Download Marcin Bogusławski

C U LT U R A L H E R I T A G E
A N D D I A LO G U E .
LUTOSŁAWSKI – NORDHEIM
NORWEGIAN ACADEMY
OF MUSIC, LEVIN HALL
programme
– moderator
Marcin Bogusławski
Marcin Bogusławski – son of Danuta Lutosławska from her first marriage (with the
architect Jan Bogusławski), Witold Lutosławski’s son-in-law. Following his architectural
studies in Warsaw, he settled in Oslo. He designed a number of Norway’s representative
buildings, such as the churches in Drammen and Larvik, and worked in teams which created
the design for the olympic stadium in Lillehamer and that of the Statoil headquarters.
Witold Lutosławski said of him to Irina Nikolska: “Marcin was seven years old when he
appeared in our home as my stepson, and I was the one who raised him with Danusia (dim.
of Danuta – trans. note). After her, Marcin is my closest one – the closest family. Since he has
lived in Oslo for the past 20 years, we also decided to organize ourselves a sort of existence
in Oslo (…).”
Marcin Bogusławski remembers his stepfather: “He was a man of homogeneity, unbelievably
consistent, simultaneously a great Polish patriot, a very rare example when it comes to
his stance in life as a family man and citizen.” He admires him for many things, also for his
exceptional relation to work: “(…) He was so precise and systematized that alongside his
immense life energy and love for work in everything that he did, he achieved results that were
overpowering. He was not a man who acted hastily. He approached all matters scrupulously
and did not repeat a thing. When he finished, he knew, what he had completed, and used it as
a sort of trampoline to ‘jump’ even higher.”
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Grzegorz Michalski
Lutosławski – Nordheim
– an unspoken friendship
9:55
Lutosławski’s connection with Nordheim is poorly documented,
and based mainly on accounts given by people close to them.
One particularly evocative account is that of Lutosławski’s stepson,
Marcin Bogusławski, who was a witness to their contacts.
Lutosławski was almost a generation older than Nordheim, and
although he attained a lofty international status quite late in life,
he preceded Nordheim in that respect by several decades. The
enduring strength of the two composers’ relationship moves one
to enquire just what bound them together, not just in social and
characterological terms, but also with regard to their opinions,
creative stance and – possibly – shared mission. This issue has not
previously been examined, and because the documentation
is dispersed, we will have to begin by posing questions, some
of which will remain unanswered.
Grzegorz Michalski – musicologist, organiser, journalist (a.o. – Polish Radio, Programme 2)
and mediator. He was editor of the “Ruch Muzyczny” journal (1971–1973), manager for the
Section of the Classical Music in Polish Television (1974–1981), a programme consultant for
the Warsaw Philharmonic (1982–1988) and chief editor and director of the PWM Edition in
Kraków. 1990–1992 he held the post of Undersecretary in the Ministry of Culture and Art.
1998–2000 as the proxy for the Minister of Culture and Art, he coordinated the Chopin
Anniversary Year, and since 2001 till 2008 (with a pause in 2006) he was director of the
Fryderyk Chopin Institute in Warsaw. 2009–2014, Michalski was president of the Witold
Lutosławski Society, 2011–2014 – a member of the Programme Board of the Chopin
Institute. He is currently Director’s Plenipotentiary for the Chopin Competition.
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Eva Maria Jensen
Lutosławski’s music
in Denmark from the 1960s
to recent day
10:25 Polish music is very seldom played in Denmark. Lutosławski is
– after Chopin – the one exception. He became known and played
thanks to Polish conductors: Witold Rowicki, Jan Krenz and Karol
Stryja, who introduced his music to the Danes. In 1966, Wilhelm
Hansen became Lutosławski’s editor for all his music in West.
There is no written account in Danish about Lutosławski and his
music, other than a few articles, mostly printed in Dansk Musik
Tidsskrift.
