Showing posts with label Maja Trochimczyk. Show all posts
Showing posts with label Maja Trochimczyk. Show all posts

Monday, January 5, 2026

Moonrise Press Publishes Two Books about Paderewski - "Paderewski Essays & Poems" by Maja Trochimczyk; "Three Paderewski Plays" by Kazimierz Braun

ISBN 978-1-945938-87-0 (hardcover), $48.00 
274 pp.= xviii pp. prefatory + 256 pp.); Cover Photo - Paderewski's 
1903 portrait by Davies & Sanford, Maja Trochimczyk Collection.
ISBN 978-1-945938-88-7 (paperback), $32.00
ISBN 978-1-945938-89-4 (eBook, ePub format), in PDF, $20

Paderewski Essays & Poems written and edited by Maja Trochimczyk is a book dedicated to a Polish pianist, composer, statesman and philanthropist, Ignacy Jan Paderewski (1840-1941) who gain international fame not only as a celebrated virtuoso pianist, but also as an architect of Poland's regained independence (1918, after 123 years of partitions). The richly illustrated volume consists of three parts. For the first part, "Paderewski Poems," Dr. Trochimczyk transcribed 52 poems about Paderewski, penned in English by American, British, Scottish, Irish and Australian poets, mostly in 1890-1940. The majority of these poems are from Paderewski personal correspondence preserved in Paderewski Archive at the Archive of Modern Records in Warsaw Poland. They have not been published before.  

Among the well-known poets of the Gilded Age and the Interwar Era who wrote about Paderewski were California's first poet laureate Ina Coolbrith; Alabama poet laureate Kate Slaughter McKinney; A.F. Bates (probably Katharine Lee Bates, the author of "America the Beautiful?); Irish-Indian writer, philosopher, and convert to Hinduism, James Cousins; editor of the Century Magazine, Richard Watson Gilder; editor of the New York Times, John Houston Finley; co-founder of the Sierra Club and of the American Academy of Arts and Letters Robert Underwood Johnson; and Paderewski's biographer Charles Phillips, among many others. 

Paderewski plays Chopin, postcard 1890, Krakow. Maja Trochimczyk Collection.

The second part of the book contains four essays about Paderewski by Dr. Trochimczyk. Two of these studies, written in 2001 (published in Polish Music Journal, Vol. 4) and in 2025 are dedicated to the textual and contextual analysis of the poems. The first describes a variety of poems about Paderewski that viewed him either as a musician or statesman, a Polish patriot. The second, traces the changing image of the pianist, from a virtuoso, through a divine messenger, comparable to a seraph or archangel, to a heroic Polish patriot, and finally to an immortal, spiritual master, akin to Ascended Masters of Theosophy, who lead their faithful disciples on the path of spiritual ascension into enlightenment. In Paderewski's case, that path is outlined by the sound of his piano, reverently heard in the world's concert halls. 

Paderewski as an eternally young Archangel on the cover
 of The Etude in 1915 when he was 55 years old.

The remaining two studies focus on the constructs of Paderewski stage persona and his reception, predominantly by his female audiences. A discussion of the idealized portraits of the pianist as an archangel, worshipped mostly by women, includes references to poetry, art, and philosophy of Aestheticism of the Gilded Age (2010, published in Polish American Studies, Vol. 67). The fourth essay explores the ramifications of the "Brighton Album" assembled in 1890-1898 (with some items from 1911-14) by one of Paderewski’s ardent female fans in England. Miss Madeleine Michell attended over 50 concerts and preserved hitherto not known documents about his career. In the last part of this volume, readers find a detailed calendar of Paderewski’s life and career, and lists of his writings, speeches, & music compositions, as well as a bibliography. 

1912 ad for Victor-Victrola of Paderewski recordings with image
by Edward Burne-Jones of Paderewski as an archangel (1891).

PADEREWSKI ESSAYS & POEMS - TABLE OF CONTENTS

Part I. Paderewski Poems —1

 1. “Impressions of a Paderewski Recital”—Anonymous—3

2. “A Scotch Tribute”—Anonymous—4

3. “To Paderewski”—Anonymous (1924)—6

4.“To Paderewski”—Anonymous (1925)—7

5. “Lines to an Artist (I.J.P. ) On His Playing”—A. B.—8

6. “To Paderewski—Sovereign—Pianist (1)” —A. F. Bates—9

7. “To Paderewski—Sovereign—Pianist (2)” —A. F. Bates—10

8. “Genius”—Dorothy Hull Beatty—11

9. “I Am Music”—Berton Bellis—12

10. “Paderewski Plays the Moonlight Sonata”—Arthur Bryant—15

11. “When Paderewski Plays”—Will George Butler—16

12. “Polonia Resurgata”—Adolphe de Castro—18

13. “Paderewski”—Myrtle E. Cone—19

14. “Paderewski”—Ina Coolbrith—20

15. “Paderewski Plays at Lausanne Cathedral” —James H. Cousins—21

16. “When Paderewski Plays”—Flora Fain Crist—22

17. “To Paderewski”—Mary Francis Crosby—23

18. “Paderewski”—Dorothy Dudley—24

19. “The Golden Bear”—Charles Mills Gayley—25

20. “[Untitled]”—Sara Groenevelt—26

21. “Paderewski at Troy”—John Huston Finley—27

22. “To Paderewski”—John Huston Finley—28

23. “How Paderewski Plays”—Richard Watson Gilder—29

24. “The Portrait of Paderewski”—“Halka”—31

25. “When ‘Padi’ Comes to Town”—George W. Hootman—32

26. “To Paderewski, Patriot” —Robert Underwood Johnson—34

27. “[To Paderewski, Untitled]”—Josephine & M.—35

28.“Paderewski”—Jessica H. Lowell—36

29.“Sonata Appassionata”—Lucia Clark Markham—38

30. “Lines to Monsieur Paderewski on Hearing Him Play at the Brighton Pavilion”—M.E.A. —40

