Kolejny singiel promujący płytę Tadka-Niewygodna Prawda Zapraszamy serdecznie na nasze strony oraz fan page poświęcony akcji społecznej- Przypomnijmy O Rotmistrzu www.facebook.com www.facebook.com www.facebook.com www.facebook.com
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Chain II: Dialogue for Violin and Orchestra (1984) 1. Ad libitum 2. A battuta 3. Ad libitum 4. A battuta - Ad libitum - A battuta Krzysztof Bakowski, violin Polish National Radio Symphony Orchestra (Katowice) Antoni Wit *Naxos (1996) After the crowning achievement of his Symphony No. 3, Witold Lutoslawski searched for new forms to explore. He had spent much of his career working to perfect the single-movement symphonic form, but by the mid-1980s, his attention had shifted toward chamber music and the solo voice. He had, in fact, composed his Partita for violin and piano in 1984, and in that piece had developed new means for sustaining melodic lines with sparse textures and harmonies that were more suitable for a chamber setting. The opportunity to write something for the phenomenal Anne-Sophie Mutter no doubt served as inspiration for Lutoslawski's Chain 2, dialogue for violin and orchestra, composed just a year after the Partita. Apart from featuring the violin, however, there is little resemblance between the two pieces, a remarkable fact considering their chronological proximity. Chain 2 takes its title from a technique Lutoslawski had developed earlier in his career, but which had preoccupied him in the 1980s. The notion of the "chain" derives from the overlapping of distinct materials. For example, a phrase launched by the violin may be picked up in midstream by woodwinds, while the violin then drops out. Then another instrument may enter playing something new, and <b>...</b>
Film dokumentalny o Witoldzie Pileckim. Jednym z największych bohaterów II Wojny Światowej. Zapraszamy na naszą stronę: cannon-fodder.mil.pl UWAGA: "Grupa CFMG nie rości sobie żadnych praw autorskich do filmu oraz materiałów w nim zawartych. Film powstał w celach niekomercyjnych, wyłącznie edukacyjnych, upamiętniających wielkiego człowieka jakim był Witold Pilecki".
Ochotnik do Auschwitz Witold Pilecki Dokument Cannon Fodder Media Group Team Historyczny Historia Wojna Światowa World War II PRL Bohaterowie
Witold Pilecki was a common man who lived in uncommon times. He was a victim of Communism, Fascism, Socialism, and Emperialism in Poland during two world wars. He fought for freedom and country, showed more bravery in his life than perhaps any man ever has before, and will never be forgotten. For a more detailed background: 1. democracyfrontline.org 2. www.polandpolska.org 3. www.spartacus.schoolnet.co.uk 3. en.wikipedia.org Music (from the film EatG): "Betrayal" - James Horner "A Sniper's War" - James Horner "Betrayal" - James Horner "Tania" - James Horner Thanks for your kind and informative comments
Witoldzie Pileckim Poland Witold Pilecki Polska Auschwitz Freedom Hitler Escape World War One Two Communism Concentration Camp Biography Polish Liberation Army Socialism
Funeral Music for Strings (1954-1958) 1. Prologue 2. Metamorphoses 3. Apogeum 4. Epilogue Polish National Radio Symphony Orchestra (Katowice) Antoni Wit For those familiar only with the early music of Lutoslawski — such as the widely admired Concerto for Orchestra — or with the later symphonies and "Chain" pieces, the Musique funèbre ("Funeral Music in memoriam Bela Bartók") for string orchestra (1958) will be something of a surprise. The early folk-like music — relating strongly to the music of Bartók and of a great Polish predecessor, Karol Szymanowski (1882-1937) — was conservative by necessity, since the repressive Communist government regnant after World War II allowed very little in the way of artistic freedom. But something of a political "thaw" set in after 1956, and Lutoslawski was one of dozens of Polish composers who responded by radically exploring avant-garde developments. The result is Lutoslawski's only important 12-tone work. Musique funèbre doesn't sound as dry or doctrinaire as most of the other serialist music from its time, but it takes an expressive performance to bring out its unique power. The work has four sections (each titled in Lutoslawski's beloved French), the last three of which proceed to the next without pause. The lugubrious, flowing "Prologue," an homage to the first movement of Bartók's Music for Strings, Percussion and Celesta, lays out the twelve-tone row in strict canon. The first version is played by two solo cellos in canon at the <b>...</b>