Lutosławski’s music has been played quite a bit by the Danish
Broadcasting Company, and Sven Erik Werner, “Lutosławski
Apostle” in Denmark, also produced some radio programmes about
his music and interviewed him in Warsaw. Lutosławski visited
Denmark many times, often as a conductor of his own works,
and in 1967 he received a very prestigious prize, the Leonie Sonning
Musikpris, although not all Danish critics were convinced that he
was the best recipient.
Lutosławski was a guest professor in Danish music conservatories:
in Århus (already in 1968, as a guest in Per Nørgård’s composition
class), and twice in Odense (in 1977 and in 1990), and he
often passed through Denmark on his way to or from Norway.
Lutosławski clearly influenced Danish composers Sven Erik Werner
and Bent Lorentzen, and traces of influence can also be found in
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the works of Tage Nielsen and Per Nørgård. During the 1970s and
80s, his music was performed regularly in Denmark, but today
performances are rare, and the younger generation is unfamiliar
with his music.
My research is based on documents in Danish: concert programmes,
articles and other written materials found in the Royal Library in
Copenhagen, as well as private interviews with people who knew
Lutosławski personally.
Eva Maria Jensen was born in Cracow, Poland, and immigrated to Denmark in 1969. She
studied Music Theory at Cracow Music Academy (1965-69) and Philosophy at the Jagiellonian
University, Cracow (1965-69), and graduated as Cand. Mag in Musicology and Philosophy
from the University of Copenhagen in 1975, as well as a Church Musician (organist) from the
Royal Danish Academy of Music, Copenhagen, in 1981.
She became organist in the Danish Protestant Church in 1981, and taught on the Department
of Musicology, University of Copenhagen from 1975 to 2003. She studied for a PhD on the
Department of Theology, Copenhagen University, and was awarded a PhD in Theology in
2006, based on the dissertation Death and Eternity in Music, 1890-1920. The thesis was
published in Danish in 2011.
Together with Knud Ketting, she has published Drømmelandet – en bog om Chopin (Multivers,
2010), and she has written many articles in musicology in Danish, English and Polish, and
participated in several musicological conferences. Her special interests focus on Gustav
Mahler’s music, the boundaries between music and theology and music and the arts, and
also music aesthetics.
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Harald Herresthal
Musique concrète
– «clearly, this is not
music». Arne Nordheim’s
development from Aftonland
to Response
10:55
In his presentation, Harald Herresthal explains how Nordheim
initially perceived electronic music during his first encounters with
the genre, and how, with impulses from recordings, concerts and
discussions with colleagues, he revised his initial negative view
on electronic music and became one of the foremost pioneers of
electronic music in Norway.
Harald Herresthal is organist and professor emeritus at the Norwegian Academy of Music.
Since 1970, he has played an active role as an organist, choirmaster, teacher and author.
A number of his articles and books have been published by European publishing houses.
His main work is a four-volume biography of the violin virtuoso Ole Bull (2010). Herresthal
is an honorary doctor of the Universität der Künste in Berlin and a member of the Norwegian
Academy of Science and Letters and the Academia Europeae.
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Marcin Krajewski
Lutosławski – Nordheim:
Two stylistic models and their
interrelations
12:10
Let us define a stylistic model of the oeuvre of any composer as
a complex entity that comprises (a) set of all the features significant
for the composer’s works, and (b) a structure defined on this set by
a division of the features into standard and non-standard, and by
relations of co-occurrence between them.
Such a model reflects, to some degree, the individual style of
a given composer. Any two styles, considered as stylistic models,
may differ with regards to (a) the set of significant features,
and (b) the structure defined on the set. This theoretical framework
seems to be useful in characterising and comparing any individual
styles in a systematic way, including the musical idioms of Witold
Lutosławski and Arne Nordheim, which form a dense net of both
similarities and differences.
