Opening Recital in Mazovia Chopin Festival
Chopin.jpg
Detail:

Chopin Ballade no 3 in A flat
Chopin Etudes op 10

THE CHARACTERISTICS OF THE INTERNATIONAL CHOPIN FESTIVAL IN MAZOVIA


As mentioned in the opening editorial of this issue, the annual Chopin Festival in Mazovia is a remarkable, loving and inspirational event. The brain child of Warsaw pianist and Professor Jan Kad?ubiski it has been held for nearly a quarter of a century in the music school of Sochaczew, a small town only a few kilometers from Chopin’s birthplace. The 24th competition was held from 3-6 November 2016. I was first invited to join the jury of this competition ten years ago, and now look forward eagerly to returning each year. The reasons for this are simple - Jan has created a unique atmosphere. There is a sense of community, friendliness and inspiration about everything to do with the event. Beginning with recitals by members of the jury, the competition then proceeds with around 50-60 young pianists performing repertoire from one of four categories. There is no age limit and no restriction. Pianists may play works as simple as Minuets from the Anna Magdalena Bach Notebook in the first category, or the Bach Inventions and Sinfonias in the second and third categories. The more advanced classes in the competition ask performers to play one of the Bach Preludes and Fugues, and in category four, the most advanced section, pianists are asked in addition to perform two Chopin etudes as well as one of the major Ballades, Scherzos or Polonaises.

Around a third of the pianists who enter are invited to perform not only in a concert afterwards in the music school at Sochaczew, but also in two selected venues in Warsaw (about a 45-minute drive from Sochaczew). Additionally, prizes are offered in the form of gifts to the performers, and invitations are also often given to perform in international festivals such as the annual one held in Novi Sad for the WPTA. For the jury, family and entrants there is the added excitement of being able to visit the house and gardens where Chopin was born, as well as to stay in the elegant and characterful ‘Hotel Chopin’, which always makes you very welcome. Much more information can be found from the festival’s website- www.muzyczna.e-sochaczew.pl But over now to Jan himself to explain in more detail about the event and the motivation behind its creation:


The Second World War put back for a few years the development of the cultural life of most big capitals, as well as smaller centres around the globe. Despite this, in reaction to the horrible experience, the fixed European habits of civilization occurred: it happened relatively quickly, in the mid-40s of the 20th century.
At the same time an interest in the culture of the old continent increased, in a paradoxical way, (though in accordance with just arising epoch of globalization) on non-European areas of ancient civilization remaining for centuries in isolation.
The Far East countries emancipation and a tremendous development of media (Television, Internet) together with easiness of movement of giant masses of the population (also in the continental dimension) were, again in a paradoxical way, conducive to this phenomenon.
Because of those rapid transformations "ideas of competitiveness” increased, which not only have become the main driving force for economic development, but also conquered almost all the fields of social life, not excluding culture-the high and the mass one, as well as, all kinds of publicly accessible entertainment.
That has led to the exponential growth of various forms of confrontation in the form of exhibitions, shows and, above all, competitions, in the field of creativity and artistic activity (including music) aimed at the world's best products, the most outstanding works of art, the best performers – all that, according to
(specially for this purpose appointed) expert assemblies, deserved the magical word "best".
Any form of competition means the application of the criteria of the "better" or the "best" and as a consequence the "worse". Such criteria are in a simple way used in sport: the time measured in hundredths of a second, the result in centimeters of length or height are undisputed.
In the forms of Visual Arts (formerly known as "the beautiful"), in architecture, in the works of literature, poetry, drama, and music-in the absence of measurable criteria (space and time)- the only criteria remain the individual opinions of people considered as experts and colloquially called jurors.
Without trying to discuss the term "expert" I concentrate on an undisputed positive of organizing competitions of music, which can be a help in starting a career as a virtuoso.
At the same time, according to some publications of such institutions as the Alink-Argerich Foundation, or World Piano Teachers Association show that increasing number of International Music Competitions in Europe alone, and only within one year, reaches a good few hundreds (not to mention more and more frequently organized competitions in the countries of Asia, Australia, Oceania and the Americas).


