historic recording of the Bassoon Concerto conducted by the composer on the Heritage label. New discs of chamber music and songs are on the Chandos, Naxos, BIS and Signum labels (see details in the next article below). Books in preparation include an English translation of Beata Bolesławska-Lewandowska's Panufnik biography from Ashgate Publishing and Panufnik's autobiography Composing Myself translated into Polish (Panufnik o sobie) from Marginesy and in a new English edition supplemented by Panufnik's other writings on music from Toccata Press.
For a full listing of centenary events visit www.boosey.com/panufnik or www.panufnik.com.
[Sources: press release, boosey.com. Photo: Marek Zebrowski]
Panufnik & Lutosławski: String Quartets
2014 is the centenary year of Andrzej Panufnik and, while his orchestral music has received attention, his innovative string quartets remain neglected. Bittersweet harmonies characterise the First Quartet. The Second Quartet, whose subtitle 'Messages' refers to the mysterious sounds of telegraph poles vibrating in the wind, is notable for its motivic coherence and emotional intensity. The Third Quartet, subtitled 'Wycinanki', a reference to paper cutouts familiar in Polish rustic art, ends with one of Panufnik's most moving statements. Lutosławski's dramatic and experimental String Quartet was written when he was at the forefront of the European avant-garde. [from naxos.com
Reflections: the Solo Piano Works of Andrzej and Roxanna Panufnik
Andrzej Panufnik (1914-1991) once wrote 'Music gets its eternal beauty from an ideal balance of emotion and intellect.' Although Panufnik is primarily known as a composer of symphonies and large-scale orchestral pieces, his three original works for solo piano perfectly illustrate this credo. Spread out over almost four decades, they are all highly crafted, displaying the composer's self-professed 'life-long fascination' with mirror forms and symmetrical patterns. In Panufnik's music such workman-like, not to say cerebral, concerns never become a self-indulgence, however – although ordered according to the circle of fifths and a strict scheme in terms of dynamics and articulation, each of the Twelve Miniature Studies from 1947 has its own highly individual mood and expression, and although Pentasonata from 1984 in almost every aspect – metre, tonality and overall structure – is governed by the number five, the composer fully succeeds in his stated aim: 'to achieve a balance between heart and mind, intellect and emotion'. The young British pianist Clare Hammond is greatly involved in events for the Panufnik Centenary in 2014, and has devised the present disc as her first release on BIS. For it, she has chosen to include two works that might be described as 'posthumous collaborations' between the composer and his daughter Roxanna Panufnik, herself an acclaimed composer. Modlitwa ('Prayer'), originally a vocal piece, was one of Panufnik's last compositions, which Roxanna expanded in 1999, and later has made instrumental arrangements of, the most recent one being for piano. Hommage à Chopin consists of arrangements for solo piano made in 2013 of three of the five vocalises for soprano and piano that Panufnik composed in 1949, based on folk music from the region of Mazowia, where Chopin was born. Polish folk music also appears in Roxanna Panufnik's Second Home, which expresses her sentiments for her father's Polish homeland. Second Home is complemented on this disc by another composition by Roxanna Panufnik, the brief and atmospheric Glo. [from www.bis.se]
Dreamscape: Songs and Trios by Andrzej & Roxanna Panufnik
A unique programme of works by father and daughter. Sir Andrzej Panufnik was a leading Polish composer of the 20th Century, and his daughter Roxanna has made a name for herself in her own right as a contemporary composer in the 21st. This disc, programmed by Roxanna to combine works by both herself and her father, explores the parallels between their two musical languages and forms a touching tribute to Andrzej from his daughter. [from www.prestoclassical.co.uk]
[Sources: naxos.com, bis.se, prestoclassical.co.uk]
The Twelfth Summer Lieder Festival at Wilanów Palace featured a performance of Kolberg's songs at an evening concert on July 5. The beautiful atmosphere of this formal royal residence on the outskirts of Warsaw provided a splendid background for the recital featuring songs by Chopin, Moniuszko, and Szymanowski in addition to a selection of songs by Oskar Kolberg. The program was presented by Iwona Kowalkowska (soprano), Wojciech Maciejowski (tenor), and Andrzej Tatarski (piano).