Marcin Krajewski is a doctoral student in musicology at Warsaw University, where he is
preparing a dissertation concerning general theoretical issues of musical texture. His interest
focuses on formalized methods of musical analysis, philosophy of music and the composition
technique of a number of twentieth-century composers, including Witold Lutosławski.
Krajewski is a member of the Management Board of the Witold Lutosławski Society.
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Ola Nordal
Ode to Light: Nordheim’s first
project at the Experimental
Studio
12:40
The sound sculpture Ode to Light (1968) was among the first
projects Arne Nordheim worked on at the Experimental Studio in
Warsaw. It was a collaborative project between the sculptor Arnold
Haukeland, the composer Nordheim, and technical staff at the
Norwegian Institute of Technology, who under Nordheim’s direction
developed a “Music Machine”, an electronic logic unit designed to
control sound diffusion in the physical structure.
In my talk, I wish to explore the sounds produced at the
Experimental Studio, and the integration of those sounds into the
artwork. For Ode to Light, Nordheim further developed techniques
and timbres he had previously explored on a smaller scale in
Norway. The support from the experienced technicians and the
great sonic possibilities of the Experimental Studio resulted in
a clear shift in Nordheim’s electroacoustic aesthetics.
Ola Nordal is a historian and PhD candidate on the Department of Music, NTNU, Trondheim.
His project Light and Shadow in the Electroacoustic Music of Arne Nordheim documents
Nordheim’s electroacoustic music, with special emphasis on the works produced in Warsaw.
Nordal has previously published books on the history of computer science in Trondheim and
the history of technical education in Norway. He currently lives and works in Vienna.
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Asbjørn Blokkum Flø
Time, timbre and text – techniques and artistic
concepts in Arne Nordheim’s
electronic music
13:10
This talk examines the artistic concepts and compositional techniques
in Arne Nordheim’s electronic works. Electronic music was central
to Arne Nordheim’s production, from early meetings with musique
concrète in the 1950s, throughout the Warsaw period, and evident
also in his interest in computer-aided sound analysis in the 1990s
and the 2000s. His encounters with the new Polish music became
formative experiences, and made early imprints on his electronic
music. Already in the works produced in Warsaw, we find many of
the key aspects that would characterize nearly all of Nordheim’s
electronic music, such as ambiguous tonality, large contrasts,
timbre, and the use of language, text and human voices. Nordheim
brought these ideas and concepts also into his acoustic music, and
there is no doubt that the years at the Experimental Studio from
1967 and into the 1970s left a deep impression in the music of one
of Norway’s most important composers.
Asbjørn Blokkum Flø holds a diploma in composition from the Norwegian Academy of
Music. Since 1999 he has worked as a freelance composer and sound artist with focus on
instrumental music, electronic music and sound art for radio and installations.
Flø’s works have been performed in a number of festivals, including DEAF (Dutch Electronic
Arts Festival, Rotterdam, the Netherlands), Synthése (international festival of electronic
music and sonic art – Bourges, France), Sound around Kaliningrad (Russia), as well as
Ultima, Grønland Chamber Music Festival, and the Ibsen Festival in Oslo. He has represented
Norway in both Ars Acustica and Prix Italia.
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Bohdan Dziemidok
In the age of globalisation,
can music shape
and articulate national
identity?
13:40
The focus of this paper is the relationship between music and
national identity. The processes of globalisation are discernible,
not just in economics and technology, but also in culture, where
there are distinct trends towards it becoming more universal,
cosmopolitan, commercialised and market-orientated. We can also
speak of the creation of a global and supranational mass culture
(mass media, show business, fashion, tourism, and so on).
For some theorists and politicians, globalisation represents
a genuine threat to national identity and national culture, which
are doomed to perish. Such threats do indeed exist. The role of
national identity and culture may well alter and wane. In my opinion,
however, those phenomena do not justify the view that national
identity and the national culture that articulates and perpetuates it
have become anachronistic or condemned to an imminent death.
It is difficult, of course, to predict the future of those phenomena.