In the face of such abundance of competitions and consequently thousands of their winners, called the laureates (only the winners of the first prize and only the most "prestigious" international events count of course), I wish to cite the statement of Halina Czerny Stefa?ska, being a juror of successively following three "big" international competitions, Van Cliburn's in Fort Worth-in the USA, Hamamatsu-Japan and Tchaikovsky-in Moscow: "in all three is the same composition of the jury, the same candidates, the same repertoire!".
Aged, but until the end of his days a tireless pianist, pedagogue and juror, Gyorgy Sandor repeatedly lamented: "still more competitions – still less recitals!".

Where are (or should be) positives - there are also negatives: the latter can include frustration, and sometimes serious mental breakdowns affecting competitions’ participants , the so-called rejected candidates. The reason for these negative phenomena is the same principle functioning in competitions, which consists of ELIMINATING most in order to promote a few, numerically hierarchical group of "winners".

Almost from the beginning of our Festival we have chosen such a FORMULA, under which an International Jury, in each subsequent edition shall designate at least twenty of the best prepared, and, in this particular time, the best disposed young artists to perform at a ceremonial Concert of Winners.
I assume that comparing artistic individuality and potential opportunities of very young participants, although it is interesting, should not necessarily lead to their ranking, at least in the authoritative way( I mean, according to the order of places granted, until the exhaustion of the shortlist of awards), and as a result-to reject the remaining ones, together with their unexplored to the end capabilities, on the margin of our appreciation.
This means that the guiding idea of our International Chopin Festival of Mazovia is not an elimination in order to promote "the best", but only the PROMOTION of the capable and talented individuals.


JURY MEMBERS from 2006 to 2015


15-18.11.2006 r.
Jury of the XIVth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman

Prof. Maria Szmyd-Dormus

Prof. W?odzimierz Obidowicz

Prof. Jerzy Sterczy?ski

15-18.11.2007 r.
Jury of the XVth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Pierpaolo Levi

prof. Murray McLachlan

prof. Maria Szmyd – Dormus

prof. W?odzimierz Obidowicz

prof. Jerzy Sterczy?ski


20-24.11.2008 r.
Jury of the XVIth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Pierpaolo Levi

prof. W?odzimierz Obidowicz

prof. Jerzy Sterczy?ski

prof. Nat Yontararak

prof. Anton Voigt


19-23.11.2009 r.
Jury of the XVIIth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Dorian Leljak

prof. Pierpaolo Levi

prof. W?odzimierz Obidowicz

prof. Jerzy Sterczy?ski

prof. Anton Voigt


23-26.09.2010 r.
Jury of the XVIIIth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Dorian Leljak

prof. Jerzy Sterczy?ski

prof. Anton Voigt

Nat Yontararak


15-20.10.2011 r.

Jury of the XIXth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Dorian Leljak

Pierpaolo Levi

prof. Anton Voigt




17-22.11.2012 r.
Jury of the XXth International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Andrée Darras

prof. Dorian Leljak

prof. Murray McLachlan

prof. Mi?eál O'Rourke



15-20.11.2013 r.
Jury of the XXIst International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Jerzy Sterczy?ski

prof. Dorian Leljak

prof. Murray McLachlan

prof. Mi?eál O'Rourke


03-08.11.2014 r.
Jury of the XXIInd International Chopin Festival in Mazovia

prof. Jan Kad?ubiski –chairman
prof. Andrzej Dutkiewicz

prof. Carlo Grante

prof. Dorian Leljak

prof. Murray McLachlan


25-30.11.2015 r.
Jury of the XXIIIrd International Chopin Festival in Mazovia

prof. Jan Kad?ubiski – chairman
prof. Andrzej Dutkiewicz

prof. Dorian Leljak

prof. Murray McLachlan


REGULATIONS

The young artists had to prepare for an audition the programme containing Bach and Chopin's works. There is no dividing the participants into age groups. Instead of that, they could prepare for an audition the programme chosen from one of the four repertoires showing their advanced level.

