The Semi-Annual Magazine of the Chopin Foundation of the USA

Officers & Directors Krzysztof Penderecki Honorary Chairman

Blanka A. Rosenstiel - Founder & PresidentOlga Melin - Vice President

Dr. William J. Hipp - TreasurerRebecca Baez - Secretary

Dr. Adam Aleksander - Artistic AdvisorJadwiga Viga Gewert - Executive Director

DirectorsAgustin Anievas, , Roberta O. Chaplin, Douglas C. Evans, Rosa-Rita Gonzalez, Renate Ryan, Lorraine Sonnabend

Regional CouncilsMack McCray – San Francisco Chopin Council

Allan Park – Northwest Chopin Council

Scholarship CommitteeDr. Adam Aleksander, Agustin Anievas, Dr. Hanna Cyba

Advisory BoardBonnie Barrett – Yamaha Artist Services

Dr. Shelton Berg – University of Miami Frost School of MusicRon Losby – Steinway & Sons

International Artistic Advisory CouncilAgustin Anievas, Martha Argerich, Emanuel Ax, Jeffrey N. Babcock, John Bayless, Luiz Fernando Benedini, John Corigliano, Ivan Davis,

Christopher T. Dunworth, Charles Dutoit, Nelson Freire, Bruno Leonardo Gelber, Gary Graffman, Horacio Gutierrez, Marta Istomin, Byron Janis, James Judd, Cyprien Katsaris,

Zoltan Koscis, Jacob Lateiner, Garrick Ohlsson, Paloma O’Shea, Daniel Pollack, Maurizio Pollini, Abbey Simon,

Stanislaw Skrowaczewski, Michael Tilson Thomas, Charles Wadsworth, Susan Wadsworth, Krystian Zimerman

Editorial

Polonaise is published semi-annually by the Chopin Foundation of the USA

1440 79th Street Causeway, Suite 117, Miami, FL 33141Editorial Office: 305-868-0624 • 305-865-5150 (Fax)E-mail: info@chopin.org • Website: www.chopin.org

Publisher: Lady Blanka A. RosenstielExecutive Editor: Jadwiga Viga Gewert

Contributors: Rena Kizilisik, Lynne Schaefer, Mack McCray, Allan Park

Design by: Jacober + Associates, Miami Beach

SPRING 2013VOLUME XXIII/NUMBER 1

TA B L E O F C O N T E N T SMessage from the Founder and President ................................................................................... 2

Chopin Foundation Donors and Contributors ............................................................................... 3

Message from the Executive Director .......................................................................................... 4

Highlights from our Recent Concerts ........................................................................................... 5

San Francisco Chopin Council ....................................................................................................... 6

Northwest Chopin Council ............................................................................................................ 7

2013-14 “Chopin for All” FREE Concert Series ............................................................................. 9

2013-14 Membership Concerts ..................................................................................................... 9

“CHOPIN & LISZT: AFFINITIES IN WORK & RELATIONSHIP” Irena Poniatowska ..................... 10

Scholarship Program for Young American Pianists .................................................................... 14

MTNA “Chopin Prizes” ................................................................................................................. 15

Musical News and Notes for Young Pianists and Piano Teachers .............................................. 16

Support Young American Pianists ............................................................................................... 17

CHOPIN FOUNDATION OF THE UNITED STATES, INC.

Copyright © 2013 Chopin Foundation of the United States, Inc. All rights reserved.

2 // POLONAISE SPRING 2013

I have always believed in the magic of music. During the 35 years of the Chopin Foundation, I have seen over and over again how music thrills and soothes, entices and moves, and touches every one of us at our very core. Music has the power to unlock our hearts and emotions, and I know that the passionate music lovers I have had the privilege to meet over the years share my ardent belief that music is one of the most vital pleasures of our lives.

There is no better evidence of how much classical music is still in demand than at our “Chopin for All” FREE Concert Series which is in its seventeenth successful season. If you don’t arrive at our concerts at the Broward County Main Library early enough, you may be seated in the lobby in front of the monitor and speakers, since all the seats are taken the moment the doors open. At Granada Presbyterian Church every concert attracts about 500 avid guests! Music lovers from all walks of life are united by Chopin’s music. Many of them have attended year after year since the series began in 1996, and bring their friends and family, who then bring their friends and on and on it goes. Our hearts and spirits are never tired of music - we need it - and I promise you we will continue bringing exciting and gifted musicians to delight all of your music “senses!”

In this issue you will find our schedule for the new season of concerts in which we will introduce a number of young artists who have never performed here – outstanding young Americans, an exchange artist from Kosovo, and the upcoming winner of the 2013 International Paderewski Competition.

I am very pleased to announce the dates of our Ninth National Chopin Piano Competition of the USA, held in Miami, February 21 through March 1, 2015. As always, our rules are based on the requirements of the International Chopin Competition in Warsaw. We look forward to the excitement of both - the national and international competitions - but before that a new batch of scholarship recipients will be selected by June 15th of this year. It is our hope that some of these talented young musicians will be ready to enter the 2015 Chopin Competition.

Also this year, I am thrilled that once again there are two new winners of the Chopin Prizes at the Music Teachers National Association Piano Competition, in Junior and Senior categories. The first prize winner in the Young Pianists category will perform for us in South Florida next season. I am so grateful for all the piano teachers across the country who collaborate with us in searching for young talent. Together we can do more!

I want to thank all music lovers, members, and avid supporters for helping us to carry on our mission. With your ongoing generosity and love of music, the Chopin Foundation will be able to grow and expand its musical reach for years to come, and to continue creating magic!