At present, however, the conviction that in order to achieve artistic
success internationally one must abandon one’s national roots
and the expression of one’s national identity is not sufficiently
substantiated. That applies to contemporary music – not just art
music, but popular music as well.
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Professor Bohdan Dziemidok (1933) studied philosophy at Leningrad University. In 1963,
he defended his doctoral thesis on the theory of comedy at UMCS (Marie Curie-Skłodowska
University) in Lublin, and he gained his Dr hab. in 1977, based on the Habilitationsschrift
A Theory of Experiences and Aesthetic Values in Polish Aesthetics of the Inter-war Period.
Dziemidok has held many positions as a researcher at UMCS, Gdańsk University and the
Institute of Philosophy and Sociology, where he became a full professor in 1992. Since 2007,
he has been professor of culture studies at the School of Social Psychology in Warsaw.
As a visiting professor and contracted professor, he has also worked at other universities,
including the University of California, Columbia University (1967), Berkeley (1967 and
1978/1979), Temple University (1978/1979), Oxford (1986), Chicago (1987), the Institute of
Philosophy of the Academy of Sciences of the USSR and Lomonosov Moscow State University
(1988–1990), Tokyo (1993) and the Free University of Berlin (1994 and 1996).
Dziemidok is a member of the Committee of Philosophical Sciences of the Polish Academy of
Sciences and other academic societies, such as the International Association for Aesthetics,
Polish Philosophical Society, Polish Aesthetic Society, Slovenian Society for Aesthetics,
American Society for Aesthetics, Society for the Advancement of American Philosophy and
International Association for Aesthetics. He has been editor-in-chief of Studia Estetyczne
and has worked as an editor of many academic periodicals: The Journal of Value Inquiry,
Philosophical Inquiry, Acta Philosophica, Polish Philosophical Review, Estetyka i Krytyka
and Humor.
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C U LT U R A L H E R I T A G E
A N D D I A LO G U E .
LUTOSŁAWSKI – NORDHEIM
NORWEGIAN ACADEMY OF MUSIC,
LINDEMAN HALL,
4 M AY 2015 , 19 : 30
concert
programme
Arne Nordheim: Die Alte Luft (2007)
Introduction: Mats Claesson in conversation with Jøran Rudi
Sound/diffusion: Mats Claesson
Witold Lutosławski: String Quartet (1964)
Ratatosk String Quartet
Matias Särkelä Jentoft, violin
Lars Magnus Steinum, violin
Jakob Dingstad, viola
Ivan Valentin Roald, violoncello
Arne Nordheim: Response III (1984)
Harald Herresthal, organ
Kjell Tore Innervik, percussion
Daniel Paulsen, percussion
Kjell Samkopf, percussion
Ane Marthe Sørlie Holen, percussion
Mats Claesson, sound/diffusion
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Die Alte Luft from 2007 is a remixing of Poly-Poly, Nordheim’s
installation music for the World Expo in Osaka in 1970. The piece
was played continuously for half a year, through a multitude of
speakers.
The idea for Poly-Poly was to maintain continual development
and change, and this was realized by playing back tape loops of
different lengths, so that the same material would not meet again
until more than 100 years had passed. In this piece, Nordheim uses
archival recordings from the Experimental Studio in Warsaw, and
the redevelopment of the piece into the fixed-duration Die Alte
Luft included significant reengineering of the sounding material,
executed by Mats Claesson at the Norwegian Academy of Music.
String quartet
Witold Lutosławski’s String quartet was assembled from a series
of discrete, but dovetailing segments. First performed by the
American LaSalle Quartet on 12 March 1965, it is the only example
of this genre in Lutosławski’s entire oeuvre.
The composer himself explained the construction in
correspondence with LaSalle Quartet’s leader: “The work consists
of a sequence of mobiles, which are to be performed one after
another and – if there are no other directions – without any pauses.