31. “Paderewski”—Kate Slaughter McKinney—41

32. “Great Master”—Ester Jacoby Merrill—42

33. “Sonnet to Paderewski”—Alice May Moir—43

34. “The Maestro”—Juliet C. Olin—44

35. “Immortal”—William Kimberly Palmer—45

36.“Ignace Paderewski (1940)”—Einar Atair Paulenton—46

37. “Poland and Paderewski”—Charles Phillips—47

38. “To Paderewski After Years"—Ernest Powell—49

39. “Jan Ignace Paderewski”—Procter—50

40. “To Paderewski’s Dog”—Jean Hennepin Render—51

41. “When Paderewski Came to Town”—Grantland Rice—52

42. “When Paderewski Plays”—Windsor V. Richberg—53

43. “Paderewski”—Josephine Rita Sargeant—54

44. “Mr. Ignace Paderewski, Morges, Switzerland” —B. Sterling—55

45. “Chanson d’e te (Song of the Summer)” —William Struthers—56

46. “The Last Pure Chords of a Chopin’s ‘Berceuse’” —William Struthers—57

47. “Paderewski”—Elisabeth Tousey—58

48.“Paderewski in Gold”—Maja Trochimczyk—61

49. “To Paderewski. A Sonnet”—Elva W. Williams—62

50. “What Paderewski Taught Me about Being” —Kath Abela Wilson—63

51. “Poland’s Resurrection”—Anthony Zaleski—64

Paderewski postcard by Artur Szyk, from a series about Polish American friendship, 1939.

Part II. Paderewski Essays—67 (By Maja Trochimczyk)

Essay 1. Paderewski in Poetry: Master of Harmonies or Poland's Savior—69

Essay 2. An Archangel at the Piano: Paderewski’s Image and His Female Audience—105

Essay 3. A Paderewski Album from Brighton, England, 1890-1914—152

Essay 4. Romantic, Sublime, Heroic, Immortal: Paderewski in English-language Poetry—178

Part III. About Paderewski—209 (Edited by Maja Trochimczyk)

Paderewski—A Calendar of Life—210 

Paderewski’s Writings—239 

Paderewski’s Compositions—243 

Paderewski Archives and Musea—249 

Selected Bibliography—249


THREE PADEREWSKI PLAYS BY KAZIMIERZ BRAUN

ISBN 978-1-945938-84-9 (hardcover), 196 pages (vi + 190 pp.), $44.00
ISBN 978-1-945938-85-6 (paperback), $28.00
ISBN 978-1-945938-86-3 (eBook in ePub format)

"Three Paderewski Plays" by Kazimierz Braun is a collection of theatrical works dedicated to the life, career, and impact of a famous Polish pianist, composer, statesman, and philanthropist, Ignacy Jan Paderewski (1840-1941). "Maestro Paderewski" is set as a play for one actor, illustrated with Paderewski’s  music, and presented as the virtuoso pianist-composer’s reflection on his career in music and politics. It previously appeared in the first volume of Braun's Dramaty Zebrane. Collected Plays published in 2024 in Polish and English. The other two plays were included in a bilingual edition of Dramaty Zebrane. Collected Plays, vol. 4 in 2025. 

The play "Paderewski's Children" focuses on the patriotic activities of Lieutenant (later Colonel) Jan Chwalski – a poet, playwright, and the handler of the Paderewski puppet, during the creation of Polish Army in Canada in 1917 (it later became the Haller's Army and fought alongside Americans against the Germans in WWI). The play is in two parts and ends during World War II. Finally, "Paderewski's Return" is set in 1922 and presents the dilemma of the aging pianist’s return to the stage after a decade when he was dedicated solely to political activities and struggle for Poland’s independence. The book includes an introductory essay by the author, and general information edited by Maja Trochimczyk: lists of Paderewski's compositions and writings, and a selected bibliography. 

This book is a companion volume to “Paderewski Essays & Poems” edited by Maja Trochimczyk, with 52 newly discovered English-language poems about the virtuoso pianist (written in 1890-1941 and in 2020s), as well as four studies of his life and music, a detailed calendar of life, and lists of his works and writings by Maja Trochimczyk.

Paderewski on the cover of The Etude in 1931, at the age of 71.

THREE PADEREWSKI PLAYS - TABLE OF CONTENTS

Page 1. The Life and Work of Ignacy Jan Paderewski – by Kazimierz Braun

Page 19. Maestro Paderewski — by Kazimierz Braun

Page 47. Paderewski’s Children — by Kazimierz Braun

Page 109. Paderewski’s Return — by Kazimierz Bran

Page 171. Paderewski’s Writings — by Maja Trochimczyk

Page 177. Paderewski’s Compositions by Maja Trochimczyk

Page 184. Paderewski’s Archives and Musea — by Maja Trochimczyk

Page 185. Selected Books and Studies about Paderewski — by Maja Trochimczyk

Prof. Kazimierz Braun during the Presentation of the Golden Award from the Modjeska Club (2025).