Affectionately and musically yours,Blanka A. Rosenstiel

Message From The FOUNDER

Blanka A. Rosenstiel, Founder & President

“Words are wonderful enough; but music is even more wonderful. It speaks not to our thoughts as words do; it speaks straight to our hearts and spirits, to the very core and root of our souls.“ - Charles Kingsley (1819 – 1875)

POLONAISE SPRING 2013 // 3

FOUNDERLady Blanka A. Rosenstiel

GRAND BENEFACTORSMiami-Dade County Department of Cultural Affairs and the Cultural Affairs Council,

The Miami-Dade County Mayor and Board of County Commissioners; Florman Family Foundation, Mark Blank Chairman; Brenda Bruce Fountain; Louis Leibowitz Charitable

Foundation, Marvin & Isa Leibowitz; The Rosenstiel Foundation; Southern Wine & Spirits of America, Harvey & Roberta Chaplin, Chairman & CEO; Yamaha Artist Services

BENEFACTORSAmerican Institute of Polish Culture, Agustin & Carol Anievas, Audrey Love Charitable

Foundation, Manuel & Rebecca Baez, George Berberian, The Beveridge Family Foundation, Broward County Main Library and Friends of the Fort Lauderdale Libraries,

The City of Coral Gables, Chopin Imports, Corduroy Charitable Trust/Mark D. Howland, Embassy of the Republic of Poland, Funding Arts Network, Greater Miami Convention & Visitors Bureau, William & Frankie Hipp, Sheldon L. and Pearl R. Leibowitz Foundation,

David & Olga Melin, Sonny Nguyen, Piano Music Center, Renate Ryan, Stephen & Lorraine Sonnabend, Tian Ying, Juana Zayas

PATRONS

Ruby Bacardi, Isa Baez, Enrique & Lina Blondet, Frances & Janusz Burzynski, Doan Bao Tran, Philip Caswell, III, Buddy & Diane Cohen, Sandra Davis, Carlos & Carmen Dominguez,

Allan & Susan Dunn, Mayor Norman Edelcup, Douglas Evans, Pamela Garrison, Lenore Gaynor, Clifford & Norma Hall, Herbert & Madeline Hillsberg, Jadwiga Henderson,

Christopher Humberston & Luisa Ruffin, Dr. Idalia Lastra, Jesus & Silvia Lastra, Joseph Lavinio & Richard Jannotti, Richard & Theresa Lubman, Laureano & Ana Martinez,

Terry & Louise Moore, Northwest Chopin Council, Ralph & Elizabeth Piotrovsky, Daisy Richardson, Carlos Rivas, Carol Romer & Bill Nigh, Richard & Anne Rosenfeld,

Alicja Schoonover, Dolores Seidon, Lisa Werner & Peter Seite, Fred Seltzer, Clara Sredni, Duane & Liliana Treeman, Jacqueline Tuozzolo, Tatiana & Gerrit Verberg, Von Holtzbrinck

Publishing/Patricia Hall, Ligia Wiegand, Robert & Julie Williamson, Bevy Yuz

FRIENDSFranklin & Dorothy Abel, Sonia Alcazar, Michael Alexander, Hilda Andrews, Richard Ascher,

Claudine Assous, Evelyn Axler, Tadeusz Babij, Philip Balbi, Milton & Adelle Bandklayder, Allan Behm, Eric Berger, Ophelia Bertran, Emily Boraby, Loretta Bready, Dr. Thor Bruce, Honorable S. Peter Capua, Alfred Casaretti, Paolo Carega, Erich Cauller, Carole Cohen,

Raymond & Cornelia Copell, Carmen Cuenca, Robert Fithian, Mildred Cohn, Robert Connor, Edith Cubas, Rosemary Curasi, Margareta De Gea Grezell, Hermine Dessort,

James & Joan Dezell, Elena Duyos, Norman & Diana Elson, Rita Essner, Elisabeth Evans, Mary Fader, Grecia Falcon, Paula Finkle, Susan Fleming, Florence “Flossie” Fowlkes,

Candido Font, Merle Frank, Roberto & Marie Friedman, Donna Genet, Margarita Garcia, Dalia Glottman, Rosa-Rita Gonzalez, Ken & Gladys Gold, Carmen Gonzalez, Keith Gray,

Bernice Harris, Carol Hill-Williams, Helene Houge, Petrina Hurlbert, Emilia Ibanez, Gail Ironson, Claire Jacobson & Marvin Roth, Mr. & Mrs. Benjamin Jacobstein,

Jerome & Anita Kaplan, Rita Kritcher, Dr. Iris Lash, Judy Lawton, David Lazovitz, Mr. & Mrs. Norman Leathers, Marilyn Levine, Barbara Levy, Norman & Nancy Liebman,

Lucy London, Zenobia Logusz, Darren Lyle, Erna Mayer, Abel Merrill, Roger & Elizabeth Mervis, Teresita Mestre, Mary Morales, Li Chiung Moyant, Jeffrey Mullens, Avis Lee Neiman, Marta Olchyk, Nelsie Parada, Cyril & Marie Parkanyi, Bertin & Maria Perez,

Suzette Pope, Alan Phillips, Miriam Rodriguez, Floyd Rosen, Arnold & Edith Rosenberg, Eugene & Jacqueline Ross, Charles Rubenstein, Sheldon & Bernice Rubin, Anne Russinof,

Carol Sadowski, Leonard Sanginario, Helen Saulson, Rose & Alan Sazant, Reiner & Barbara Schwebel, Margaret Seroppian, Daniel Setton, E.M. Setton,

Denyamin & Laura Shurik, Leslie Silverman, Marilyn Silverstein, Norman & Audrey Skopp, Linda Smoak, Peter Steinberg, Barbara Stephens, Karen Strouse,

Amanda Suarez, Elizabeth Sullivan, Grace Sullivan, Hilda Sussman, Henryk Switala, Irene Szulman, Dean Taylor, Dwight Taylor, Richard & Evelyn Vaz, Jon Verbalis, Vivian Waddell,

Lee Walter, Jean Warner, John Williams, Lee Wouters, Joanna Zaremba

PARTNERS IN THE ARTSClassical South Florida 89.7FM, WLRN 91.3FM, The Miami Herald,

Sunday Afternoons of Music/Doreen Marx, CGCC Community Arts Program/Mark Hart, Friends of Chamber Music of Miami/Julian Kreeger,

The Rosenstiel School of Marine & Atmospheric Science, The Village of Key Biscayne

DONORS & CONTRIBUTORS

We extend our deepest thanks to those whose vision and support have helped us in our mission: that of developing the next generation of great musicians.

May we continue to add to this esteemed roster others who would join us in our mission.