Within certain sections of time, particular performers play their
parts completely independently from others. They must individually
decide on the length of pauses and the way of introducing agogic
changes. However, similar material in different parts should be
treated in a similar way. (…) All the musicians should play as if they
did not know what the others are playing, or at least as if they did
not hear anything apart from their own performance. They must not
worry that they are slower or faster than the others. This problem
simply does not occur, as there are means at work that prevent
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any unwanted consequences of such freedom. If all the performers
strictly adhere to the instructions included in their written parts,
there cannot appear anything that the composer had not foreseen.
A possible shortening or lengthening of the duration of any
particular section of any instrument’s part cannot change the end
result in any significant way”.
Lutosławski’s Quartet, a masterwork that combines innovation
with the highest values of beauty, is among the most significant
points of reference for the entire quartet literature.
Response III
Arne Nordheim was one of the pioneers in Norwegian
electroacoustic music. He became familiar with musique concrète
while studying in Paris in 1955, but developed no particular interest
in the genre at that time. Following his first success with the String
quartet (1956) and the song cycle Aftonland (1957), Nordheim was
commissioned to write music for theatre and radio dramas, and
this inspired him to make his first experiments in 1961. Influenced
by Karlheinz Stockhausen’s Gesang der Jünglinge and Kontakte for
electronics, piano and percussion, Nordheim wrote Response I for
two percussionists and tape, and the work received its premiere
during the autumn of 1966.
The electronic material consists of electronically produced sound
and transformed recordings of instruments, choir and bell timbres.
The original composition was produced with the relatively simple
equipment that the Norwegian Broadcasting Corporation (NRK)
had at the time, but was further developed during Nordheim’s first
period of work in Warsaw in the autumn of 1967.
This version of Response was performed at the Bergen international
festival in May 1968. In a letter to the director, Nordheim wrote
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that the acoustic intensity of Response would become rather large,
and he wanted the two percussion groups to be located at either
end of the concert hall, “in keeping with the identity of the piece:
statements and responses across long distances.” The loudspeakers
should be placed on the balcony and give the audience in the hall
a “real sense of timbral movements across the space.”
Later, Nordheim made several versions of this work, and
added more electronic elements. At the concert on May 4 at the
Lindemansalen, the performance will be of a version for organ, four
percussionists and electronic sound.
Harald Herresthal is organist and professor emeritus at the
Norwegian Academy of Music. Since 1970, he has played an active
role as an organist, choirmaster, teacher and author.
A number of his articles and books have been published by
European publishing houses.
His main work is a four-volume biography of the violin virtuoso
Ole Bull (2010). Herresthal is an honorary doctor of the Universität
der Künste in Berlin and a member of the Norwegian Academy of
Science and Letters and the Academia Europeae.
Ane Marthe Sørlien Holen has a Masters Degree from the
Norwegian Academy of Music and the Koninklijk Conservatory
in the Hague. She freelances as a percussionist from her base in
Oslo, and is a regular member of the percussion trio Pinquins, that
regularly commissions and performs new works.
She is regularly engaged by other ensembles of contemporary
music, and often works with other musicians and artists such as
Jennifer Torrence, Ingvild Langgård and Ingri Fiksdal.
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In 2014 she received the Norwegian record industry
“Spellemannprisen” for the CD The Forester, a collaboration with
Susanna & Ensemble neo.
Kjell Tore Innervik serves as associate professor at the
Norwegian Academy of Music, where he received his diploma
in 2004. The same year, he won the Conoco/Phillips soloist
competition, as well as the Concerts Norway NTRO award.
He also took a position as artistic stipendiary at the Academy of
Music, the first position of this kind in the history of the Academy.
Following this 3-year project, he continued with the 4-year project
New Instruments for Musical Expression, and currently works in the
multi-disciplinary project Radical Interpretations of Iconic Musical
Works for Percussion, where Morton Feldman’s The King
of Denmark and Iannis Xenakis’ Psappha are under analysis. Innervik
regularly performs with the Oslo Sinfonietta, in addition to extensive
engagements as a soloist and in chamber music ensembles.