Symphony No. 3 (1972-1973) Los Angeles Philharmonic Esa-Pekka Salonen Witold Lutoslawski is known as one of the great orchestral composers of the latter half of the twentieth century. His music is rooted in the Classical-Romantic tradition as well as the spirited character of Eastern European predecessors such as Bartók, Prokofiev, and Szymanowski. Along the way, though, he introduced a number of innovations in keeping with the avant-garde tendencies of his Polish compatriots. He managed to strike a balance, somehow, between novel, even aleatoric textures, chromatically expressive melodies, wide-ranging rhythms, and a clear formal balance that conveyed an engagingly dramatic narrative. His Symphony No. 3 is the most ambitious, and possibly the most successful, example of his style. Lutoslawski struggled for many years with this score. Begun in the early 1970s as a prestigious commission for the Chicago Symphony Orchestra, he finally delivered the completed score in 1983. In discussions on its genesis, Lutoslawski has tended to focus on his own difficulties in working through Poland's period of Martial Law, a difficult time for those engaged in artistic expression. There are "martial" elements in the piece, particularly in the aggressive brass motives that impose themselves at various points, but this work is not programmatic, or possessed of a literal narrative. One of the composer's main concerns was to find a way to incorporate lighter, more melodic passages into his <b>...</b>
Witold Lutoslawsky conducting Chain I. London Sinfonietta
Witold Lutoslawsky chain london sinfonietta concerto contemporary music
Pianist Bruno Vlahek performing Witold Lutoslawski's Variations on a theme by Paganini with Symphony Orchestra of Croatian Radiotelevision and conductor Tomislav Facini. Live recording from the concert on 12 March 2004 in Zagreb (Croatia).
Lutoslawski Paganini Variations Bruno Vlahek Piano Orchestra Concert Classical Music
This is Lutoslawski's Sonata for Piano, 3rd part: Adante - Allegretto performed by Gloria Cheng
Cellist Heinrich Schiff plays Sacher Variations by Witold Lutoslawski
witold lutoslawski sacher cello violoncello heinrich schiff solo instrument classical contemporary variationen
This is Lutoslawski's Sonata for Piano, 1st part: Allegro performed by Gloria Cheng
A beautiful short film by Polish animator, Witold Giersz. Description: A man waits for a woman in a cafe. Idly he fashions two figures out of the paper napkins on the table. The figures come to life! Their behavior mirrors the thoughts of a man who expects a woman. Witold Giersz displays his animation virtuosity in this comic-tragic tale by animating the napkins at the scale of real life and using the actual objects on the table as props. Screenplay: Witold Giersz, Ludwik Perski Director of photography: Jan Tkaczyk Scenography: Witold Giersz, Ludwik Perski Music: Zbigniew Rudzinski Sound: Jan Radlicz Executive producer: Magdalena Barycz
Witold Giersz Oczekiwanie : Awaiting 1962 Polish animation silent short film
Chain II: Dialogue for Violin and Orchestra (1984) 1. Ad libitum 2. A battuta 3. Ad libitum 4. A battuta - Ad libitum - A battuta Krzysztof Bakowski, violin Polish National Radio Symphony Orchestra (Katowice) Antoni Wit *Naxos (1996) After the crowning achievement of his Symphony No. 3, Witold Lutoslawski searched for new forms to explore. He had spent much of his career working to perfect the single-movement symphonic form, but by the mid-1980s, his attention had shifted toward chamber music and the solo voice. He had, in fact, composed his Partita for violin and piano in 1984, and in that piece had developed new means for sustaining melodic lines with sparse textures and harmonies that were more suitable for a chamber setting. The opportunity to write something for the phenomenal Anne-Sophie Mutter no doubt served as inspiration for Lutoslawski's Chain 2, dialogue for violin and orchestra, composed just a year after the Partita. Apart from featuring the violin, however, there is little resemblance between the two pieces, a remarkable fact considering their chronological proximity. Chain 2 takes its title from a technique Lutoslawski had developed earlier in his career, but which had preoccupied him in the 1980s. The notion of the "chain" derives from the overlapping of distinct materials. For example, a phrase launched by the violin may be picked up in midstream by woodwinds, while the violin then drops out. Then another instrument may enter playing something new, and <b>...</b>
1st movement of Lutoslawski's First symphony performed by the Polish National Radio Symphony Orchestra
Wait... this ISN'T on youtube?!?!?!?! *goes insane* Seriously, I rechecked the search three times to make sure I wasn't imagining things. I even rechecked after I had uploaded it and then got scared when I saw it was actually on youtube and thought I had wasted my time but then I realised that was my upload. *intelligent* So yeah I reaaaallly like this piece, in case you couldn't tell. First part: Introduction