4 // POLONAISE SPRING 2013

Our 2012-2013 season of concerts have again been the talk of the town. The Southern Wine & Spirits of America’s “Chopin for All” FREE Concert Series opened in October with our Top Teenage Talent – the 2012 Chopin Scholarship recipients, Connie Chen and Gabrielle Chou, in two superb concerts staged at our usual locations: Broward County Main Library’s concert hall and Granada Presbyterian Church in Coral Gables. The December 2012 concert featured phenomenal young cellist, Jonah Kim, who charmed the audience in a duo performance with the more understated Andrew Tyson, the winner of the 2011 YCA Competition. In January 2013, we presented a rising star of American piano, Steven Lin, a Third Prize Winner of the 2012 Hilton Head International Piano Competitions. In February, the 2012 Chopin Prize Winner of the Music Teachers National Association’s (MTNA) Piano Performance Competition, Yi-Yang Chen from Taiwan, performed a program from Chopin to … Yi-Yang Chen! The March 2013 concert featured Igor Lovchinsky, a finalist of our 2005 National Chopin Competition, performing a lively solo as well as a duo with the violinist

Christina McGann. The April 2013 concert will presented preselected Miami-Dade and Broward piano students, aged 7 to 17 years old, in an all-Chopin program. The series concludes in May 2013, with the young Polish pianist Piotr Kosinski, winner of the 2010 International Paderewski Piano Competition in Los Angeles, who comes to us as an exchange artist.

Our Salon Membership Concerts presented three Masters of the Piano – Adam Aleksander in November, Ning An in January, and Mei-Ting in March at the elegant La Gorce Country Club on Miami Beach.

The most important concert of the season will feature Rafal Blechacz, the 2005 International Chopin Piano Competition Winner, who will perform in Miami on May 7, 2013, as part of our collaboration with the Friends of Chamber Music of Miami. No music lover should miss this concert!

We hope to see you at our exciting events next season, starting November 2013!

Message From The EXECUTIVE DIRECTOR

Jadwiga Viga Gewert

Young Pianists Concert, Fort Lauderdale Young Pianists Concert, Miami

POLONAISE SPRING 2013 // 5

OCTOBER

DECEMBER

JANUARY continued

JANUARY

FEBRUARY

MARCH

NOVEMBER

Connie and Gabrielle with Brenda BruceFountain, Lady Blanka & Renate Ryan

Andrew & Jonah with Cynthia Shulman, Main Library Manager,

& Viga Gewert

Yi-Yang Chen at the piano

Christina McGann & Igor LovchinskyJonah & Andrew with

Lady Blanka & the artists’ hostess, Miriam Guazzini

Yi-Yang Chen with Diego Arevalo & his parents

McGann & Lovchinsky with Leibowitz Family

Mei-Ting Sun with Iga Henderson, Rena Kizilisik & Mark Greenberg

Gabrielle alsoplays violin

Jonah Kim & Andrew Tyson

Yi-Yang Chen with the Lee family, Jessica, Chien, Dickson & Sylvia

McGann & Lovchinsky

Rick Mailinowski from Piano Music Center, Bonnie Barret from YASI,NY,

Lady Blanka & MTS

Rosa Rita Gonzalez & Hilda Andrews with MTS

Adam Aleksander flanked by Grazyna & Dr. Zbigniew Wojciechowski from Texas

Kinga Augustyn

Ning An with Barbara Pagowska, Agnieszka Gray & Lady Blanka

George Berberian, Olga Melin & Ning An

Dr. Howard Sanford, Brigitta & Mano Solinski & Margery Sanford

with Steven Lin

Ning An at La Gorce Country Club

Hanna Cyba & Adam Aleksander

Chopin Members

Gabrielle Chou &Connie Chen

HIGHLIGHTS FROM OUR CURRENT SEASON

Steven Lin introduces

his program

Steven with young audience

6 // POLONAISE SPRING 2013

CHOPIN FOUNDATION COUNCIL OF SAN FRANCISCO

Mack McCray, President

It’s been an eventful year. We were thrilled to be contacted by Allan Park, president of the Northwest Chopin Chapter -- it’s not so lonely out here on the West Coast now! I visited the Council in Seattle as one of the judges for their Chopin competition, and was delighted with the level of enthusiasm on the board and talent among the students. Chopin Council of San Francisco and Chopin Council of Northwest are planning to do some projects together, which means we will be able to lure notable pianists out here to the West Coast for a tour of concert dates at a more attractive fee.

San Francisco had its largest Young Pianists Chopin Piano Competition to date, so large that we had to use two sets of judges and two different performance halls in the San Francisco Conservatory! The winners performed in a concert the following night, and performed again at our holiday concert and reception in December at the beautiful Queen Anne Hotel.

Lo-An Lin, the recent First Prize Winner at the San Antonio International Piano Competition, performed a beautiful recital for our traditional Chopin Birthday Celebration on February 24th.

We are planning to have Claire Huangci, Winner of our 2010 National Chopin Piano Competition, perform next year’s Birthday Concert both in San Francisco and Seattle.

For more information please visit our website at www.chopinsf.org.

The 2012 Winners performed the Holiday Concert

Pictured here with members of SF Council’s Board of Directors

Chopin BirthdayConcert Artist Lo-An Lin with Mack McCray

POLONAISE SPRING 2013 // 7

Our Chopin Council completed its 2013 Festival on February 2nd. Over 140 talented pianists from the Northwest region competed in four age categories. Our adjudicators were Mack McCray, Ning An and Yoshi Nagai. Winners of the Festival returned the following day to perform at Seattle’s most well known mansion - The Polish Foundation Home. The day was filled with beautiful music and interesting vignettes from our honorary emcee, Dr. Steven Lagerberg. Alison Bell, our former President, presented the awards with my assistance. The mansion was filled to capacity 15 minutes prior to starting.

We had a wonderfully organized registration volunteer staff, door monitors and assistants to help run the program smoothly. Our principle program director, Judy Baker, made sure that the judges, volunteer staff and board members were fully equipped with everything for a successful day of adjudicating.

While Chopin NW did not award a Concerto winner this year, we were able to proudly offer a live Concerto performance with a 5 piece chamber orchestra to our 13 year old GRAND PRIZE WINNER, Shannon Cassady. She performed the 1st movement of the Chopin’s E Minor Concerto.The following week, 14 students who received Honorable Mentions performed at Sherman Clay in downtown Seattle on the legendary Horowitz Concert Grand.

We will be returning to The University of Washington School of Music again in 2014 with new adjudicators selected from different regions of U.S. Complete YouTube performances of both the winners and honorable mentions of Chopin NW 2013 can be found at our site, www.chopinnw.org.