More information about the event at: www.kulturalna.warszawa.pl
[Sources: email correspondence, kulturalna.warszawa.pl]
Commissioned by the 2014 Presteigne Festival, the Requiem for soprano, baritone, mixed choir and orchestra (2013-2014) of Paweł Łukaszewski will be premiered on Sunday, August 24 at 7:45 p.m. in St Andrew's Church in Presteigne, Wales, UK. The premiere will be performed by Rachel Nicholls (soprano), Christopher Foster (baritone), the Joyful Company of Singers and the Presteigne Festival Orchestra under George Vass.
According to Łukaszewski:
[Source: pwm.com.pl]
Traditional Scottish songs performed by Poles will resound throughout the interiors of Edinburgh's medieval churches during evenings this summer. The Polish Song of the Goat Theatre ensemble returns to Scotland following their great success presenting Songs of Lear in 2012. Their new project is entitled Return to the Voice, and it features a guest appearance by legendary jazz vocalist Anna Maria Jopek. Audiences in the Festival City will also experience concerts of Poland's unique I, CULTURE Orchestra, whose 111 young members will join more than three thousand artists from 40 different countries during the rich program of the International Edinburgh Festival.
Below is more information about these two events from culture.pl:
To learn more about the I, Culture Orchestra and its 2014 tour, see the next article below.
[Source: culture.pl (Edited by Anna Legierska, translated by Paulina Schlosser)]
Established by Poland's Adam Mickiewicz Institute in 2011, the I, CULTURE Orchestra (ICO) is an ensemble of outstanding young musicians from Poland and the Eastern Partnership member states – Armenia, Azerbaijan, Belarus, Georgia, Moldova and Ukraine. Members audition and are chosen anew each season, and this year's ensemble of 111 artists was announced in April 2014.
The mission of the I, CULTURE Orchestra is to foster positive change in the cultural and social development of the countries of Eastern Europe and Southern Caucasus through enterprises of the highest artistic quality. Above all, the I, CULTURE Orchestra is an exquisite ensemble, but it is also an initiative of enormous social potential, a laboratory of civic education, cooperation and understanding which transcends every division.
The Orchestra's success has been founded on the universal principles of solidarity, integration and friendship. As an educational project, the ICO enables young talents to change their perspective on their respective artistic surroundings and hone their skills under the supervision of eminent instrumentalists of some of the world's most prominent orchestras.
As a part of its mission, the ICO holds at least one annual residency and conducts one annual international tour each year, and the following are scheduled for 2014:
[Source: orchestra.iam.pl, culture.pl]
The Adam Mickiewicz Institute has recently published "A Foreigner's Guide to Polish Jazz." In this 'choose-your-own-adventure' style article, readers are given many ways to digest the complex and glorious history (and present) of jazz in Poland. The article was adapted from Cezary Lerski's article "Polish Jazz - Freedom at last" by Wojciech Oleksiak, who provided editing, comments, a foreword, a listener's profile and the last two paragraphs.
The jazz adventure begins thus:
To read the entire article, visit: culture.pl
[Source: culture.pl]
From the Boosey & Hawkes website:
[Source: boosey.com]
Two Polish musicians taught and performed at the 16th edition of the International Keyboard Institute & Festival hosted by the New School for Music at Mannes College in New York City: Grzegorz Niemczuk and Magdalena Baczewska.