Symphony No. 3 (1972-1973) Los Angeles Philharmonic Esa-Pekka Salonen Witold Lutoslawski is known as one of the great orchestral composers of the latter half of the twentieth century. His music is rooted in the Classical-Romantic tradition as well as the spirited character of Eastern European predecessors such as Bartók, Prokofiev, and Szymanowski. Along the way, though, he introduced a number of innovations in keeping with the avant-garde tendencies of his Polish compatriots. He managed to strike a balance, somehow, between novel, even aleatoric textures, chromatically expressive melodies, wide-ranging rhythms, and a clear formal balance that conveyed an engagingly dramatic narrative. His Symphony No. 3 is the most ambitious, and possibly the most successful, example of his style. Lutoslawski struggled for many years with this score. Begun in the early 1970s as a prestigious commission for the Chicago Symphony Orchestra, he finally delivered the completed score in 1983. In discussions on its genesis, Lutoslawski has tended to focus on his own difficulties in working through Poland's period of Martial Law, a difficult time for those engaged in artistic expression. There are "martial" elements in the piece, particularly in the aggressive brass motives that impose themselves at various points, but this work is not programmatic, or possessed of a literal narrative. One of the composer's main concerns was to find a way to incorporate lighter, more melodic passages into his <b>...</b>
Witold Lutosławski (1913-1994) String Quartet (1964) I. Introductory Movement II. Main Movement For his String Quartet (1964), Lutosławski originally produced only the four instrumental parts, refusing to bind them in a full score, because he was concerned that this would imply that he wanted notes in vertical alignment to coincide, as is the case with conventionally notated classical ensemble music. The LaSalle Quartet, however, specifically requested a score from which to prepare for the first performance. His wife Danuta solved this problem by cutting up the parts and sticking them together in boxes (which Lutosławski called mobiles), with instructions on how to signal in performance when all of the players should proceed to the next mobile. In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor. Lutosławski's called this technique of his mature period "limited aleatorism". ~ Wikipedia
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(also known as "Metamorphoses for Cello and Piano") Caroline Stinson, cello Molly Morkoski, piano from Albany TROY1281 www.albanyrecords.com Caroline Stinson offers beguiling performances of this imaginative program. Lines, the title of this imaginative program, beguilingly performed, links pupils to teachers in three principal strands Bloch-Sessions-Harbison; Lutoslawski-Stucky-Waggoner and Weesner; and Boulanger-Carter. While it is difficult to overestimate the influence of a powerful mentor, not all mentor relationships develop in formal arrangements. Carter was deeply influenced by Sessions, and was close with him, without having enrolled as his student. Both Waggoner and Weesner forged close relationships with Harbison, and in different works reveal Harbison's influence as much as Stucky's. While in his early works Harbison often exhibited Sessions' influence, his baroque sensibilities have more in common with the neoclassical predispositions of Bloch, his "grand-teacher." The criss-crossing of the lines hints at the wealth and variety of music influence and tradition. Acclaimed cellist Caroline Stinson offers magnificent performances of this repertoire. Noted for her vibrant lyricism and fresh interpretations, Ms. Stinson is on the faculty at Syracuse University and The Juilliard School. Contents: Ernest Bloch, composer Suite No. 3 for violoncello solo Caroline Stinson, cello Roger Sessions, composer Six Pieces for Violoncello Caroline Stinson, cello John Harbison <b>...</b>
Caroline Stinson Molly Morkoski cello piano chamber classical duo Ernest Bloch Suite Roger Sessions pieces John Harbison Witold Lutoslawski Steven Stucky Andrew Waggoner Anna Weesner Nadia Boulanger Eliott Carter
Witold Pilecki (May 13, 1901 -- May 25, 1948; pronounced [ˈvitɔld piˈletski]; codenames Roman Jezierski, Tomasz Serafiński, Druh, Witold) was a soldier of the Second Polish Republic, the founder of the Secret Polish Army (Tajna Armia Polska) Polish resistance group and a member of the Home Army (Armia Krajowa). During World War II, he became the only known person to volunteer to be imprisoned at Auschwitz concentration camp. While there, he organized the resistance movement in the camp, and as early as 1940, informed the Western Allies of Nazi Germany's Auschwitz atrocities. He escaped in 1943 and took part in the Warsaw Uprising (August--October 1944). Pilecki was executed in 1948 by the communists. Sources: en.wikipedia.org pilecki.ipn.gov.pl Music Leszek Czajkowski - Żołnierzom Wyklętym Leszek Czajkowski - Kapo
witold pilecki commies auschwitz birkenau ak home army nie iiww world war sb ub crimes zbrodnie komunisci
Witold Lutosławski - Subito. Mateusz Smoczyński - skrzypce, Zdzisława Słomka - fortepian.