Prof. Kazimierz Braun is a director, writer, and scholar. For many years, he was artistic director and general manager of professional theaters in Poland. He directed in Poland, the United States, Canada, Ireland, Germany, and other countries. He taught at Polish and American universities. He published over eighty books, including several volumes on theatre history and theory, as well as novels, dramas, and poetry. His plays have been staged in Poland, USA, Canada, and Ireland.  His honors include Literary Award from the Union of Polish Writers Abroad in London, and recently the Golden Award for eminent filmmakers from the Helena Modjeska Art & Culture Club.

https://modjeskaclub.blogspot.com/2025/09/kazimierz-braun-receives-2025-golden.html

Actors Marek Probosz, Agata Pilitowska, with Maja Trochimczyk presenting the Golden Award to  Professor Kazimierz Braun, Zoom, May 2025. https://youtu.be/75e0aMXUEJg

Maja Trochimczyk presents Paderewski's poems at the Polish Embassy in Washington D.C., 2018. A piano roll with Paderewski's portrait is unrolled as decoration.

https://chopinwithcherries.blogspot.com/2018/01/paderewski-and-polands-independence-vol.html

Dr. Maja Trochimczyk is a Polish American music historian, poet and translator, the author of 22 books, 30 book chapters, and 28 peer-reviewed research studies, as well as hundreds of poems and essays, including six research studies dedicated to Paderewski. With two master’s degrees from Poland (a M.A. in musicology from Warsaw University, Poland, and a M.A. in sound engineering from Chopin University of Music in Warsaw), and Ph.D. from McGill University, Montreal, Canada, she published nine books on music and Polish culture, & numerous research studies about Polish composers (Chopin, Szymanowska, Paderewski, Lutosławski, Górecki, Bacewicz, etc.), and other topics. She presented her work at over 90 international conferences. An award-winning poet, President of the California State Poetry Society, & the Editor of California Quarterly, she wrote and edited eleven poetry volumes, including five poetry anthologies, starting from Chopin with Cherries: A Tribute in Verse (2010) celebrating the 200th birthday of Fryderyk Chopin with 123 poems by 92 poets. She wrote six research studies about Paderewski, his music, and his image in poetry.

Trochimczyk reads poems about Paderewski in 2018.







Saturday, May 10, 2025

A Brief Biography of Leonidas Dudarew-Ossetynski (1910-1989) in "Celebrating Modjeska in California"

 
Lost portrait by Lucy Dzierzkowska, photo from Valerie Dudarew-Ossetynska Hunken

The 2023 history of Modjeska Art & Culture Club, Celebrating Modjeska in California: History of Helena Modjeska Art & Culture Club (2023), featured a chapter dedicated to the biography of Leonidas Dudarew-Ossetynski (1910-1989). Founder and Honorary President of the Modjeska Art & Culture Club. fragments of paper, "Polish Émigrés in California: Leonidas Dudarew-Ossetyński's Modjeska Players and the Helena Modjeska Art & Culture Club," presented at the 6th World Congress of Polish Studies organized by PIASA in Warsaw, Poland June 2024.  

Presentation at PIASA Conference, June 2024.

Born on 22 October 1910, in the Niebajki family estate in the Grodno district near Wilno (now Vilnius in Lithuania, then part of Russian Empire), Leonidas Dudarew-Ossetyński was raised in Poland; he was, among others, a graduate of the Drama Academy of Wilno and student at the Stefan Batory University in Wilno. Not all information about Ossetyński’s early years is confirmed. Some biographers claim that he was a graduate of the National Academy of Theater in Warsaw. His typed-in “Vitae” from about 1980, mentions studies in literature at the Sorbonne and at the Dullin Experimental School of Drama, both of which are located in Paris. According to his biography published in the Almanac 1988-1989, in the years 1936-1937 Dudarew was an actor at the Municipal Theater in Toruń. As “Leonid Dudarew”, he appeared in a variety of roles, as romantic lead, ruler, or villain. 

Ossetynski as Kosciuszko in Valley Forge film.

The outbreak of WWII found him in Paris so he joined the Polish Army in France, but was soon arrested and placed in POW camp in Morocco. In 1943 thanks to efforts of friends, he was able to leave for America. Upon arriving in the U.S. he changed his name from Leonid Dudarew to Leonidas Dudarew-Ossetynski. After arriving in New York, Ossetyński joined a group of Polish actors in exile, cinema, and theater stars of the Second Polish Republic, who established the Polish Theater of Artists on 22 November 1942. He was a managing director there, appeared in several plays and directed as well. Soon he joined the American Army, working as a translator. He also wrote various short stories, and newspaper features for Polish American press. 

Ossetynski's portrait by Szukalski, ca. 1955.

In 1946, the actor-journalist married Elizabeth Huguley (1920-2002) who was his witness at the U.S. citizenship ceremony; they had one daughter together, Valerie Dudarew-Ossetyńska Hunken.  To support his family, Ossetyński established a restaurant called Wilno in Agoura, Los Angeles County, t hat served as a meeting point for actors and Polish émigrés, and had a small performance stage. The Wilno Restaurant was frequented by the creative elite of Polonia, including artist Stanisław Szukalski (1893-1987), Maria Werten (1888-1949), actor-director Romuald Gantkowski, actress Pola Negri (1897-1987), and dancer Loda Halama (1911-1996).