Thursday, July 17:
Friday, July 18:
Sunday, July 20:
Saturday, July 26
[Sources: polmic.pl, ikif.org]
On August 17, an "Organ Concert of Three Polonaises" featuring organist Agnieszka Rybak will be held in commemoration of the 70th Anniversary of the Warsaw Rising at Our Lady of the Bright Mount Church in Los Angeles. Program: M.K. Ogiński – Polonez a-moll "Pożegnanie Ojczyzny"; H. Purcell – Trumpet Tune; L. Boellmann – Suita Gotycka op. 25 "Modlitwa"; F. Chopin – Polonez A-dur Op. 40 Nr 1 "Wojskowy"; F. Chopin – Mazurek F-dur Op. 68 Nr 3; F. Chopin – Etiuda Op. 10 Nr 12 "Rewolucyjna"; S. Mercadante – Rondo Russo z Koncertu Fletowego e-moll Op. 57 cz. III; W. Kilar – Polonez z filmu "Pan Tadeusz"; A. Rybak – Suita Powstania Warszawskiego 1944 [Suite of the Warsaw Rising in 1944]
This concert organized by Our Lady of the Bright Mount Parish with concert master Janusz Piotrowski.
[Sources: press release, polandconnected.com]
Laureates of the 1st International Zbigniew Seifert Jazz Violin Competition—held as part of the Summer Jazz Festival in "Piwnica pod Baranami" on July 16-19 in Kraków, Poland—are as follows:
Zbigniew Seifert (1946-1979) was one of the most eminent Polish jazz musicians and a man of incredible musical talent. His untimely death did not let him fully develop his musical abilities and interrupted a promising worldwide career.
This competition is open to musicians representing different musical styles, techniques of performance and types of compositions. The institutions that co-organize this competition hope that it will help discover musical individualities as great as Seifert himself. We expect exciting musical experiences, artistic surprises and plenty of emotions related to the presentation of music written by artists of the young generation.
The founder and initiator of the International Zbigniew Seifert Jazz Violin Competition is Małgorzata Jantos, PhD, Chair of the Board (COB) of the Zbigniew Seifert Foundation.
[Sources: polmic.pl, seifertcompetition.com]
The tenth edition of the 'Chopin and His Europe' Festival will be held in Warsaw from August 15-31, 2014, under the motto "From Chopin to Grieg and Panufnik." Over the course of the 17 days of the Festival, masterpieces of nineteenth-century repertoire will resonate with those of twentieth-century composers. A highlight of this year's Festival will be the performance of 16 compositions by Sir Andrzej Panufnik, whose 100th birth anniversary is celebrated throughout 2014, including at all-Panufnik program on August 27.
Polish composers and Polish musicians are featured on nearly every program of this rich Festival. To see a full listing of concerts and performers, visit: chopin.nifc.pl.
The International Music Festival "Chopin and his Europe" was established in 2005 and immediately recognized as a major artistic event. During the first 3 years of its existence the Festival managed to find its place and play a leading role among the most important events promoting Polish culture abroad. The main purpose of the Festival is to present the music of Fryderyk Chopin in a broad cultural context and is organized by the Fryderyk Chopin Institute.
[Sources: muzyka.onet.pl, efa-aef.eu, mkidn.gov.pl, chopin.nifc.pl]
The 4th annual Transatlantyk International Film and Music Festival will be held in Poznań from August 8-14, 2014. The Festival features outstanding films and music from all around the world, hundreds of screenings and numerous concerts, as well as legendary and young artists, representatives from all film and music professions. Transatlantyk is intended to be a new artistic platform aimed at building a stronger relationship between society, art and the environment through music and movies. It strives to inspire discussions on current social issues. Founded and directed by Academy Award-winning composer Jan A.P. Kaczmarek, Transatlantyk is intended to be both Glocal (local in actions and identity, while at the same time global in terms of understanding the consequences and context of its actions) and Open.
At this year's Festival, professor and feminist activist Gayatri Chakravorty Spivak will receive the 2014 Transatlantyk Glocal Hero Award. Also, winners in the Transatlantyk Film Music Competition and Transatlantyk Instant Composition Contest will be revealed.
[Source: transatlantyk.org]
The fifteenth edition of the "Summer Philharmonic" concerts is scheduled in two installments this year. The first was held in Wigry—the picturesque lakeside resort in the northeast of Poland—from July 25 until August 2. The second, scheduled for August 8-10, will take place in Pieniny, the mountainside resort in southern Poland.
The honorary guest of the Festival, Lady Camilla Panufnik, will travel from Great Britain to attend concerts honoring the centenary of her husband's birth and share with the Festival audiences some of the details of her life with Andrzej Panufnik.