lutosławski lutoslawski witold subito mateusz smoczynski smoczyński violin słomka slomka zdzisława zdzislawa jazz
A recording from 1970 by Polish pianist Witold Malcuzynski of the Bach-Busoni 'Chaconne'. His daughter recalls him learning this in his later years and how he needed to 'dare' to play Bach as his name had become inextricably linked with the music of his compatriot Chopin. His wide dynamic range, beautiful tonal shadings, and varied articulation serve his large-scale vision of this work. Photographs courtesy of Christina Malcuzynski.
Concerto for Orchestra (1950-1954) I. Intrada II. Capriccio, Notturno e Arioso III. Passacaglia, Toccata e Corale L'Orchestre de la Suisse Romande Paul Kletzki With the close of World War II, the musical life of Poland experienced something of a renaissance, in which Lutoslawski played a significant role. After marrying in 1946, however, he was forced to spend much of his composing time creating "functional" music -- music for theatre and film, children's songs, and arrangements of folk and popular tunes -- to support his growing family. His more serious works encountered resistance from the Stalinist regime in Poland; his First Symphony (1947) was banned for a time for "formalism." Partly as a result of his own interest and partly due to the influence of the cultural commissars, Lutoslawski turned to folk music for inspiration in many of his works of the late 1940s and early 1950s. This was the case with the Concerto for Orchestra, which was commissioned by conductor Witold Rowicki, to whom the work is dedicated, who wanted a new composition for his recently created Warsaw National Philharmonic Orchestra (founded in 1950). Written over a five year span, the Concerto was premiered by Rowicki and his orchestra in Warsaw on November 26, 1954. Lutoslawski called the Concerto "the only serious piece" among his folk music inspired works. The influence on Lutoslawski's Concerto of Béla Bartók's Concerto for Orchestra of just a few years before is hard to ignore. The themes in <b>...</b>
Symphony No. 3 (1972-1973) Los Angeles Philharmonic Esa-Pekka Salonen Witold Lutoslawski is known as one of the great orchestral composers of the latter half of the twentieth century. His music is rooted in the Classical-Romantic tradition as well as the spirited character of Eastern European predecessors such as Bartók, Prokofiev, and Szymanowski. Along the way, though, he introduced a number of innovations in keeping with the avant-garde tendencies of his Polish compatriots. He managed to strike a balance, somehow, between novel, even aleatoric textures, chromatically expressive melodies, wide-ranging rhythms, and a clear formal balance that conveyed an engagingly dramatic narrative. His Symphony No. 3 is the most ambitious, and possibly the most successful, example of his style. Lutoslawski struggled for many years with this score. Begun in the early 1970s as a prestigious commission for the Chicago Symphony Orchestra, he finally delivered the completed score in 1983. In discussions on its genesis, Lutoslawski has tended to focus on his own difficulties in working through Poland's period of Martial Law, a difficult time for those engaged in artistic expression. There are "martial" elements in the piece, particularly in the aggressive brass motives that impose themselves at various points, but this work is not programmatic, or possessed of a literal narrative. One of the composer's main concerns was to find a way to incorporate lighter, more melodic passages into his <b>...</b>