Opening of Wilno Restaurant, with wife Elizabeth Hughley and Mikhail Chekhov, 1947.

 In 1947, Ossetyński started working for the Actors Studio of the famous acting teacher, Michael Chekhov (Mikhail Aleksandrovich; 1891–1955), a nephew of the Russian playwright, Anton Chekhov. This creative relationship continued until Chekhov’s death in 1955 and provided the Polish émigré with experience and relationships to open his own Ossetynski Actors Laboratory.

Modjeska Players logo by Szukalski on the cover of 1955 
Modjeska Memorial Program. Modejska Club Archives.

Ossetyński’s theatrical passion and reverence for the great star of Polish and American stages was apparent already when he chose Modjeska as the patron of his first Californian theater troupe. The actor founded his own theater group the Modjeska Players / Teatr im. Heleny Modrzejewskiej in 1954, with a Polish actress Lidia Próchnicka (1920-1994), whom he recruited from South America; she came to California from Chile upon his invitation and with his support. They staged plays in English and Polish and toured the U.S. and Canada for more than three years, giving several hundreds of performances with a program entitled From Fredro to the Uprising. It was a theatrical evening consisting of poems and three one-act plays – Fraszkopis, Visits at Dusk, The Candle Went Out – and Zbigniew Jasiński’s poem “Song of the Uprising.”  

Cover of "White Eagle with drawing of OSsetynski and Prochnicka on a Pegasus, 1957.

The logo for the Modjeska Players was designed by Stanisław Szukalski  who also made plans for the monument to Helena Modjeska, which Ossetyński proposed to erect in Hollywood; the actor was an active member of the Helena Modjeska Commemoration Committee of 1949, later becoming the initiator and Executive Secretary of its successor, the Helena Modjeska Memorial Committee  established in 1954. This project did not come to fruition.

Pola Negri after the premiere of first play by Modjeska Players 1955.

A collage of news items about Ossetynski and Prochnicka's tours with Modjeska Players.

Aleksander Janta-Polczynski, Lidia Prochnicka, Leonidas Dudarew-Ossetynski, 1958.

The departure of Próchnicka for New York in 1957 put an end to the Modjeska Players’ tours but not to their collaboration, and certainly not to Lidia’s stage and film career. In New York, Próchnicka became the Polish announcer for the Voice of America where she worked for 18 years; she also played many comic roles on off-Broadway stages and appeared in numerous films and TV series.  Ossetyński traveled between California and the East Coast to direct several Polish plays in English translations on the off-Broadway scene. Throughout this period, he conducted extensive correspondence with the luminaries of Polish culture, such as playwright Sławomir Mrożek (1930-2013), whose play Policjanci (The Police) Ossetyński translated in 1960 and directed in 1961. 

Jerzy Grotowski and Leonidas Dudarew-Ossetynski, 1973.

About 10 years after his marriage to Elizabeth Hughley, Ossetynski divorced.  He later married again in late 1960s to Teresa Domanska who followed him to California from Poland. After returning from New York to Los Angeles in 1964, Ossetyński developed a unique teaching method in his own acting studio, Ossetynski Actors Laboratory, inspired in its name and a syncretic approach to acting by the experimental work of legendary theater director Jerzy Grotowski. He also drew from the method of Michael Chekhov, based on Stanislavsky’s approach.  In 1966, the émigré actor traveled to Poland for the first time after WWII; during this visit he attended many theatrical performances, met with directors and actors, and performed for the Polish Radio Theater.  In all, he Visited the Polish People’s Republic three times: in 1966, 1977, and 1986 – the latter two times with the Ossetynski Actors Lab and his students. During these travels, with great enthusiasm he attended theater plays, met with actors and directors, the students gave workshops for host theaters such as Gardzienice, or Teatr Kto, and the director gave interviews for the press and television programs while gathering information about fascinating avant-garde experiments in Polish theater. 

1973 invitation to an event about Maciejewski's Requiem.

Ossetynski, Roman Meciejewski and Stefanie Powers, 1973.

In order to promote Polish theater and culture in California, Ossetynski needed a group of like-minded people who would share his passion for the arts.  The idea of creating the Modjeska Club emerged in 1971 and the actor gave credit in his farewell speech as the Club’s first president in 1978 to four people: himself, composers Stefan Pasternacki and Waclaw Gazinski as well as Eugenia Domachowska. For the first eight years of activity in the Modjeska Club, 1971-1978, Dudarew-Ossetyński was its President and the driving force behind its projects: he invited outstanding personalities to cooperate on the Board, while planning and implementing its programs. Artistic Advisory Board included Pasternacki, Szukalski, and Stefan Wenta. Notable ents featured Sławomir Mrożek’s play Emigranci (The Émigrés) that was given its unofficial world premiere in 1973 in the Reading Theater of the Modjeska Club. In a year, this play took worldwide theater stages by storm; but its humble beginnings are inseparably connected to the Modjeska Club. 

