Sunday, January 24, 2016

New Reviews of "Across the Atlantic" On Polish Aviation Pioneers in America



The biography of brothers Joe and Ben Adamowicz who flew across the Atlantic in 1934, from New York to Warsaw, only seven years after Charles Lindbergh has attracted critical attention.  Written by Zofia Reklewska-Braun and Kazimierz Braun, and published in 2015, the book presents the background and detailed description of this incredible feat, as well as circumstances that led to its disappearance from the pages of history.

Ben and Joe Adamowicz with U.S. Ambassador in Poland, Mr. Cudahy, 1934.

REVIEW BY PETER J. OBST ON POLES.ORG

Peter J. Obst published the review on the website, Poles.org, and amply illustrated the text with historical photographs. With the author's permission, the entire text of the review is reprinted below.


The 1920s and 30s are primarily remembered for prohibition, jazz, flappers and the growth of aviation - and there was a part to be played by Poles in all of these categories. In 1934, only seven years after Lindbergh's solo trans-Atlantic flight, two Polish immigrants, brothers Ben and Joe Adamowicz from Brooklyn, made a flight over the ocean with a landing in Warsaw at the end of their journey.

The historical context and details of this flight are examined in a recently published book Across the Atlantic - The Adamowicz Brothers, Polish Aviation Pioneers by Zofia Reklewska-Braun and Kazimierz Braun. What is remarkable about this story is that two men, ordinary guys quite unknown in the then-existing aviation community, managed to accomplish something that, at the time, was still regarded as a dangerous and daring feat.

Even before their excursion into aviation these two "everymen" were part of the immigrant success story. They started a soft-drink bottling plant, made money, acquired property - and hobbies. From bicycling they moved to motorcycles, then automobiles - where they had quite a few mishaps - and finally airplanes. The flying bug got a hold of them and planning for a flight to Poland started. After mastering pilotage on an old Waco airplane, they purchased a slightly used Ballanca Pacemaker single-engine monoplane and had it outfitted with long range tanks.

It was a wise choice as, at the time, aircraft designer Guiseppe Mario Bellanca was the leading manufacturer of aircraft with long distance capabilities. According to records the plane carried about 430 gallons of high test aviation fuel - plus 21 additional 5 gallon canisters, just in case. They paid somewhere between ten and twelve thousand dollars for the plane. Ten thousand dollars in 1934, adjusted for inflation, would be $178,000 today, and this did not include all the additional expenses connected with the trip.

Starting from New York on June 28, 1934 they landed at Harbour Grace, Newfoundland, and flew on for over 30 hours above the ocean, at one point encountering stormy weather and icing conditions. The plane landed on a field in France and refueled, then continued, making a landing in Germany. Flying east, they sighted and followed the Vistula to Torun, and after some delays were finally cheered by exuberant crowds as they landed in the capital city of Warsaw, the plane's namesake. Apparently the Adamowicz brothers were not short on courage or piloting skills, it was their navigation that was less than perfect.

For ten weeks Poland cheered as Ben and Joe made a tour of the country. Nothing was too good for them. Every Polish city wanted to give them a parade. Newspapers around the world picked up the story of two ordinary men, brothers, who made a spectacular journey. They were given medals, toasted at banquets, housed in the best hotels. Then they sold the Bellanca to the Polish Aero Club and came home to America.

Unfortunately, there were no parades awaiting them in New York. Instead, there was a warrant for their arrest. The authorities found a still for the production of alcohol in the soda water bottling plant. Though prohibition was over, the brothers had operated without the required permits and licenses. In the end a jury found them guilty and they were sentenced to 15 month prison terms and confiscation of the bottling plant.

Newspaper reports that came from the trial were unsympathetic to the brothers who had fallen from grace as "conquerors of the Atlantic" to the status ordinary bootleggers. Even Harold Ross, editor of The New Yorker magazine, took a swipe at the brothers in print. The Polish press was mostly silent about their disgrace.

Over time the story faded into obscurity, both the glory of the accomplishment and the humiliating brush with American justice that followed. It was not the first time that a noble pursuit was financed by illegal means. The brothers paid for breaking the law, and their brave adventure was tainted by the deed. Yet, it is good that the book brought back the memory of these immigrant men, Ben and Joe, who dared to fly, as they said, "for the greater glory of Poland."