Witold Małcużyński (August 10, 1914 -- July 17, 1977) was a Polish pianist who specialized in Chopin. Małcużyński was born near Warsaw. He began playing the piano at the age of 10 and eventually studied at the Warsaw Conservatory. Originally he intended to study law but switched to music, studying under a pupil of Ferruccio Busoni. In 1936, he received an invitation to study under Ignacy Jan Paderewski, one of the great Romantic pianists of the "Golden Age". Małcużyński's playing was marked by great passion and poetry. In 1937 he met his future wife, the French pianist Colette Gaveau. When World War II began he was in France. He joined the Polish Army there and together with the artistic-propaganda section visited Polish military camps. After the capitulation of France he together with his wife escaped to Portugal, where he met Grzegorz Fitelberg, well-known conductor. Fitelberg offered him a tournée in South America. Małcużyński went to Argentina in October 1940. In April 1942 he relocated to the United States. Essential to his American career was famous violinist Yehudi Menuhin, who initially helped him with organizational issues. After the war he moved to Switzerland where he lived. He died in 1977 in Majorca, and was buried in the Powązki Cemetery, Warsaw, Poland. (Wikipedia)
Witold Malcuzynski plays Brahms Haendel Variations Op. 24 piano classical historical
www.nicetomeeteu.com Witold Gombrowicz po wygraniu Prix des Editeurs. Oto co mówi Gombro (w skrócie i uproszczeniu) - Jest pan doceniany, na całym świecie wystawiane są pana sztuki, itd... Czy jest panu mimo wszystko łatwo żyć z pisania? - Nie mam wielkich dążeń (jeśli chodzi o $), bo pisze dla ograniczonej grupy czytelników. Nie jestem potęga pisarska jak Françoise Sagan, wiec nie mogę zabiegać o zbyt wiele. Dzisiaj mogę żyć ze swoich dochodów, ale dlatego ze żyję z pieniędzy zarobionych przez ostatnich 30 lat. - Nie ma pan wrażenia, ze uznanie przyszło trochę późno? - Oczywiście jest to dla mnie trochę smutne, ponieważ wiek i choroba nie pozwalają mi na korzystanie z tych wszystkich rzeczy. Ale zawsze uważałem, ze sztuka nie może dawać korzyści. To znaczy, artysta drugorzędny, powiedzmy, wirtuoz czy aktor może sobie korzystać: ma brawa, może zarobić fortunę, itd. Ale artysta, który dąży do tworzenia czegoś głębszego czy czegoś bardziej osobistego nie może liczyć na zysk: musi płacić. Jest sztuka za którą nam się płaci i sztuka za którą płacimy. Płacimy zdrowiem, przyjemnościami, itd... Ja niem wiem, czy jestem ważnym artysta czy nie, ale w tym sensie wiodłem życie ascetyczne. pozdr.
Witold Gombrowicz wywiad literatura polska interview sztuka littérature polonaise Dzienniki Transatlantyk Ferdydurke Poolse literatuur Polish literature Journal Iwona Yvonne
Michał Tyrpa (Przypomnijmy O Rotmistrzu) A short film for Captain Pilecki. The purpose is to introduce people to his deeds so that they know what a hero he was and why he should be remembered and honored in Holocaust Museums. PLEASE SUPPORT THIS CAUSE! Paradis Judaeorum Foundation (Fundacja Paradis Judaeorum) www.facebook.com Rotamaster Witold Pilecki (1901-1948) was the only one person in history who volunteered to be imprisoned in Nazi German concentration camp. Pilecki was a founder of prisoners underground organization in KL Auschwitz - Union of Military Organizations (Związek Organizacji Wojskowej, ZOW). After World War 2, Pilecki has been murdered by the communists in Stalin's occupied Poland.