The ensemble-in-residence is the AUKSO orchestra, led by Maestro Marek Moś (pictured above). It is worth noting that some fourteen years ago, this ensemble was a student orchestra that spent an intensive two-week retreat in Wigry that led to the launching of AUKSO's successful performing career. Pianist Janusz Olejniczak and cellist Andrzej Bauer were invited as guest soloists for this edition of the Summer Philharmonic Festival. They will be joined by younger, up-and-coming artists, including pianist Aleksandra Świgut, violinist Janusz Wawrowski, and cellist Marcin Zdunik.
Panufnik's Cello Concerto, Violin Concerto and Suita Staropolska [Old Polish Suite] will be performed alongside Beethoven's Triple Concerto, Chopin's Piano Concerto Op. 21, Schumann's Cello Concerto, and other works—both chamber and solo—presented in concerts and recitals. Free master classes for pianists with Aleksandra Świgut and Janusz Olejniczak are also planned. More information about the Festival, visit the website of POLMIC, who also serves as the media patron of this year's Summer Philharmonic.
[Source: polmic.pl]
The 7th edition of the Letni Festiwal Nowego Miasta [New Town Summer Festival] is taking place around Warsaw from July 26 – August 10. Works by Polish composers such as A. Panufnik, M. Małecki, F. Chopin, S. Madelka, K. Szymanowski, K. Kurpiński, and Wł. Słowiński are featured. Performers include the Festival's organizers, Warsaw Camerata and conductor Paweł Kos-Nowicki; Morpheus saxophone quartet; Cezariusz Gadzina – saxophone; Piotr Iwicki and Milo Kurtis – percussion; La Tempesta early music ensemble; Filharmonia Przedszkolaka; and Kwartet Wilanów. During the Festival, programs held in traditional concert venues are interspersed with outdoor concerts and guided walks around the New Town area. Admission to all concerts and guided walks are free.
This year's Solidarity of Arts Festival will be held in Gdańsk from August 8-30, 2014. Although comprised of several events celebrating various artistic mediums, the main musical event of the Festival is always the "+" concert, which features one major international jazz superstar plus a lineup of their favorite musical colleagues. Considered Poland's biggest jazz show of the year, it will take place on August 16 on three purpose-built stages near the Polish Baltic Philharmonic in Gdańsk. This year's multi-talented host is the brilliant US bassist and vocalist and a 3-time Grammy Award winner Esperanza Spalding. The line-up of this year's "Esperanza+" concert includes the following truly remarkable international musicians:
as well as a group of world-class acts from Poland:
The concert, as well as its live telecast on TVP Kultura, will start at 9 pm CET, and will deliver plenty of memorable moments for jazz fans from Poland and abroad.
Another important musical event of this year's edition is the "United Through Music Concert," held on August 24 in the Polish Baltic Philharmonic concert hall. Performers for this concert are: Jonathan Brett – conductor, Janusz Olejniczak – piano, Jan Lisiecki – piano, Yaryna Rak – soprano, and the Polish Baltic Philharmonic Orchestra. The program consists of: Myroslav SKORYK – Melody La-minor; Fryderyk CHOPIN – Piano Concerto No. 2 in F minor, Op. 21; Maurice RAVEL – Piano Concerto in G major; Henryk Mikołaj GÓRECKI – Symphony No. 3, Op. 36 "Symphony of Sorrowful Songs."
[Sources: press release, filharmonia.gda.pl]
The 10th edition of the Warszawa Singera [Singers' Warsaw] Festival of Jewish Culture is just around the corner. This annual celebration of music, theatre, film, literature and visual arts will be held from August 24 – September 1. The Yiddish culture will be back in cantors' songs, klezmer sounds, outdoor concerts, Jewish paper-cutting workshops and Hebrew calligraphy. We will move to the world so vividly described by Isaak Beshevis Singer. The honorary guest of the festival will be I.B. Singer's son – Izrael Zamir.