(c) by Peter J. Obst

Historical commemorative envelope signed by the Adamowicz brothers.
Maja Trochimczyk Collection.


REVIEW BY SALLY BOSS IN THE SARMATIAN REVIEW

The January 2016 Issue of the Sarmatian Review (vol. 36 no. 1, p. 1987-1988)  contains an extensive review by Sally Boss, focusing not on the incredible accomplishment of the two "everymen" pilots, whose hobby earned them a place in history, but on the reasons for their disappearance from the annals of history and the discrimination that Polish immigrants suffered in America in the 1930s that was the more important reason for this neglect.  The first, an obvious one, was that the plane was bought with funds obtained from illegal manufacturing and sale of alcohol; the Adamowiczes managed a still and a speak-easy in their home, and used their savings and all profits for their aviation adventures.

The Adamowiczes' Bellanca at the Pola Mokotowskie Airport in Warsaw.

But, as Ms. Boss writes, the second reason was far more important and insidious: "plain old prejudice agains Polish Catholic immigrants to this country, in full display in the 1930s and 1940s." She continues:

"The Adamowiczes fell in love with flying shortly after they arrived in the United States and partly financed the purchase of an airplane by running a soda pop factor. They apparently also ran, or collaborated in running, an illegal whisky still that supplied the considerable funds necessary for engaging in so costly and enterprise as an attempt to fly across the ocean. These were Prohibition times and the production of illegal alcohol was strictly forbidden. someone informed the authorities. [...] While the first trial resulted in a hung jury and should have put an end to the prosecution of the two Poles, the legal authorities decided to retry them.We do not know how this was possible nor do the authors of the book supply the information. It was, we assume, one of the innumerable and mostly invisible acts of bias that hurt certain minorities in the United States and cotinue to hurt them.

"The second trial ended in a conviction. Judde Grover M. Moskovitz personally congratulated the jury after they reached the guilty verdict. The newspapers had a feast: two Polish Americans who aspired to join the refined club of pioneering American aviators were pushed back to where they belonged. Whatever was left of their property was confiscated and the brothers spent several years in jail. Upon their release they never returned to their previous fascination wtih flying. Gone was their love of aviation, their courage and willingness to achieve. They were broken men. Family troubles ensued. From one-time heroes who were greeted in Warsaw by the president of the Polish Republic , they became residents of skid row.[...]

"The legal authorities in the state of New York were not interested in the circumstances. Only the Polish brothers wer stigmatized, ridiculed, and incarcerated. There has never been any "reevaluation," as so often happens with African Americans, no mercy shown to two people who manged to fly over the Atlantic at the time when it was considered a feat. the Adamowiczes' love of airplanes, the sacrifices necessary to built a plane and cover its costs (even if the plane were financed by illegal income) their enthusiasm and success were dropped in the memory hole. [...]

"The book is well documented and edited. It is written in a simple and dispassionate language, perhaps too dispassionate to make a difference. The authors are obviously aware of the injustice that the Adamowiczes and others experiences while trying to realize their dreams, but they choose not to say, with Emile Zola, "J'Accuse!" instead, they merely lay out facts as scrupulously as possible, perhaps hoping that someone with a more pugnacious temperament will pick up where they left of."

(c) 2016 by Sally Boss and the Sarmatian Review

The Adamowicz Brothers with their plane, "Warszawa"










Sunday, November 22, 2015

Moonrise Press Co-sponsors the Third International Maria Szymanowska Symposium in Paris, November 25-27, 2015



The 3rd International Symposium about the composer Maria Szymanowska (1789-1831) and her times will take place on 25-27 November 2015 at the Polish Academy of Sciences’ Paris Center (74, rue Lauriston, Paris 16e). The previous conferences took place in 2011 and 2014. This edition of the Szymanowska Symposium will be dedicated to "Talents of Women: The Borders between Myth and Reality."  We will focus on the question: "What do we know about the cultural heritage of women (“matrimoine” in French) of this epoch?"