The Holocaust Museum world war II World War II Documentary History Germany Ww2 Adolf witold pileski poland polska soviet nazi nkvd kgb stalin russia Wwii Battle
Witold Lutoslawski - Trio d'anches (1945), Trio DAK, Aki Yamagishi - oboe, Dawid Jarzynski - clarinet, Zhu Kun Wu - bassoon
Idil Biret: Mazurka No. 33 in B flat major, Op. 56, No. 1 - Rare 1977 recording: www.youtube.com Idil Biret: Mazurka No. 13 in A minor, Op. 17, No. 4 - Rare 1977 recording: www.youtube.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Images (1) Orchestral score cover, 0:44 (2) LP jacket front, 1:02 (3) LP label, 2:11 (4) Score, piano line, part 2, 4:09 (5) Inside pages from score, 4:44, 5:16 (6) Image from reverse LP jacket, 5:50 (7) LP jacket reverse, 6:07 (8) Chopin signature from score, 6:55 (6) Score, piano line, conclusion, 7:46. Witold Małcużyński (1914-1977) performs the third movement of the Chopin second piano concerto in F minor, Op. 21. Walter Susskind conducts the London Symphony Orchestra in this 1960 recording. I made this video from the LP depicted in the video above, "Malcuzynski: Chopin Piano Concerto No. 2 - Fantasie," issued on the Angel Records label, serial number 35729. (The Library of Congress catalog entry for this LP can be reviewed here: lccn.loc.gov ) Movement 3: Allegro vivace Other versions of this movement: Regina Smendzianka, mid-1950s: www.youtube.com Dina Joffe, 1975 Chopin competition: www.youtube.com Ivo Pogorelich, 1983: www.youtube.com The Fantasie in F minor, Op. 49, also on this LP, can be found here: www.youtube.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Witold Małcużyński (ur. 10 sierpnia 1914 w Warszawie, zm. 17 lipca 1977 na Majorce), polski pianista. Absolwent Gimnazjum im. Jana Zamoyskiego w Warszawie (1932). W wieku 10 lat (1924) rozpoczął <b>...</b>
Witold Małcużyński Witold Malcuzynski Walter Susskind London Symphony Orchestra Angel 35729 Angel Records Op. 21 Dina Joffe Regina Smendzianka Ivo Pogorelich Muza Polskie Nagrania Fantasie in F minor Op. 49 Idil Biret
PILECKI Witold (1901-1948) pseudonimy „Witold", „Tomek", „Romek", nazwiska konspiracyjne: „Tomasz Serafiński", „Roman Jezierski, „Leon Bryjak", „Jan Uznański", „Witold Smoliński", kryptonim „T-IV"; oficer rezerwy Wojska Polskiego, współzałożyciel Tajnej Armii Polskiej,...
Witold Pilecki Rotmistrz AK WIN NSZ Armia Krajowa ochotnik do auschwitz UB mordy sądowe tomasz serafiński ks wyrok śmierci bohater
Witold Gombrowicz "Trans-Atlantyk" reż. Mikołaj Grabowski
Witold Gombrowicz transatlantyk trans-atlantyk trans atlantyk teatr tv sztuka mikołaj grabowski bogusław sochnacki
Primo movimento dell'opera "Trois poèmes d'Henri Michaux" (1962-3), di Witold Lutosławski. Pensées Penser, vivre, mer peu distincte; Moi - ça - tremble, Infini incessamment qui tressaille. Ombres de mondes infimes, Ombres d'ombres, Cendres d'ailes. Pensées à la nage merveilleuse, Qui glissez en nous, entre nous, loin de nous, Loin de nous éclairer, loin de rien pénétrer; Etrangères en nos maisons, Toujours à colporter, Poussières pour nous distraire et nous éparpiller la vie. Pensieri Pensare, vivere, mare indistinto; Io - ecco - trema, Infinito che incessantemente trasalisce. Ombre di mondi infimi, Ombre d'ombre, Ceneri d'ali. Pensieri che meravigliosamente nuotate, Che scivolate in noi, tra di noi, lontano da noi, Lontano dal rischiararci, lontano da nulla penetrare; Stranieri nelle nostre case, Sempre da propalare, Polveri per distrarci e sparpagliarci la vita.
Paweł Kowalski - piano Białystok Philharmonic Orchestra Marek Pijarowski - conductor 8th February 2008
Witold Lutosławski Paweł Kowalski Marek Pijarowski piano concerto Klavierkonzert concierto concert pianista
25 maja 2011 r. Państwowa Wyższa Szkoła Zawodowa im. rtm. W. Pileckiego w Oświęcimiu obchodziła pierwsze w historii Święto Uczelni. Uroczystość rozpoczęła się uroczystym zasadzeniem na terenie kampusu Uczelni Dębu „Witold", poświęconego pamięci Patrona -- rotmistrza Witolda Pileckiego. Uczynili to studenci PWSZ oraz byli więźniowie KL Auschwitz: Kazimierz Piechowski (nr obozowy 918) i Tadeusz Sobolewicz (nr obozowy 23053). - Zasadzenie Dębu Pamięci „Witold" jest inicjatywą studentów PWSZ, mającą na celu upamiętnienie i poszerzenie wśród społeczności akademickiej postaci rotmistrza -- mówił Tomasz Klęczar, przewodniczący Samorządu Studentów PWSZ. - Uważamy, że posadzenie dębu - a więc danie życia roślinie symbolizującej odwagę, cnotę, trwałość i nieśmiertelność wspólnie, przez naszych studentów - ludzi młodych, pragnących postępować wg zasad i cnót, które wyznawał Witold Pilecki oraz gości honorowych - byłych więźniów obozu Auschwitz, jest wydarzeniem symbolicznym, znaczącym i wzniosłym, wpisującym się w charakter obchodów Święta naszej Uczelni - dodał przewodniczący studentów. Więcej - www.pwsz-oswiecim.edu.pl
Witold Pilecki KL Auschwitz Dąb pamięci Kazimierz Piechowski Tadeusz Sobolewicz PWSZ Oświęcim Państwowa Wyższa Szkoła Zawodowa święto uczelni Marek Probosz
Konferencja "Czwartki u ekonomistów" zorganizowana przez Zarząd Krajowy Polskiego Towarzystwa Ekonomicznego, Klub Dobro Wspólne Ponad Podziałami przy Instytucie Lecha Wałęsy oraz Instytut Nauk Ekonomicznych PAN pt. "Patologia transformacji" w Domu Ekonomisty w Warszawie. Witold Kieżun mówi o swojej książce.