Every year, the most eminent representatives of the Jewish culture come to Warsaw from around the world: Israel, USA, Sweden, Holland, France, Belgium, Canada, Denmark and Hungary. During this year's jubilee edition, the audience will have the opportunity to take part in a real artistic feast. The All Saints' Church will host the trumpet virtuoso, Tomasz Stańko featuring the Kroke band and American musicians. The cantor Yaacov Lemmer will sing in the Nozyk Synagogue. Israeli cantor Dudu Fisher, known from his creation in Les Miserables, and the Canadian jazz pianist and composer Ron Davis will perform. At the request of our audience, Joshua Nelson will come back to Warsaw. Also, theatre geeks will find a few interesting proposals. Actors from France and Romania will perform some excellent shows (The Jewish Theatre from Bucharest will stage Yentl based on Sz. An-Ski's The Dybbuk Between Two Worlds, adapted by Szmuel Shohat for Habima - the National Theatre from Israel). Several small theatre forms will be presented by, among others, Karolina Kirsz (adaptation of Touch the Water, Touch the Wind by Amos Oz) and Paweł Paszta.
The festival's grand finale concert, held in Grzybowski Square, will be performed by The Other Europeans and the stars of this year's Festival. The Other Europeans is a world famous group of 14 distinguished musicians connected with the Yiddish and the Lautari cultures. Connecting tradition and modernity, presenting culture of the pre-war Jewish shtetl and the contemporary art inspired by the Jewish motives, Singer's Warsaw Festival has been demonstrating, for several years, that the Jewish culture is very rich and can fully embrace contemporary world.
[Source: festiwalsingera.pl]
In May 2013, the Grand Theatre/National Opera in Warsaw presented the first installment of Projekt P [Project P], which brings together "the hottest young Polish creators" in order to develop genre-shattering new operas. In the case of the first installment, it was Wojtek Blecharz's Transcryptum and Jagoda Szmytka's Dla głosów i rąk [For Voices and Hands] that were premiered. American musicologist Cindy Bylander wrote an in-depth review of Transcryptum for Musical Opinion Quarterly, which is excerpted below.
Ex. 1: Libretto excerpt provided by the composer.
Ex. 2: K'an, measures 43-52.
Ex. 3: The map of tenderness, measures 58-60.
Projekt P is a part of Terytoria [Territories], a series of meetings with contemporary music in which the Polish National Opera seeks to discover and sketch a new image of opera. The genre is changing its definition today, conquering new territories, drawing new meanings, proposing a new aesthetic. The most recent Projekt P creations are Sławomir Kupczak's Voyager and Katarzyna Głowicka's Requiem For An Icon—these two chamber operas will be premiered in May 2015.
* * * * *
Notes & Author's biography:
Cindy Bylander received her Ph.D. in musicology from The Ohio State University and currently resides in San Antonio, Texas. She was awarded a U.S. Fulbright grant to conduct research in Poland in the 1980s. She is particularly interested in the compositions of Krzysztof Penderecki, the impact of the Warsaw Autumn Festival and other regional festivals on musical life in Poland, and the roles played by the Polish Composers Union and its individual members as they negotiated the vicissitudes of Cold War cultural policies. Dr. Bylander has presented papers at conferences in the United States and Europe. She is the author of Krzysztof Penderecki: A Bio-Bibliography (Greenwood Press, 2004) and has published articles in Musical Quarterly (2012), Musicology Today (Warsaw University, 2010), "Warsaw Autumn" as a Realisation of Karol Szymanowski's Vision of Modern Polish Music (Warsaw: Polish Music Information Centre 2007), Music of the Twentieth-Century Avant-Garde (Greenwood Press, 2002), Studies in Penderecki, Ruch Muzyczny, Polish Music Journal, and Polish Music Center Essays. Her article on Penderecki's symphonies is forthcoming in Polish Music Since 1945 (Kraków: Musica Iagellonica).