Similarly, the invitation of director Jerzy Grotowski to the U.S., his subsequent explorations of American theater, and experiments involving actors and the audience as equally significant participants in the theatrical ritual and psychological experiment, may also be credited to Ossetyński.  In 1973, Grotowski conducted an eight-hour workshop with Modjeska Club members and Ossetynski's students. In 1975, a massive group of nearly 240 musicians performed the monumental Requiem by Roman Maciejewski at the Los Angeles Music Center, to great critical acclaim; Dudarew-Ossetynski spent a decade, since 1965 as leader of a committee that organized this performance in collaboration with the Master Chorale, Roger Wagner, and the Modjeska Club. Artur Rubinstein was the honorary chairman of this organization. 

Rubinstein, Maciejewski, Ossetynski after the performance of Requiem.

Ossetynski presents Roman Maciejewski with a gold watch, with Maciejewski's brother.

In 1977, the OAL took its students with Stefanie Powers on a two-month tour of Poland, with a repertoire of acting etudes. He gave 15 lectures in various Polish cities, including: Warsaw, Łódź, Kraków, Poznań, Ełk, Łomża, Szczecin, Wrocław, and Zielona Góra. During this trip, Ossetyński and his students spent time with Grotowski at his Teatr Laboratorium reinforcing earlier connection of 1973. The group’s founder and leader was interviewed for Przekrój, Ekran, Kultura and Poland magazines; he also appeared in a Polish TV program, Pegaz (Pegasus). The actor-director was far more interested in promoting and teaching theater than in organizing small cultural events in the Modjeska Club.

On 17 November 1978 Ossetyński resigned from the Club’s presidency. On this occasion, he gave a speech, full of interesting remarks about the purpose and mission of the Club, as well as descriptions of its past projects and accomplishments. He did not hide his embittered feelings due to the lack of interest by the Club members in volunteer work for the promotion of Polish culture. After the first President’s resignation, Dr. Andrzej Mikulski took over the helm of the organization but died within a month. Then, a Board member Jerzy Gąssowski was elected President in December 1978; he served for four successive one-year terms until 1983. During that time, the Club’s programs were greatly diminished in scope and number; its membership plummeted; and a mood of crisis permeated its activities. 

The Board (or its reminder, after a spate of resignations), continued to work closely not with the Modjeska Club’s Founder and first President, but with his former wife, Teresa Domańska-Ossetyński; their divorce took place in 1981. Meanwhile, Ossetyński temporarily retained the title of Honorary President, but on 13 November 1981 by the decision of the Board, he was formally removed from the Club’s membership, including the withdrawal of his honorary title. Alas, upon a review of subsequent Modjeska Club publications, there is indication that the removing of its founder and first President from membership and any association with the Modjeska Club was not enough to satisfy his detractors. They continued to attack his reputation, diminish and distort his contributions, and pretend that none of what he did to promote Polish culture in California ever mattered.

Satirical image from 25th Anniversary of the Cub, 1996.

The Modjeska Club occupied Dudarew-Ossetynski's time in the 1970s, from 1971 to 1978.  His final, unfinished project was a book of recollections and tributes for Aleksander Janta-Połczyński that was meant to be edited by Prof. Tymon Terlecki of the University of Chicago and include entries by 44 authors. The book was conceived of in 1976 but abandoned after the Club’s founder abruptly departed from his post in November 1978. A well-regarded literary scholar, Jerzy Krzyżanowski took over the project and brought it to fruition: the anthology was published in 1982 in London, with most of the original essays included, among them Ossetyński’s fascinating text about Janta and theater.

Krafftowna in "Matka" by Witkacy, 1983. Courtesy of Witkacologia website. 

Poster for "Matka" by Leonard Konopelski. Courtesy of Witkacologia website.

The most significant project that Ossetyński worked on after leaving the Club was undoubtedly the staging of Witkacy’s Matka (The Mother) in September-November 1983. His interest in the work of Witkacy (full name: Stanisław Ignacy Witkiewicz, 1885-1939) was expressed earlier by using the play Wariat i Zakonnica (The Madman and the Nun) for workshops in his Actors Laboratory in 1980-83. In 1982, the visionary actor-director decided to introduce Witkacy’s surrealist theater to Los Angeles. He invited actress Barbara Krafftówna (1928-2022) to Los Angeles to appear in Matka’s title role the following year.  The play was staged in Safe Harbor Theater by a 20-person team led by Ossetyński,  between 23 September and 12 November 1983. The original one-month run was extended by two weeks due to high demand and sold-out performances. 

This surrealist play won ten prizes in a competition organized by a theatrical magazine Drama-Logue (“Seventh Annual Drama-Logue Critics’ Awards for Outstanding Achievement in Theater”): for production, direction, co-production, translation, three main roles (of Matka, Leon, and Zofia), costumes, make-up, and masks. Clearly, it was the best theatrical production of 1983. But the Modjeska Club had nothing to do with it. Its founder died in 1989.

With Barbara Krafftówna (1928-2022)  after the premiere of Matka’ 1983.  


Stanislaw Szukalski and Leonidas Dudarew-Ossetynski

In 2011, in the application to award the founder of our Club the Golden Cross of Merit, as the President of the Club at that time, I wrote: "Leonidas Dudarew-Ossetyński founded the Helena Modjeska Art and Culture Club to promote Polish culture and art in Los Angeles. He invited well-known actors and activists from the Polish community to cooperate and quickly transformed the new organization into the most important site for the promotion of Polish culture in California. He served as the President of the Club in the years 1971-1978 […] He directed and acted in many theatrical productions. Thanks to his efforts, the possibilities of promoting Polish culture in California have been expanded."