I repertoire
One of the following works:
1. J.S. Bach Minuet in C minor (French Suite in C minor) or
Minuet in G major (Notebook for Anna Magdalena Bach)
Prelude in D minor (Small Preludes Nr 5)
2. F. Chopin One of the three early Polonaises: in G minor -1817,
in B flat major – 1817, in A flat major - 1821
Special Award for the best performance of the Polonaise in A flat major


II repertoire
1. J. S. Bach One of the Inventions “a 2 or 3 voci” or
F. Chopin – Fugue in A minor (Ed. I.J. Paderewski, “Minor Works”)
Special Award for the best performance of the F. Chopin’s Fugue in A minor

2. F. Chopin One of the following works (Ed. I.J.Paderewski):
Nocturne in C minor op.posth.; Nocturne in C sharp minor op.posth.
Mazurka in F major, op.68 no.3, Mazurka in C sharp minor op.6 No.2 ;
Mazurka in B flat major op.posth. No. 56
Contredance, Cantabile, Largo, Feuille d'Album;
Waltz in A minor, op. posth., Waltz in E major op.posth.
(Ed. PWM, Two forgotten Waltzes)


III repertoire
1. J.S. Bach - Prelude and Fugue from the 1st or 2 nd volume of DWK (Ed.URTEXT)

2. F. Chopin - 2 different works from the following:
Waltzes , Nocturnes, Mazurkas, Impromptus;
3 Ecossaises op. 72, Rondo in C minor op.1; Etude op.10, Op. 25
3 Etudes from Méthode des Méthodes (Trois Nouvelles Études)
Polonaises (excluding the 4 great Polonaises)


IV repertoire
1. J.S. Bach - Prelude and Fugue from the 1st or 2 nd volume of DWK (Ed.URTEXT)

2. F. Chopin - Two Etudes from op.10 or op.25;

3. F. Chopin - One of the following works:
Ballades; Scherzos; Polonaises: A flat major op.53; F sharp minor op.44
Tarantella op.43; Bolero op.19; Berceuse op.57
Variations brillantes op.12 „Je vends des Scapulaires”


All the participants have to performed their repertoires by heart




1. All participants will get Honourable Diploma.
2. The Lauraets will get awards during the Gala Concert of the Prize -Winners.
3. The programme of Gala Concert of the Prize- Winners will be settled by Jury.
4. All of the Prize – Winners will be obliged to take part in the Gala Concert
as well as they will be honored to participate in prestigious concerts at
the Concert Halls of Warsaw on 29 th. November 2015.

5. Meeting of the Teachers of the Participants with members of the
International Jury will be possible after auditions of the all participants.
6. Jury will select participants after listening all repertoire groups.
7. The list of admitted participants will be available on the website
www.muzyczna.e-sochaczew.pl.
8. Rehearsals will be settled by the organizers, the schedule will be send on the school
address.
9. All details connected with the Festival will be posted on our website:
www.muzyczna.e-sochaczew.pl
or phones: tel./fax – 48 46 862 29 62

mobile phone +48 604469391
10. All of the participants must be ready one hour before their scheduled recitals.

11. Organizer secure the lunch for the participants in the public audition day.

12. Participants' auditions and Prize-Winners Concerts can be transmitted on
the radio and TV as well the photos can be taken for the purpose of the Press
and the Festival promotion.
13. The participants are responsible for their own travel and accommodation costs.




prof. Jan Kad?ubiski
Chairman of the International Jury


Type: Recital
Date: Thursday 23 November 2017
Start Time: 19.00
End Time: 21.00
Speaker/Performer: Murray McLachlan