The winners for 2013 Chopin Foundation of United States, Northwest Chapter are:

• 2013 Winners for Division A: Edward Zhang, Jeewon Jung, Daniella Tsang

Honorable Mentions: Sandy Huang, Gloria Shen, Katherine Yue, Katherine Li and Dora Ziyan Chen • 2013 Winners for Division B: Millicent McFall, Nathan Lee, Steve Silverberg

Honorable Mentions: Emily Pan, Jonathon Lin, Alex Muyang Zhang, Justin Zhu Cai, Andrew Ma, Adrienna Tran-Pearson, Preston W Lee, Annie Yang, Adrian Fan, Janet P. Phang • 2013 Winners for Division C: Alexander Lu, Daniel Park Oslin, Jay Tanaka Grinols

Honorable Mentions: William Zhang, William Huang, Jason Dan, Bryan Zhao • 2013 Winners for Division D: Sun Chang, Alexander Zhu, Nicholaus Poelwijk

Honorable Mentions: David Siebert, Megan Lee, Heaven Wei-Line, Dillon K Ching, Katharine Zorich, Audrey Chen, Noelle Elyse Farr, David Shin, Irene Sue Hwang, Anna Pham, Amber Tang • 2013 Winners for Division E: Shannon Cassady

CHOPIN FOUNDATION COUNCIL OF NORTHWEST

Allan Park, President

The Chopin Foundation’s programs are sponsored in part by the Miami-Dade County Department of Cultural Affairs and the Cultural

Affairs Council, the Miami-Dade County Mayor and the Board of Commissioners; the City of Coral Gables; numerous generous

individuals; and the following:

OUR SPONSORS

POLONAISE SPRING 2013 // 9

All concerts are presented in two locations:SATURDAYS at 3PM at Broward County Main Library, 100 S. Andrews Ave, Ft. Lauderdale

SUNDAYS at 3 PM at Granada Presbyterian Church, 950 University Drive, Coral Gables Admission FREE; No Tickets Required

SALON STYLE MEMBERSHIP CONCERTS

HOLD THE DATES!

November 2, 2013, 3 PM, Ft. LauderdaleNovember 3, 2013, 3 PM, Coral Gables Menan Berveniku, young emerging pianist from Kosovo

December 7, 2013, 3 PM, Ft. LauderdaleDecember 8, 2013, 3 PM, Coral Gables Drew Petersen, Full Chopin Scholarship recipient & baritone Erik Petersen – Chopin & Schubert

January 18, 2014, 3 PM, Ft. LauderdaleJanuary 19, 2014, 3 PM, Coral Gables Conlan Miller, 2013 winner of the Music Teachers National Association’s Piano Performance Competition

February 8, 2014, 3 PM, Ft. LauderdaleFebruary 9, 2014, 3 PM, Coral GablesLindsay Garritson, an award winning young American pianist, violinist and vocalist

March 15, 2014, 3 PM, Ft. LauderdaleMarch 16, 2014, 3 PM, Coral Gables2013 Int’l Paderewski Piano Competition winner; name TBA

April 12, 2014, 3 PM, Ft. LauderdaleApril 13, 2014, 3 PM, Coral Gables Young Pianists Concerts – young local piano students in an All-Chopin program

May 17, 2014, 3 PM, Ft. LauderdaleMay 18, 2014, 3 PM, Coral Gables Micah McLaurin, an award winning 17-year old American pianist

For more information please call the Chopin Foundation

at 305.868.0624 or visit www.chopin.org

CHOPIN FOUNDATION OF THE UNITED STATES PRESENTS SOUTHERN WINE & SPIRITS OF AMERICA’S

2013-2014 SEASON OF CONCERTS“CHOPIN FOR ALL” FREE CONCERT SERIES

November 17, 2013 Artist TBA

January 11, 2014 Artist TBA

March 30, 2014Artist TBA

Membership not required to attend our elegant, salon-style, Sunday afternoon concerts followed by a mirthful wine reception and then a sumptuous dinner at beautiful La Gorce Country Club on Miami Beach.

It’s a delicious return to a bygone era of gracious civility when people dressed for dinner, feeling glamorous and posh in a private recital, luxuriating in magnificent music made by masters of the piano, then breaking bread and enjoying sparkling conversation with ladies and gentlemen of the smart set just like you. If you are in South Florida in season, we would love for you to join us!

Concert with wine reception FREE TO MEMBERS; dinner additional.

Non-members: $45-$100. Get all the details at www.chopin.org or get old-school and call us at 305/868-0624.

The Chopin Foundation is dedicated to promoting young American rising-star classical musicians through scholarships and performance opportunities. Become a Member, from $200, and help us implement our mission of nurturing the future masters musicians and promoting classical music in the USA.

10 // POLONAISE SPRING 2013

Chopin and Liszt were the greatest performers and composers of all 19th-century pianists, so much so that they could in fact be described as “composer pianists” or “pianist composers.” In the 19th century they were perceived as a kind of artistic twins; Wilhelm von Lenz (writing in his 1872 book on Liszt, Chopin, Tausig and Henselt) and Lina Ramann (writing in her three-volume monograph on Liszt, 1880-1894) dubbed Chopin and Liszt “the Dioscuri”, i.e. Castor and Pollux, twin sons of Zeus and Leda.

The relationship between Chopin and Liszt is usually discussed in the context of their work and their friendship. In artistic terms, there are obvious mutual connections, influences and inspirations which suggest strong artistic links between the two men. Their social relationship and friendship, on the other hand, has been clouded by a degree of controversy, especially in the wake of the recent explorations of their mutual disagreements. Chopin scholars tend to look for ways of laying the blame squarely on Liszt. The Liszt party argue that the two composers remained moderately friendly, and draw attention to Liszt’s repeated efforts to shore up his friendship with Chopin, which prompted S. Gut to describe their relationship as une amitié à sens unique (a one-way friendship). i

As artist and composer, Chopin was always an impenetrable individuality and – excepting his young years – he tended to resist external influence. Liszt was his opposite: he absorbed new ideas, doctrines

and artistic trends eagerly, and fell easily under other people’s influence. To simplify slightly, Chopin was introverted, and Liszt was an extravert. Following his fascination with, and thorough exploration of, the

brillant style, Chopin withdrew into individualism whereas Liszt kept looking for new sources of inspiration to finally embark on a search for religious ecstasy. Both were firmly focused on piano composition. Chopin remained loyal to his instrument throughout his life; Liszt focused his efforts on the piano until 1848, the year he gave up his virtuoso career and began to express himself in other music genres, and even then he continued to regard the piano as a special kind of microcosm.