A higher-ranked medal, the Cavalier Cross of the Order of Merit of the Republic of Poland, was awarded to Ossetyński posthumously and presented to his daughter, Valerie Dudarew-Ossetyńska Hunken, after its unveiling during the award ceremony at the residence of the Consul General of the Republic of Poland, Joanna Kozińska-Frybes, held on 15 March 2013.

Imaginary portrait of Ossetynski by Stanislaw Szukalski.

My efforts to restore the good name of actor, director, journalist and promoter of culture did not end with the medal.  His titles as Honorary Member, Founder and Honorary President of the Modjeska Club was fully restored in 2024. The resolution was approved by the Board of Directors of Helena Modjeska Art & Culture Club in Los Angeles on 24 August 2023 for vote of the General Meeting.  It was then approved by a majority vote at the Special General Meeting of the Modjeska Club on 24 FEbruary 2024 in Tujunga, CA, with 83 votes for and 22 votes against. With the total of 105 votes cast and active membership of 125 persons, this was an  expression of an overwhelming support in favor of honoring Ossetynski.

~ By Maja Trochimczyk, based on fragments of paper, "Polish Émigrés in California: Leonidas Dudarew-Ossetyński's Modjeska Players and the Helena Modjeska Art & Culture Club," presented at the 6th World Congress of Polish Studies organized by PIASA in Warsaw, Poland June 2024.  The paper is an updated version of a biography of Dudarew-Ossetynski included in Celebrating Modjeska in California: History of Helena Modjeska Art & Culture Club (2023), written after extensive archival research and with tremendous support and encouragement of his daughter, Valerie Dudarew-Ossetynska Hunken.  Photos are from her archives, some also preserved at the Polish Museum of America, where LDO Papers are now located.  

Henry Vars fixes Ossetynski's tie, 1970s.



Thursday, August 15, 2024

Deszczowy Chleb - Polish version of 40 poems from The Rainy Bread published in August 2024


In preparation of Maja Trochimczyk's travel to Poland and sharing the poetry there at two readings, on 16 September 2024 at Dom Ksiegarza in Warsaw, and on 20 September 2024 at Sybir Museum in Bialystok, Moonrise Press issued a Polish translation and revision of 40 poems from The Rainy Bread of 2021; in two format, paperback and E-book in PDF Format (the latter available only on lulu.com). 

Ebook. ISBN 978-1-945938-78-8, PDF, 68 pages, $10.00

https://www.lulu.com/shop/maja-trochimczyk-and-maja-trochimczyk/deszczowy-chleb-wiersze-z-wygnania/ebook/product-e78y656.html?page=1&pageSize=4

Paperback. ISBN 978-1-945938-77-1, 68 pages, 40 poems, $20.00

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 ABOUT THIS BOOK

The book contains Polish translations of 40 poems from Maja Trochimczyk's volume of poetry, "The Rainy Bread: More Poems from Exile." Published in 2021 (first edition in 2016), the collection of 63 poems describes the tragic experiences of Poles during and after WWII, especially the author's family, originating from the country's eastern Borderlands (Baranowicze and the surrounding areas). Some poems capture the trauma, resilience, ordeals, and miraculous survival stories of the author’s immediate family. Their experiences of displacement, hunger, cold, and poverty during the war are typical of Polish civilians. They were killed, deported, imprisoned, or starved after the invasion of Poland by the Soviet Union on September 17, 1939.. They were deported to Siberia, the Arctic Circle, or Kazakhstan. Some left the Soviet Union with the Second Corps of the Polish Army under the command of General Władysław Anders. Others were transported to refugee camps in India or Africa; and ended up in Argentina, Canada, Australia or the U.S. The focus is not the tragedy itself, but the power of will, the resilience, and the strength of character that safeguarded their survival. The English-language book is an expanded edition of "The Rainy Bread: Poems from Exile" (30 poems, 2016) and a companion to "Slicing the Bread" (25 poems, 2014).


ABOUT THE POET


MAJA TROCHIMCZYK

Maja Trochimczyk, Ph.D., is a Polish-Canadian-American poet, music historian, photographer, and non-profit director born in Poland and living in California (www.trochimczyk.net). She published six collections of poems: Rose Always and Miriam’s Iris (Moonrise Press, 2008), Slicing the Bread (Finishing Line Press, 2014), The Rainy Bread, Into Light (Moonrise Press, 2016), and Bright Skies (Moonrise Press 2022). The revised and expanded version of The Rainy Bread. More Poems from Exile came out in 2021. She also edited five anthologies of poetry. Chopin with Cherries (2010) and Meditations on Divine Names (2012) offer “rich poetic material selected and collected with great sensitivity” (Prof. Grażyna Kozaczka, Polish Review, 2014). In 2018 Dr. Trochimczyk co-edited with Kathi Stafford an anthology of Westside Women Writers, Grateful Conversations, with work by nine female California poets, members of her writing group.  In 2020, Dr. Trochimczyk co-edited with Marlene Hitt the tenth anniversary anthology for Village Poets of Sunland-Tujunga, celebrating the featured poets and organizers of their monthly readings series: We Are Here: Village Poets Anthology.  In 2022, she edited an anthology of "positive poetry' with work by 12 poets, Crystal Fire. Poems of Joy and Wisdom.