Researchers and musicians from 10 European countries and the U.S. will be discussing the recent scholarly findings and the current state of knowledge about Szymanowska and other women of influence from her time period. A rich musical program of works composed by women will be presented. Singers will be accompanied on the period instrument, Johann Alois Graff pianoforte (1825). This concert, held on Wednesday, 25 November 2015, entitled “Fondness for music” will open the Szymanowska Symposium, filled with scholarly presentations and musical interludes. 

A historic Graf pianoforte, private collection, Paris

The Director of the Paris Center of the Polish Academy of Sciences, Dr. Marek WIĘCKOWSKI will open the proceedings moderated by the President of the Maria Szymanowska Society, singer Elisabeth ZAPOLSKA-CHAPELLE. The participants include scholars from Poland, France, and the U.S.: Helen GEYER, Valérie COSSY, Maja TROCHIMCZYK, Françoise PITT-RIVERS, Jérôme DORIVAL, Jean-Marc WARSZAWSKI, Irena PONIATOWSKA,  Maria STOLARZEWICZ, Irène MINDER-JEANNERET. The music will be presented by Ms. ZAPOLSKA-CHAPELLE with pianist Bart VAN OORT, as well as an international group of pianists: Marcia HADJIMARKOS, Edoardo TORBIANELLI, Claudia Dafne SEVILLA CARRION, Francoise TILLARD,  Petra SOMLAI, Ekaterina GLAZOVSKAYA, and Iwo ZALUSKI. 

The 3rd International Maria Szymanowska Symposium  has been organized jointly by the Maria Szymanowska Society and the Polish Academy of Sciences’ Paris Center. The program is reproduced below (in French). For more information & reservations contact the Maria Szymanowska Society: societe.mariasz@laposte.net. 

3e Colloque international 

Maria Szymanowska (1789-1831) et son temps

Talents au féminin: Mythes et réalité

Sous le Haut Patronage de l’ Ambassadeur de Pologne en France Son Excellence Monsieur Andrzej Byrt
                                               
Paris, 25-27 Novembre 2015, Centre Scientifique de l’Académie Polonaise des Sciences, 74, rue Lauriston, Paris 16e
                                                                          
organisé par la Société Maria Szymanowska et le Centre Scientifique de l’Académie Polonaise des Sciences à Paris





MERCREDI 25 Novembre - Wednesday, 25 November 2015
Opening Presentation
18h00    Allocution d’ouverture

Monsieur Marek WIĘCKOWSKI, Directeur du Centre Scientifique à Paris de l’Académie Polonaise des Sciences
Concert autour du piano Johann Alois GRAFF in Wien 1825 (collection Petra Somlai & Bart van Oort, Pays Bas)