As Paul Badura-Skoda points out, it was from Liszt that Chopin learned to take a complete orchestral approach to the piano sound. By way of example Badura-Skoda points to the chorale section of the Nocturne in C minor, several etudes, polonaises and sonata passages. Liszt, on the other hand, picked up from Chopin an understanding of form and structure, a discovery which brought more restraint and architectural logic to his flights of fancy.ii Such mutual influences are evident in the piano textures of their works, particularly in their etudes. To Liszt, Chopin was a pioneer in terms of new harmonic devices, new forms of ornamentation and new types of figuration such as his tempo rubato or his nuanced sound effects – the influence of which can be discerned in Liszt’s Trois Apparitions (particularly in the last one), in his

By Prof. Irena Poniatowska

This article is an extended and revised version of my article Chopin Liszt: Affinities in their Works and Relationship (Chopin in the World, 1994).

AFFINITIES IN WORK & RELATIONSHIP

POLONAISE SPRING 2013 // 11

etude La leggierezza from the cycle Trois Etudes de Concert (1848), in the first version of his Berceuse, in his Consolation No 3. Liszt’s Six Chants Polonais, which he based on Chopin’s songs, are transcriptions with varying levels of fidelity. The Spring is the most faithful piece in the collection, and The Ring, too, stays with its original model in a relatively disciplined way. The Drinking Song uses flashy glissandos combined with an interpolation from the song The Ring. My Enchantress is an expanded nocturne; A Maiden’s Wish is a set of variations; The Bridegroom’s Return, the last song in the collection, showcases Liszt’s virtuoso dynamism. The Funerailles (October 1849) could be seen as Liszt’s special tribute to Chopin. As Stanisław Gut points out, the work was inspired by Chopin’s death rather than by the Hungarian uprising,iii as some scholars have insisted. In it, Liszt uses figuration patterns taken from the middle section of Chopin’s Polonaise in A flat major, Op. 53. With the exception of the nostalgic En rêve and the 1885 Nocturne (reminiscent of Chopin’s Preludes), the influence of Chopin on Liszt’s music fades and vanishes after 1855.

To an extent, we could talk about Liszt’s influence on Chopin in the Etudes, Op. 10, which are dedicated to Liszt (notably in Nos. 9 and 12) and in the Etudes, Op. 25 (in the last two pieces). Liszt took a long time to come up with his first virtuoso etudes in the 1850s. However, in his Transcendental Etudes as well as in his Concert Etudes Liszt produced a synthesis in which Chopin’s achievements blend with those of Paganini and other composers of the time.

Chopin and Liszt thought of the etude in very different ways. Whereas Chopin tended on concentrate on a single technical problem per etude, giving each piece a uniform texture combined with compact and balanced proportions, Liszt preferred to bring together a number of techniques and textures within a single etude. In this he followed a principle described by J. Milstein as “a maximum of notes in the minimum of time.”4 Liszt’s pieces make use of the full range of his instrument, and he likes to build up a big volume of

sound over a series of gradational variations to achieve a richly textured culmination in the finale. In contrast to Chopin’s economical means of expression, Liszt’s style is opulent, orchestral and theatrical. Only individual etudes, e.g. Waldesrauschen or Chasse-neige, attain uniform figuration thanks to their programmatic nature. Chopin also uses the full range of the piano, extending the figuration patterns to the decima, with passages spanning up to two octaves, to achieve new and surprisingly inventive figuration patterns.

The problem of personal relations between the two artists is often discussed in the literature. After a period of mutual adulation, in which they were genuine and inseparable friends, appearing together in concert in 1833 and 1834, Chopin’s affection for Liszt cooled, inviting scholarly speculation on the likely causes.

Chopin and Liszt first met late in 1831. Liszt attended Chopin’s first Paris concert at the Salle Pleyel in 1832. Different explanations have been considered for Chopin’s change of heart, such as the 1835 meeting of Marie Pleyel and Liszt in Chopin’s rooms, which took place in Chopin’s absence, or the gossip spread by Marie d’Agoult which infuriated George Sand, a conflict which may have led their partners to join the fray out of a sense of loyalty. In 1835 Chopin ignored Liszt’s invitation to visit Switzerland, addressed to him and

F. Hiller, but in 1836 two composers met again on 14 May and, judging from Liszt’s letter to Marie d’Agoult, Chopin was very friendlyiv. George Sand actually first met Chopin in the salon of Liszt and Madame d’Agoult, which she shared with them at the Hôtel de France. Another possible reason for the disagreement could be Liszt’s infamous review of Chopin’s concert. Published in the Gazette Musicale (2.05.1841) under the title of Le Concert Chopin, Liszt’s review focused on the members of high society in attendance (“all this aristocracy by birth, by fortune and by wealth”) and concluded that Chopin was incapable of expressing his ideas, a comment which J.-J. Eigeldinger memorably described as “a coup d’état and a funeral of the first order,”v which must have hurt Chopin considerably. Chopin vented some of his bitterness in letters to his father; the letters have been lost but we know his father’s replies, dated 30 December 1841, 21 March and 16 October 1842. Chopin’s father expresses his regret about the cooling off in the mutual affections of Liszt and Chopin, a development which he finds unexpected, and he gives advice to his son, recommending caution, tact and kindness. In the last letter he emphasises how Chopin was wrong to break off the friendship, Liszt’s boastfulness notwithstanding. He adds: “You were a friend, and it is a thing of beauty among friends to outdo each other in tact.”vi In 1843 Liszt wrote to Chopin to recommend L. Rellstab, in which he assures the Polish composer of his continued admiration and friendship,vii a sentiment which G. Belotti judges hypocritical and purely conventional. In Belotti’s opinion, Liszt was jealous and envious, leading a double game. When asked by Schuberth, his publisher, to speak with Chopin on Schuberth’s behalf, Liszt asked Marie d’Agoult for the favour, because he had no time to write himselfviii. According to Belotti, Liszt’s sole motivation in undertaking to write a life of Chopin was to sabotage Chopin’s fame and to present himself in public as a loyal friendix. In fact, Belotti’s opinion seems to take a page from Jane Stirling’s letters to Ludwika Jędrzejewiczowa: “You will be very disappointed with

12 // POLONAISE SPRING 2013

[Liszt’s] book [on Chopin], which has already come out.” Stirling’s comment on Liszt’s Life of Chopin was that “he is spitting on the plate to discourage anyone from having a taste.” She could not understand why Liszt left Chopin’s piano philosophy out of his book, and added that Liszt was a “vain and mean” person.x

We know that Liszt wrote to Ludwika Jędrzejewiczowa from Pilsen on 14 November 1849, asking her twelve questions on details of Chopin’s life, which Jane Stirling answered. Still, Liszt was not exactly scrupulous in terms of biographical accuracy, publishing some erroneous details, such as the claim that Prince Antoni Radziwiłł helped Mikołaj Chopin finance Chopin’s education. The Chopin family believed that Liszt’s treatment of Chopin was neither patronising nor envious, and Jane Stirling seems to share this view.