Hundreds of Trochimczyk’s articles and poems appeared in English, Polish, as well as in German, French, Chinese, Spanish and Serbian translations. The venues for her poetry have included: The Loch Raven Review, Epiphany Magazine, Lily Review, Ekphrasis Journal, Quill and Parchment, Magnapoets, SGVGPQ, Pirene's Fountain, Cosmopolitan Review, The Scream Online, The Original Van Gogh’s Ear Anthology, Clockwise Cat, Lummox Journal, Phantom Seed, Colorado Boulevard, Spectrum, Poezja Dzisiaj, OccuPoetry, as well as many anthologies issued by Poets on Site, Silver Birch Press, Pisarze.pl, Bezkres and others.

As a music historian, Trochimczyk published eight books on music and Polish Culture: After Chopin: Essays on Music (2000), The Music of Louis Andriessen (2002), Polish Dance in Southern California (2007); A Romantic Century in Polish Music (2009); Frederic Chopin: A Research and Information Guide (co-authored with William Smialek, Routledge, 2015), Lutoslawski: Music and Legacy (co-authored with Stanislaw Latek, 2014); Gorecki in Context: Essays on Music (2017); and Album 50-lecia Klubu Kultury im. Heleny Modrzejewskiej (2021). She authored  27 book chapters for edited volumes on such topics as: Chopin (Indiana UP), Lutoslawski (Oxford UP), women composers, Polish music after 1945, emigres, ecomusicology, and more. She published English translation of two essays by Andrzej Wendland on Penderecki and Gorecki in 2020. For the 50th anniversary of Helena Modjeska Art and Culture Club in 2021, she co-edited a 380+ page Album 50-lecia Klubu Kultury im. Heleny Modrzejewskiej, with Elzbieta Kanski and Elzbieta Trybus. Dr. Trochimczyk also wrote 28 peer-reviewed articles in English and Polish for professional journals: Musical Quarterly, Computer Music Journal, Leonardo, Studia Chopinowskie, American Music, the Polish Review, and Muzyka. She presented papers at over 90 national and international conferences in Poland, France, Germany, Hungary, U.K., Canada, the U.S. and Australia. 

The Sixth Poet Laureate of Sunland-Tujunga (2010-12), she currently serves as President of the California State Poetry Society, President of Helena Modjeska Art and Culture Club, and President of Moonrise Press. She taught music history at McGill University and at USC. Dr. Trochimczyk received awards and fellowships from ACLS, SSHRCC, USC, McGill University, MPE Fraternity, Polish American Historical Association (Swastek Prize, 2007, Distinguished Service Award, 2014 and Creative Arts Prize, 2016), City and County of Los Angeles, and Poland’s Ministry of Culture (Medal for the Promotion of Polish Culture, 2012). She was a member of various poetry groups, such as Westside Women Writers, Poets on Site, and Village Poets. In 1998-2009 she served as Scholarship Chair for Polish University Club of Los Angeles and in 2009-2020 as Secretary and Communications Director of the Polish American Historical Association.



SAMPLE POEMS IN POLISH AND ENGLISH

≡ PIEŚŃ O KLUCZU ≡

       ~ dla Tomasza Kuby Kozłowskiego i jego Mamy


To jest klucz.

To jest żelazny klucz.

To jest duży, żelazny klucz.

To stary, duży, żelazny klucz.

Klucz, który moja Mama nosiła w torebce.

To stary, duży, kuty klucz mojej Mamy.

Nosiła go codziennie w torebce.


To jest pole.

To jest płaskie pole.

To płaskie, puste pole.

To płaskie, puste pole na Ukrainie.

Tu była kiedyś Polska. Płaskie, puste pole

gdzie kiedyś stał dom mojej Mamy, otoczony

wysokim drewnianym płotem z wysoką drewnianą bramą,

z solidnym, dużym zamkiem z kutego żelaza.

Powiedzieli jej: pakuj się!

Powiedzieli jej: won stąd!

Powiedzieli jej: wynoś się!

To nasza ziemia.


Nie ma już domu.

Nie ma już płotu.

Nie ma już bramy.

To jest klucz.


≡ A SONG FOR A KEY ≡

                 ~ for Tomasz Kuba Kozłowski and his Mother


This is a key.

This is an iron key.

This is a large, iron key.

This is an old, large, iron key.

A key my mother carried in her purse.


This is an old, large, wrought-iron key my mother 

carried in her purse every single day.


This is a field.

This is a flat field.

This is a flat, empty field.

This is a flat, empty field in the Ukraine

that used to be Poland. A flat, empty field 

where my mother’s house once stood, surrounded 

by a tall wooden fence with a tall wooden gate, 

and a solid, large, wrought-iron lock.


They told her: pack!

They told her: go!

They told her: out!

You do not belong.

This is our land.


There is not house.

There is no fence.

There is no gate.


This is the key.




≡ NAJSŁYNNIEJSZY GŁOS ≡

  ~ dla Hanki Ordonówny, gwiazdy z sercem (1902-1950)


Miłość Ci wszystko wybaczy. . .

Refren najsłynniejszej polskiej piosenki

odbija się echem w pamięci, gdy słucha

historii sierot wojennych – dzieci mówią

o ranach i wszach. Te wygłodzone szkielety

znajdują czas na zabawę. Proszą ją, by śpiewała.