Witold Gombrowicz w Vence w 1969 roku. Wywiad, część 3. O tym, co francuskie: kuchnia, desery i rewolucja. Polskie napisy. Tłumaczenie: Michał Szyksznian (bullsik.com)
witold gombrowicz writer ferdydurke rewolucja francuska poland polish argentina literatura
Witold Lutosławski (1913-1994): Piccola Suite, per orchestra (1951) - Polish National Radio Symphony Orchestra diretta da Antoni Wit
Witold Gombrowicz w swoim domu w Vence w 1969 roku. Fragment wywiadu. Napisy PL. Pomoc w tłumaczeniu mile widziana. Poniżej transkrypcja: - Przyznam, że nie lubię Balzaka, jest zbyt ciężki, w złym guście, aw dodatku jest niezgodny ze stroną burżuazyjną. Nie lubię Faluberta, nie lubię Zoli... - A lubi Pan "Wyznania" Rousseau? - Nie, za nic. (BIBLIOTEKA KIESZONKOWA) - Nie jestem dobrym czytelnikiem. - kontynuuje Gombrowicz. - Czy to dlatego, że jest Pan duszą zbyt krytyczną? - Nie, to dlatego, że jestem leniwy, jestem, nie noszę w sobie intelektualnej ciekawości. Zawsze byłem człowiekiem dziedziny, która nie ma szacunku do książek, ani literatury. --------- Witold Gombrowicz urodził się w Polsce w 1904 roku na wsi w rodzinie szlacheckiej. Jego wyścig literacki rozpoczął się w Warszawie. W 1937 roku opublikował swoją drugą książkę "Ferdydurke". Tuz przed rozpoczęciem II wojny światowej wsiadł na statek do Argentyny. W Buenos Aires żyje jako skromny urzędnik bankowy. Tam też kontynuuje swoją pracę literacką, włączając w to dziennik, który jest publikowany w magazynie Polaków na uchodźstwie - w "Kulturze". W Buenos Aires uczęśzcza do różnych miejsc, wliczając w to kawiarnie spotkania z literacką młodzieżą, łaźnie w dzielnicy Retiro oraz salony arystokratów. Zaproszony przez Fundację Forda, wyjeżdża do Berlina, powracając do Europy po 23 latach bycia na wygnaniu. Wkrótce osiada w Vence, w domu, który zamieszkuje z pewną Francuzką. ------ - Pisarz zbyt światowy musi nabrać wobec <b>...</b>
Terzo movimento dell'opera "Trois poèmes d'Henri Michaux" (1962-3), di Witold Lutosławski. Repos dans le Malheur Le Malheur, mon grand laboureur, Le Malheur, assois-toi, Repose-toi, Reposons nous un peu toi et moi, Repose, Tu me trouves, tu m'éprouves, tu me le prouves. Je suis ta ruine. Mon grand théâtre, mon havre, mon âtre, Ma cave d'or, Mon avenir, ma vraie mère, mon horizon. Dans ta lumière, dans ton ampleur, dans ton horreur, Je m'abandonne. Riposo nella Sventura La Sventura, mia grande aratura, La Sventura, siediti, Riposati, Riposiamoci un poco tu ed io, Riposa, Tu mi trovi, tu mi provi, tu me lo provi. Sono la tua rovina. Mio gran teatro, mio piccolo porto, mio focolare, Mia riserva d'oro, Mio avvenire, mia vera madre, mio orizzonte. Nella tua luce, nella tua vastità, nel tuo orrore, Io m'abbandono.