As far as Liszt’s book itself is concerned, two opposing critical positions emerged, one romantic, the other positivist. The former praised Liszt refined metaphors and the homage he paid to a friend. The latter accused him of factual inaccuracies and pomposity (Julian Fontana could be counted among Liszt’s critics on that score). This pattern of critical reception continued when the life was published in Polish in 1873. In Kronika Rodzinna [The Family Chronicle], the two artists were compared to “Two gods, each enshrined on a sun of his own,” and the book itself was described as “exuding poetry and love.” On the other hand, J. Kleczyński’s review for Bluszcz [The Ivy] focused on factual corrections of Liszt’s errors.xi

Liszt’s book can in no way be considered a proper biography. Instead, it is a series of studies on Chopin and his music as a quintessentially romantic and Polish phenomenon. At the time of writing, Liszt was oblivious of the artistic quality of Chopin’s cyclic genres – his concertos, sonatas or Polonaise fantasias – a position which he later recanted. When writing of a planned new edition in a letter dated 1 January 1876, Liszt confessed to Princess Wittgenstein: “In 1849 I

did not understand the intimate beauty of Chopin’s last works: the Polonaise-fantaisie, the Barcarole, and I was wary of what I saw as their morbid tone. Now I admire them unreservedly [...] I would argue they are not only perfect, but also very harmonious, showing noble inspiration and artistic proportion, and they are in every way worthy of Chopin’s magical genius. Nobody compares to him...”xii On 20 June 1833, Liszt wrote sincerely to F. Hiller: “Do you know Chopin’s marvellous etudes?”xii Chopin appreciated Liszt’s interpretation of his works but remained silent or vaguely ironic about Liszt own compositions. In a letter to J. Fontana dated 11 September 1841, Chopin wrote: “One day he [Liszt] will be a Member of Parliament – perhaps even King of Abyssinia or the Congo – but where it comes to motifs from his compositions, those are destined to languish in diaries...”xiv – an uncharitable opinion considering that by that time Chopin could only know Liszt’s work composed before 1841. We may suppose that a degree of rivalry was involved. We know that Chopin was an extremely touchy and sensitive individual, and Liszt, though hailed as the “king” of the piano, probably did not relish the prospect of Chopin’s values gaining ascendance and possibly overshadowing his own fame.

Liszt was perfectly aware of Chopin’s greatness, both as a pianist and composer. It would be going too far to accuse him of purposely twisting facts to undercut Chopin’s fame, or to claim that he was increasingly hostile to his rival even after Chopin’s death, as Belotti does. A romantic artist that he was, perhaps Liszt found literature more important than dull fact in being able to penetrate outward behaviour and give a glimpse of the psyche. The specific role of Princess Wittgenstein must also be borne in mind; under her pen, Liszt’s ideas waxed extremely poetic, e.g. in the description of the sunrise which symbolises the return of Chopin’s vital forces after his illness.xv

It goes without saying that Liszt influenced the reception of Chopin’s music during the second

half of 19th century and beyond. Liszt popularised Chopin’s term of żal or soulful sorrow as a key to the character of Chopin’s music, an interpretive concept which remains current to this today (cf. my bilingual album Chopin: The Man and his Music, 1810-2010). We cannot legitimately lay all the blame for failing to understand Chopin’s work or committing biographical errors on Liszt’s doorstep, as other contemporaries and near-contemporaries were equally culpable on both counts. The absurd critical attacks on Chopin’s music in England, Germany and France are an excellent case in point, showing remarkable incomprehension and lack of insight (I have recently compiled those attacks in the big volume Chopin and his Critics. An Anthology up to World War I, edited by I. Poniatowska, NIFC 2011). Later accounts testify to Liszt’s extremely warm attitude towards Chopin. Marie Walewska remembered that in 1868 in Rome Liszt always used to improvise “using Chopin’s canvas,” and that he spoke admiringly about the subtlety of sentiment in Chopin’s music. He treated Chopin’s music with care and veneration when giving piano lessons in 1884-86. When speaking of Kessler’s etudes, Liszt noted: “Chopin and I liked to play them in the 1830s.”xvi Late in his life, Chopin reported from Scotland to his family saying that Mrs Sartoris (Fanny Kemble) is aware of his weakness through common friends Dessauer and Liszt. Perhaps when the time for memories came, any rancour had gone?

Historical accident set the stage for a marvellous relationship when Chopin and Liszt met in Paris like two geniuses from different planets. In the 1830s, the city was a pianistic Mecca, where they each showed the extreme capabilities of the piano – its power and virtuosity as well as its poetry and subtlety. True men of the 19th century, they shared a love for art and romantic passion which placed artists on a par with the Creator. •

(This article was originally printed in “Chopin in the World” no 24/2011.)

POLONAISE SPRING 2013 // 13

Irena Poniatowska, Professor of Musicology, is a Visiting Professor at several universities in Poland - University of Poznan, Jagiellonian University in Krakow, the Warsaw Academy of Music - and abroad. She has chaired the Programme Board of the National Fryderyk Chopin Institute in Warsaw since 2001.

Prof. Poniatowska has written several books, including History

and Interpretation of Music. Research on the Music of the 17th, 18th and 19th Centuries (Cracow 1993) and over 100 articles for leading worldwide music periodicals. She is also an Editor of several cyclic musicological publications, and for the interdisciplinary yearly Barok published by Warsaw University since 1994. During 1962-72 she worked as an Editor for Polish Scientific Publishers, PWN, and from 1972-91 as PWN’s Director of the 20th-century composers department.

Among her major editorial achievements are the critical edition of Maria Szymanowska’s 25 Mazurkas (Hildegard Publishing Co., 1993), the facsimile edition of Chopin’s 24 Preludes Op. 28 with an introduction in Polish, French and English (Biblioteka Narodowa, Warsaw 1999), and a source edition of the Polonaise Brillante Op. 4 for violin and piano by Henryk Wieniawski (Henryk Wieniawski Music Society, Poznań 2000).