Daniel Paulsen started his percussion studies at the Royal
Danish Conservatory of Music in 2008, where he studied with Gert
Mortensen. In 2009, he continued his studies at the Norwegian
Academy of Music, where he has studied with Rob Waring, Bjørn
Løken, Håkon Stene and Tomas Nilsson. Paulsen focuses on solo
percussion and contemporary music, and has performed with the
ensembles Asamisimasa, Oslo Sinfonietta and Bodø Sinfonietta, as
well as Pantha Du Prince and the Bell Laboratory.
In 2013 he was soloist with the Bergen Philharmonic Orchestra
at “De Unges Konsert” in April, and with the Norwegian Academy
of Music Symphony Orchestra in December. He is now a master’s
student at the Norwegian Academy of Music.
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Kjell Samkopf studied at the Norwegian Academy of Music, where
he received his composition diploma in 1977, following studies with
Finn Mortensen. His degree in percussion is from 1978, following
studies with Per Erik Thorsen (Oslo Philharmonic Orchestra) and
Einar Nielsen (Royal Academy of Music, Århus), among others.In
the years 1978-79, Samkopf studied sonology and electronic music
at the Institute for Sonology in Utrecht, the Netherlands with Dr
Werner Kaegi.
Samkopf has also studied in the United States; during the summer
of 1979 jazz vibraphone at Berklee College of Music, Boston, and
during the summer of 1981 a “World Music” seminar at the Creative
Music Studio in Woodstock, New York.
Samkopf worked as a percussion professor at the Norwegian
Academy of Music until 2008, and maintains a career as composer
and musician.
Ratatosk String Quartet was founded in 2014 in Oslo. Named
after a communicative squirrel from Norse Mythology, the quartet
is comprised of master’s students at the Norwegian Academy
of Music. The members have diverse backgrounds from chamber
music groups in Norway, Finland and the UK. In its first year of
existence, the quartet delved into the twentieth-century string
quartet repertoire, as well as the cornerstones of the classical
repertoire. In 2015 they have won the chamber music competition
of the Norwegian Academy of Music and performed at the Casa da
musica as part of the Harmos festival in Porto, Portugal. The quartet
is excited to be giving with four concerts at Grieg in Bergen in the
summer of 2015.
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Lars Magnus Steinum, violin, grew up in Trondheim and started playing at the age of six.
He studied with professor Jacqueline Ross at the Guildhall School of Music and Drama,
supported by the Guildhall Scholarship Fund, and finished his Bachelor’s degree with first
class honours in the spring of 2015. He has been performing in and around London during
his studies with members of the London Symphony Orchestra, the BBC singers and as
concert master and sectional leader of Guildhall orchestras, amongst others. In 2013 he
won first prize in the North London Music Festival with the Chiswell String Quartet. He has
been concert master of the Norwegian Youth Orchestra Ungdomssymfonikerne 2010–13 and
played frequently with the Trondheim Symphony Orchestra since 2010. Over recent summers
he has participated in masterclasses and festivals in the USA, France, Italy and Germany.
He is now studying for his master’s degree at the Norwegian Academy of Music with
professor Elise Båtnes.
Matias Särkelä Jentoft, violin, started playing at the age of six in Moscow, with Natalia
Kalintseva. In 2014 he finished his bachelor’s studies with Professor Päivyt Meller at the
Sibelius Academy in Finland. He is currently doing his master’s degree at the Norwegian
Academy of Music. He has performed as a soloist of the Foss Chamber Orchestra and
also the Vivaldi Orchestra, together with legendary violinist Arve Tellefsen. As a chamber
musician, he was one of the founders of the string quartet Quartetto Testosterone in Oslo.