Pianist Kuba Stankiewicz presented a recital of music by Wojciech Kilar on July 31 at the Świętokrzyska Philharmonic Chamber Auditorium Hall in Kielce. This great jazz pianist presented the audience with twelve of Kilar's best-known tunes from his many film scores as well as some additional improvisations. Kilar's film music CD, as interpreted by Kuba Stankiewicz came out last year to a great critical and public acclaim.
[Source: polmic.pl]
Kuba Płużek – First Album
In April, the "First Album" of phenomenal young jazz pianist Kuba Płużek was released. According to the V Records website:
Listen to some of the great music on this album at www.youtube.com.
[Sources: ruchmuzyczny.art.pl, v-records.pl]
CD 1: Antoni Szałowski – Overture, Witold Lutosławski – Symphonic Variations, Aleksander Tansman – Polish Rhapsody, Karol Rathaus – Music for Strings, Andrzej Panufnik – Tragic Overture. CD 2: Grażyna Bacewicz – Overture for Symphonic Orchestra, Tadeusz Zygrfyd Kassern – Concerto for String Orchestra, Stefan Kisielewski – Concerto for Chamber Orchestra, Ludomir Różycki – Pietà. Na zgliszczach Warszawy [Pietà. On the Ruins of Warsaw]. CD 3: Mieczysław Weinberg – Violin Concerto, op. 43, Andrzej Panufnik – Symphony no. 2(Sinfonia Elegiaca), Andrzej Czajkowski – Piano Concerto, op. 4.
In 2014, the Sinfonia Varsovia Orchestra celebrates its 30th anniversary and, during March and April, the orchestra was in the Witold Lutosławski Concert Studio in Warsaw for an important new recording project: An Anthology of Polish Contemporary Music, 1939-1945. The timing of this recording coincides with some very important historical dates in 2014: the 75th anniversary of the outbreak of World War II, 70th anniversary of the Warsaw Uprising and of Andrzej Panufnik's 100th birthday.
The three-CD publication is intended to be unique, encompassing a wide spectrum of works written by Polish composers (including Lutosławski, Panufnik, Bacewicz, Kassern, Rathaus, Różycki and Kisielewski) and promoting Polish music on the international arena. All works by Polish composers are performed by the Sinfonia Varsovia Orchestra under the direction of renowned conductors: Jerzy Maksymiuk, Jacek Kaspszyk and Renato Rivolta.
Financed by the Ministry of Culture and National Heritage, this album is non-commercial in nature and its purpose is unique—to promote the culture and history of Poland. It is to be a document aimed at record and multimedia repositories and libraries in schools and music universities. It is also intended to be a gift for persons of merit to the Orchestra, for its friends and for selected guests of the anniversary celebrations.
It will be distributed among others to Polish music libraries and media libraries, music schools, ministerial institutes and Polish Institutes abroad. The album is accompanied by an extensive booklet with texts prof. Michael Bristiger and Dr. Catherine Naliwajek-Mazurka (in Polish and English version).
[Sources: polmic.pl, sinfoniavarsovia.org]
Ju-Young Baek Plays Penderecki and Szymanowski
Recorded at London's Cadogan Hall, this new release is violinist Ju-Young Baek's first recording with the Royal Philharmonic Orchestra and Maestro Grzegorz Nowak.
[source: rpo.co.uk]
Copyright 2014 by the Polish Music Center
Send your comments and inquiries to: email@example.com
Newsletter Editor: Krysta Close
Translation Assistance: Marek Żebrowski
Layout Assistance: Charles Bragg
Contributions from:
Wojtek Blecharz, Cindy Bylander, Consulate General of the Republic of Poland in L.A.,
Hanka Kolberg, Krzysztof Meyer, Grzegorz Nowak, Marek Żebrowski
Sources of information: Polish Cultural Institute (NY & UK), Adam Mickiewicz Institute, PWM,
Nowy Dziennik, Polish Music Information Centre - Warsaw, Polish American Journal,
Poland.pl, PAP, ZKP, infochopin.pl, Ruch Muzyczny, Gazeta Wyborcza
Formatting by Krysta Close, August 8, 2014.
The Polish Music Center includes all content on a space available basis. We reserve the right to refuse any content submitted.