Prof. Poniatowska’s wide interests are not limited to piano music. She addresses major methodological and theoretical issues, such as musical history from Baroque to modernity and nationality versus tradition.

About the Authori S. Gut, Frédéric Chopin et Franz Liszt: Une amitié à sens unique in: Sur les traces

de Chopin, textes réunis par D. Pistone, Paris 1984.

ii P. Badura-Skoda, Chopin und Liszt, Österreichische Musikzeitschrift XVII (1962)

No 2, p. 62.

iii S. Gut, Frédéric Chopin et Franz Liszt, op. cit., p. 65.

iv D. Ollivier (ed.), Correspondance de Liszt et de la comtesse d’Agoult, vol. 1-2,

Paris 1933-34, vol. 1, p. 159.

v J.-J. Eigeldinger, Liszt rend compte du concert de Chopin (1841): coup de force et

enterrement de première classe, in: L’univers musical de Chopin, Fayard

2000 [Polish translation : 2010].

vi B. Sydow (ed.), Korespondencja Fryderyka Chopina, vol. 1-2, Warszawa 1965, vol.

2, p. 346-47. Unfortunately, precise information on F. Liszt’s visit to Chopin family

in Warsaw in 1843 is missing (cf. J. Siwkowska, Nokturn czyli rodzina Fryderyka

Chopina i Warszawa w latach 1832-1881 [Nocturne or Frédéric Chopin’s family and

Warsaw in 1832-1881] vols. 1-2, Warszawa 1986-88, vol. 1, p. 257-69).

vii B. Sydow (ed.), Korespondencja Fryderyka Chopina, op. cit., vol. 2, p. 357.

viii G. Belotti, Okoliczności powstania pierwszej monografii o Chopinie, in: Rocznik

Chopinowski No 7 (1969), p. 24.

ix Ibid. p. 29.

x H. Wróblewska-Straus, Listy Jane Wilhelminy Stirling do Ludwiki

Jędrzejewiczowej, in: Rocznik Chopinowski No 12 (1980), p. 140.

xi Kronika Rodzinna 1873 No 24, p. 369; J. Kleczyński - review of F. Liszt’s Fryderyk

Chopin [in Polish], in: Bluszcz 1874, No 2, p. 14-15.

xii Letter dated 1.01.1876, vid: La Mara (ed.) Franz Liszts Briefe, vol. 1-8, Leipzig

1893-1905, vol. 8, p. 122-23; vide also S. Gut Franz Liszt, Paris 1989, p. 255.

xiii B. Sydow (ed.), Korespondencja Fryderyka Chopina, op. cit., vol. 1, p. 227.

xiv Ibid., vol. 2, p. 34.

xv F. Liszt, Fryderyk Chopin, Warszawa 1874 [1873], trans. F. Faleński.

xvi M. Walewska, Genialny przyjaciel Chopina (Chopin’s Genius Friend) in: Biesiada

Literacka 1903 No 29, p. 54-55; W. Jerger Franz Liszts Klavierunterricht von 1884-

1886 dargestellt an den Tagesanzeichnungen von August Göllerich, Regensburg

1975, p. 46, 143.

xvii B. Sydow (ed.), Korespondencja Fryderyka Chopina, op. cit., vol. 2, p. 268.

14 // POLONAISE SPRING 2013

The purpose of the Scholarship is to support and encourage young, talented American pianists through up to four years of preparation for the National Chopin Piano Competition of the United States, which is held every five years in Miami, FL; the next competition is in 2015. In addition to receiving substantial cash prizes, the top winners of this competition are fully sponsored to participate in the Preliminary Round of the prestigious International Chopin Piano Competition in Warsaw, Poland.

Up to ten (10) renewable scholarships of $1,000 are awarded each year on a competitive basis to outstanding young American pianists who demonstrate a special affinity for the interpretation of Frédéric Chopin’s music. In addition, the Scholarship Committee may grant half-awards of $500 to qualified applicants.A half-award may be granted to an applicant only once while in the Program.

The Scholarship Program is open to all qualified American pianists (US citizens or legal residents) not younger than 14 and not older than 17 years of age on April 15 in their first year of application.

Applicants must submit a formal application (download at chopin.org), along with:

(1) Statement of career goals. (2) Two (2) references from piano teachers or performers. (3) Two (2) copies of a DVD recording of Chopin’s works as required for Years 1 to 4, as above, recorded in one session. The recording must be of professional quality, but cannot be edited. The DVDs must be clearly labeled with the applicant’s name, address and works performed. Please indicate the edition used for each piece. The recording must be certified for accuracy by a qualified person such as a teacher or audio technician. (4) Proof of current school enrollment/statement of being homeschooled. (5) Non-refundable $25.00 application fee (check or money order only). (6) Optional: Attach additional page(s) to list significant repertoire studied. Place an asterisk (*) by works performed in public. Attach copies of programs/reviews, if possible.

The scholarships are renewable for up to four years as long as the recipient continues to study piano, maintains satisfactory academic progress, and each year submits for evaluation a DVD of an unedited performance of Chopin’s works according to the following required repertoire:

Year 1: 2 Etudes, 2 Nocturnes, and your choice of: a Ballade or Barcarole in F-sharp Major Op. 60 or Fantasia in F Minor Op. 49

Year 2: 6 consecutive Preludes from Op. 28 played in order, 2 Waltzes, and 2 Mazurkas Year 3: 1 Sonata and 1 of the following Polonaises: Andante Spianato and Grand Polonaise in E-flat Major Op. 22 or Polonaise in F-sharp Minor Op. 44 or Polonaise-Fantaisie in A-flat Major Op. 61 Year 4: 1 of Chopin’s two Concertos – all movements

Any applicant not awarded a scholarship may reapply the following year, submitting a new DVD of the music of his/her choice from the repertoire required for the year in which he/she was not accepted. Reapplication is allowed only once while in the Program.

Application, along with all attachments listed above, must be received by April 15. Scholarships will be granted June 15.

SEND THIS APPLICATION TO:The Chopin Foundation of the United States, Inc.Attn: Scholarship Committee1440 79th Street Causeway, Suite 117, Miami, FL 33141

Phone: (305) 868-0624 • Fax: (305) 865-5150 Web: www.chopin.org • Email: info@chopin.org

The Chopin Foundation of the United States Chopin Scholarship Program for Young Pianists -Rules, Requirements, Repertoire and How To Apply

Eligibility Procedure

DEADLINE:

Renewal & Repertoire

POLONAISE SPRING 2013 // 15

MTNA Junior Piano Competition - $500 cash

MTNA Senior Piano Competition - $1,000 cash (or a $1000 stipend as a First Year Recipient in the Chopin Foundation’s four-year Scholarship Program for Young American Pianists)

No Chopin Prize is awarded in the Young Artist Piano Competition; however, the best USA finalist in this category is invited by the Chopin Foundation to perform a two-performance recital in South Florida.