As an orchestra musician he has played with the Helsinki City Orchestra, the Telemark
Chamber Orchestra (Norway) and the Stavanger Symphony Orchstra (Norway). He has
also been trusted with countless concertmaster roles, for example in the Sibelius Academy
Symphony Orchestra, Se-Ensemble, the two Norwegian national youth orchestras, the Foss
Chamber Orchestra and the Vivaldi Orchestra. He is also a finalist of the Bled international
violin competition in Slovenia.
Jakob Dingstad, viola, is an active chamber and orchestra musician. He is studying for
a master’s degree with Professor Lars Anders Tomter at the Norwegian Academy of Music.
In addition to his studies, Jakob held the solo viola position in the Norwegian National
Opera between April and October 2013, and had an additional engagement in the orchestra
in the first half of 2015. In 2008, he won first prize in the Norwegian National Youth Music
Competition, and co-founded the string quartet Quartetto Testosterone. During his youth,
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Jakob studied at the Barratt Due Institute of Music, and was principal violist in the awardwinning Junior Orchestra. He has been to several courses, including the Quartet Program
(USA) in New York and Colorado and the International Summer School at the Tchaikovsky
Conservatory, Moscow.
Ivan Valentin Hollup Roald, cello, is a freelance musician residing in Oslo. He has studied
with Truls Mørk and Aage Kvalbein at the Norwegian Academy of Music. He has played in
masterclasses with Torleif Thedéen, Gavriel Lipkind, Maria Kliegel, Reinhard Latsko, Lluis
Claret and Dmitri Ferschtman. Also a dedicated chamber musician, he has performed with
Lars Anders Tomter, Torleif Thedéen, Liza Ferschtman, Henri Demarquette, Jean-Pierre
Wallez and Are Sandbakken. Other chamber music tutors include Leif Ove Andsnes, Andrew
Manze, Jens Harald Bratlie, Simon Crawford-Philip and Francis Gouton.
He won first prize in the 2011 NMH Chamber Music Competition with Trio Valentin, and
participated in the Trondheim International Chamber Music Competition later the same year.
He is a substitute player in the Norwegian Radio Orchestra and the Oslo Philharmonic
Orchestra.
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The Fryderyk Chopin
Institute
The Fryderyk Chopin Institute is the world’s largest institution
devoted to Chopin, promoting, safeguarding, researching and
disseminating the composer’s legacy in all manner of ways.
Established in 2001, the Institute is continuing a tradition stretching
back to the end of the nineteenth century (following on from the
Music Society, the Chopin Committee, the post-war Fryderyk
Chopin Institute and, from 1950, the Fryderyk Chopin Society).
Each year, the Institute organises the international festival ‘Chopin
and his Europe’, and every five years the International Fryderyk
Chopin Piano Competition. The Institute publishes discs (CD and
DVD) and books (including a facsimile edition of all Chopin’s extant
music manuscripts) and carries on research and education work.
Also part of the Institute is the Fryderyk Chopin Museum, situated
at Ostrogski Castle in Warsaw, which holds the largest collection of
Chopin-related items in the world. A branch of the Chopin Museum
is the Birthplace of Fryderyk Chopin and Park in Żelazowa Wola.
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NOTAM
Norwegian Center
for Technology in Music
and the Arts
NOTAM (Norwegian Center for Technology in Music and the Arts)
is a national resource center for sound-based arts. Founded in 1992,
NOTAM has conducted research and developed both theoretical
and practical knowledge of technology in the fields of composition,
production, educational activities and the dissemination of art and
music.
As a developer of interactive technology, NOTAM also creates good
opportunities for Norwegian composers on the international stage.
Additionally, the center plays a key role in the dissemination of the
musical heritage of Norwegian pioneers in music technology.
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Supported by a grant from
Iceland, Liechtenstein and
Norway through the EEA
Grants and co-financed by
the Polish funds
www.chopin.nifc.pl
www.eog.chopin.nifc.pl
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