Byla kiedyś Ordonką, w innej konstelacji, 

na innej osi czasu, może innej planecie –

w samo jej istnienie trudno tu uwierzyć,

w pociągu z sierotami, w drodze na wygnanie,

do obozu w Indiach – w szorstkim mundurze 

zamiast jedwabi, sznurów pereł i strusich piór.

Szampan dla największej gwiazdy! Bale i rewie

dla ukochanego głosu. Idealna miłość! Co za czar!


Znalazła schronienie w Bejrucie, w Paryżu Lewantu. 

Nie było już Polski, nie było gdzie wracać. 

Tam wjechały czołgi Stalina, zostały na 45 lat. 

Nie miała ochoty na jedwabie, pióra, perły – 

z sierotami przeżyła odyseję – 

pojechała w świat, by stać się kimś innym – 

te biedne zguby, polskie dzieci śmiały się 

z zachwytem, gdy śpiewała dla nich...


Miłość ci wszystko wybaczy… 

bo miłość, mój miły, to ja!


≡ THE GREATEST SONG ≡

       ~ for Hanka Ordonówna, a humanitarian star (1902-1950)


Miłość Ci wszystko wybaczy… Love will forgive you everything. . .


The refrain of Poland’s most famous song

echoes through her memory, as she listens 

to the stories of war orphans – covered in

wounds and lice, starved to skeletons, yet

finding time to play. They asked her to sing. 


Ordonka, she used to be in another life, 

on a different timeline, another planet, perhaps – 

its very existence impossible to believe in, here 

on the train with orphans, on the way to a refugee

camp in India – in a coarse military uniform instead 

of silks, pearl strings, shawls, and ostrich feathers.

Champagne for the greatest star! Balls and revues

for the beloved singer of perfect Love! Such charm! 


She found refuge in Beirut, her final stop, Paris 

of the Levant. There was no Poland to return to, after 

Stalin’s tanks rolled in to stay for 45 years. She did not 

make it. She did not feel like wearing silks, feathers, 

pearls – after the orphans that survived their odyssey 

went somewhere else to become someone else – not 

her lost Polish children, smiling with delight as she sang.


Miłość ci wszystko wybaczy… bo miłość, moj miły, to ja!

Love will forgive you everything. . . for Love, my dear, I’m Love!




≡ SZAMBALA ≡


Czy dzieci, które zmarły po drodze na Syberię

dostaną ozdobione klejnotami parasole 

w tybetańskim niebie? Czy Syberia jest za daleko od Szambali,

by znękane sieroty mogły wejść w jej złote bramy, 

lśniące tysiącami ozdób, skarbami z galaktyk,

dziesięcioma miliardami słońc? Czy były zbyt chore i brudne, 

aby pójść po błyszczącej ścieżce, cudzie dla Buddy — 

po drodze pachnącej olejkiem sandałowym, ozdobionej 

nieprzeliczonym mnóstwem najpiękniejszych drzew,

co zakwitły kryształem, roziskrzyły się biżuterią z nieba. 

Podobno, gdy narodził się Budda, Ziemia poruszyła się

i zatrzęsła aż sześć razy. Tak powiedział mędrzec.


Czy Ziemia poruszy się chociaż raz na cześć 

polskich dzieci? Tych, co zwijały się z bólu i jęczały

aż do błogosławionej ulgi odejścia? Tych, co oddały 

swój ostatni oddech jak kryształowy znak zapytania 

w zamarzniętym powietrzu Syberii? Czy tych 

w konwulsjach po nagłej serii strzałów,

kuli prosto w serce?  Czy tych, co zamarzły na śmierć 

w konwoju? Zemdlały na podłodze wagonu? 


Mówią, że sowy zamilkły, kiedy urodził się 

wielki Budda Siakjamuni. Słodko brzmiąca muzyka 

popłynęła przez niezliczone kwitnące sady,

najszlachetniejszy blask tęczowych drzew.


Czy obolałe, chore dzieci usłyszały pohukiwanie 

sowy, kiedy zmarły? Och, głodne dzieci gułagów, 

zagubione dzieci Syberii – czy poruszyła się Ziemia? 

Czy czekały na was klejnoty wśród niebiańskich 

parasoli, czy tylko szare i okrutne sowy?


≡ SHAMBHALA ≡


Do children who die on the way

carry bejeweled parasols in a Tibetan heaven?

Is Siberia too far from Shambhala 

for the bedraggled orphans to enter through

its golden doorways, glistening with ten thousand 

ornaments, treasures from a galaxy with ten billion suns?


Are they too sick and dirty to walk on a shining path 

made for the birth of the Buddha — scented 

with sandalwood, adorned with an unsurpassed 

multitude of rarest gems.

When the Buddha was born, the Earth 

moved six ways, the wise man said.


Did it move at least once to mark your passage?

When you rolled in pain and moaned 

until the blessed moment of relief?

Gave up your last breath like a crystal question mark 

in a frozen Siberian air? Convulsed 

in a sudden burst of gunfire, a bullet straight 

through your heart? Froze to death in a convoy?

Fainted on the floor of a railroad car?


There was no hooting of owls, they say,

when the great Shakyamuni Buddha 

was born. Sweet sounding music floated

through a myriad of flowering orchards, 

filled with a rainbow of gemstone trees.


Did you hear an owl hoot when you died? 

Oh, hungry child of gulags, the lost child 

of Siberia — Did the Earth move? 

Were there parasols, or owls?