Did You Know? We Award “Chopin Prizes” at the MTNA Piano Competition!

The Chopin Foundation of the USA awards a “Chopin Prize” for the best performance of a Chopin work to finalists in Junior and Senior categories of the Music Teachers National Association’s Piano Performance Competitions. The winners are selected by the Competitions’ adjudicators at the MTNA Competitions Finals and announced at their respective Winners Announcement ceremonies. Piano competition entrants are not required to perform a work by Chopin as part of their competition program; however, the Chopin Prizes are awarded exclusively to those finalists who do.

2013 FIRST PRIZE WINNER IN THE YOUNG ARTISTS PIANO CATEGORY Conlan Miller from Provo, UT; Student of Irene Peery-Fox, Provo, UT

Conlan will be performing two concerts in South Florida within the Chopin for All FREE Concert Series on January 18 & 19, 2014.

2013 CHOPIN PRIZE WINNERS

Congratulations & keep up your good work!

SENIOR PIANO CATEGORY Anna Vertypolokh, Canada/Columbus, GA; Student of Alexander Kobrin, Columbus, GA

JUNIOR PIANO CATEGORY John Wang, New Orleans, LA; Student of Shearon Horton, Austin, TX

16 // POLONAISE SPRING 2013

Did you know? Polonaise DanceThe dance started at the coronation ceremony of the King of Poland, Henryk Valois in 1574. In a slow, stately procession, the richly clad aristocratic couples bowed deeply to the king when passing the throne. The ladies and gentlemen would exchange courtly bows to each other while moving gracefully across the grand royal ballroom to the accompaniment of dignified music. “La Polonaise” dance was and is the most elegant and majestic of all Polish national dances. For over four hundred years, “La Polonaise” ruled supreme at court functions of almost all European nations. It has been a favorite form of composition for some of the world’s greatest composers, including Bach, Beethoven, Schuman, Liszt and Tchaikovsky. To the world, however, “La Polonaise” is associated with Frédéric Chopin.

THE IX INTERNATIONAL PADEREWSKI PIANO COMPETITIONNov 3 – 17, 2013, Bydgoszcz, PolandApplication deadline: May 15, 2013 This Competition commemorating Ignacy Jan Paderewski, a remarkable Polish pianist, virtuoso, composer, politician, and statesman, is open to pianists of all nationalities, born between 1981 and 1997. Application and more information at www.konkurspaderewskiego.pl/en

INTERNATIONAL FRYDERYK CHOPIN PIANO COMPETITION Oct 2 – 22, 2015 in Warsaw, Poland International Chopin Piano Competition is one of the oldest music competitions in the world – one of great, international prestige. It was founded by Prof. Jerzy Żurawlew (1887-1980), an extraordinary Polish pianist, teacher and composer.

The first competition took place between January 23 and 30, 1927 in the Warsaw Philharmonic. From that year on, the competition was organized in the Warsaw Philharmonic every five years, that is in 1932 and 1937. World War II interrupted the five-year-cycle and the competition in 1942 could not be organized. The first competition after the war (the 4th Competition) took place in 1949 in Nowogrodzka Street in the hall of the Roma Theatre – one of very few surviving buildings in Warsaw. The 4th Competition became the central point of the celebrations of the 100th anniversary of Chopin’s death. The next competition was held in 1955, after a 6-year break, due to the rebuilding of the Warsaw Philharmonic. Since 1955 the Competition has been taking place in the Philharmonic every 5 years with no further interruptions.

More information at www.konkurs.chopin.pl/en.

NATIONAL CHOPIN PIANO COMPETITION OF THE USAFeb 21 – Mar 1, 2015, Miami, FL The National Chopin Piano Competition of the U.S. is designed to offer performance opportunities and financial support for young American pianists at career-entry level and to enable the top Prize Winners to take part in the Preliminary Round for the International Chopin Piano Competition in Warsaw, Poland. The expenses related to the participation in the Preliminary Round auditions in Warsaw, including airfare and hotel accommodation, will be covered by the Chopin Foundation of the United States. The Competition is open to pianists holding U.S. citizenship (native born or naturalized). Previous First Prize Winners of this Competition are not eligible.

More information at www.chopin.org/competition

Musical News & Notes FOR YOUNG PIANISTS & PIANO TEACHERS

POLONAISE SPRING 2013 // 17

CONTRIBUTIONS Please be generous and join us in our mission

YES, I want to help.Enclosed is my tax-deductible donation of:The Chopin Foundation of the United States, Inc., is a national non-profit

organization headquartered in Miami, FL, and dedicated, since 1977, to the support of young American rising-star classical musicians through scholarships, performance opportunities and international exchange programs. The Foundation also offers these talented young pianists a chance to compete in the National Chopin Piano Competition of the USA, held in Miami every five years. The Chopin Foundation is committed to making classical music accessible to ALL by presenting a FREE Concert Series in two locations in South Florida. Our mission is carried out on the West Coast by councils in San Francisco and Seattle. The Chopin Foundation is a member of the National Music Council and the International Federation of Chopin Societies.

With your support, young talented American artists will receive the encouragement they need and the recognition they deserve. Thanks to your generosity, the music of Frédéric Chopin will be kept alive, enriching our lives and preparing new generations of classical music lovers.

Here’s What Your Contribution Helps Fund: • National Chopin Piano Competition of the USA, coming next in 2015

• “Chopin for All” FREE Concert Series in South Florida • Four-year Scholarship Program for Young American Pianists, ages 14-17

• Winners Exchange Program with European counterparts

• Semi-annual Polonaise magazine, sent to all major music schools and music teachers across the USA; Chopin Societies around the world; our Scholarship Recipients, Young Pianists and Competition Applicants; and our Members

Donations to the Chopin Foundation of the United States are tax-deductibleto the extent permitted by law. The Foundation is a non-profit corporation

qualified under Section 501(c)(3) of the Internal Revenue Code.

The Chopin Foundation of the United States1440 79th Street Cswy, Suite 117; Miami, FL 33141

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