Concert - Gourmandise de musique
Elisabeth ZAPOLSKA, mezzo-soprano & Bart VAN OORT, piano
Annette von Droste-Hülshoff (1797-1848) / Johann Wolfgang Goethe
Lied des Harfners                                                                         
Maria Theresia von Paradis (1759-1824) / Johann Timoteus Hermes
Morgenlied eines armen Mannes                                              
Maria Szymanowska (1789-1831) / Louis-François Jauffret        
Complainte d’un aveugle qui demandait l’aumône au Jardin du Roi à Paris
Hortense de Beauharnais (1783 – 1837) / François Guillaume Ducray-Duminil
Romance                                                                                                       
Hélène de Montgeroult (1764-1836) / Metastasio
Nocturne N°6 à voix seule avec accompagnement de Piano Forte    
Isabelle de Charrière (1740-1805) / Le Comte de St-Méran
Air avec accompagnement de Clavecin                                                                 
Maria Szymanowska (1789-1831) / Madame de Saint-Onge
Ballade                                                                                                         
Louise Reichardt (1779-1826) / Philipp Otto Runge
Die Blume der Blumen                                                                                              
Louise Reichardt (1779-1826) / Ludwig Tieck
Genoveva                                                                                                      
Sophie Gail (1775-1819) / Anonyme
N’est-ce pas [d’] elle                                                                          
Bolleros                                                                                                                                      
Maria Szymanowska (1789-1831) / Cervantes, trad.Florian
Le Départ                                                                                                     
Fanny Hensel née Mendelssohn (1809-1847) / Johann Wolfgang Goethe
Harfners Lied                                                                                               
Über allen Gipfeln ist Ruh                                                          
BART VAN OORT, piano             
Maria Szymanowska (1789-1831)
Romance du Prince Galitzine                                                                                   
Hélène de Montgeroult (1764-1836)
4e Sonate, en sol mineur                                                                                           
Allegro con molto espressione (1er mouvement)                                   
MARCIA HADJIMARKOS, piano
Maria Szymanowska (1789-1831)
Menuet N°4  en sol mineur : Vivace                                                                        
Polonaise en fa mineur                                                                              
EDOARDO TORBIANELLI, piano                            
Caroline Boissier-Butini (1786-1836)
1ère sonate : Allegro (1er mouvement)                                                                    
Variations sur deux airs languedociens : 
Introduction-Lento-Andante-Andante-Presto
CLAUDIA DAFNE SEVILLA CARRION,  piano
Hélène de Montgeroult (1764-1836)
Etude N°113                                                                                                
Maria Szymanowska (1789-1831)
Nocturne en si bémol majeur       
FRANÇOISE TILLARD, piano
Fanny Hensel née Mendelssohn (1809-1847)
Lied pour piano en mi bémol  majeur : Andante espressivo - Più Allegro - Tempo primo
Lied op. 4 n°2 en do dièse mineur                                                            
Lied op. 6 n°4 en la mineur Il Saltarello romano                                                 
PETRA SOMLAI, piano
Clara Schumann (1819-1896) - Soirées Musicales op. 6
N° 2 : Nocturne en fa majeur                                                                                    
N° 3 : Mazurka en sol mineur                                                                                  
N° 5 : Mazurka en sol majeur                                                                                  
PETRA SOMLAI & BART VAN OORT, piano
Maria Szymanowska (1789-1831)
Nocturne Le Murmure, version à 3 mains                
20h00    Cocktail d’inauguration
Participants of the 2014 Szymanowska Symposium, Prof.  Halina Goldberg at the Piano.


JEUDI 26 Novembre - Thursday, 26 November 2015   
Scholarly  Papers with Musical Interludes    
10h15    Accueil des intervenants par la modératrice du Colloque
               Elisabeth ZAPOLSKA-CHAPELLE
10h30    Helen GEYER     
               The four women conservatories of  Venice : models of  life, rivalry and outstanding examples of quality                
11h15    Valérie COSSY
               Du "talent" pour demoiselle à l'expression de soi : la musique selon Isabelle de Charrière et Jane Austen
                              p a u s e  d é j e u n e r
14h00    Première madeleine musicale - par Marcia HADJIMARKOS, piano
14h30    Maja TROCHIMCZYK
               Szymanowska in the Circle of Duchess Maria Czartoryska de Wittemberg
15h15    Françoise PITT-RIVERS
               Madame Vigée Le Brun, Angelica Kauffmann, deux peintres  musiciennes
               pause café
16h15    Jérôme DORIVAL                            
               Influence d’Hélène de Montgeroult sur la génération romantique
               avec l’aimable participation de Marcia HADJIMARKOS, piano


VENDREDI 27 Novembre -  Friday, 27 November 2015.  


Scholarly  Papers with Musical Interludes  

10h15    Jean-Marc WARSZAWSKI
               Musiciennes au temps de Maria Szymanowska : un contrepoint  d’inégalités et de préjugés
11h00    Deuxième madeleine musicale – par Claudia Dafne SEVILLA CARRION,piano           
11h10    Irena PONIATOWSKA                   
               Etudes  et  Préludes  de Maria Szymanowska : leur apport dans l'art pianistique européen des premières décennies du XIXe siècle
11h50    Troisième madeleine musicale – par Ekaterina GLAZOVSKAYA, piano                         
               p a u s e  d é j e u n e r
14h00    Quatrième madeleine musicale – par Iwo ZALUSKI, piano
14h15    Maria STOLARZEWICZ
               History of a musical friendship : Michał Kleofas Oginski & Maria Szymanowska
15h00    Irène MINDER-JEANNERET
               Entre cosmopolitisme et patriotisme : les « airs nationaux »  dans les compositions de Caroline Boissier-Butini (1786-1836)
15h30    Cinquième madeleine musicale – par Edoardo TORBIANELLI, piano                            
               pause
17h00    Salon musical de clôture  -Invite à la danse

18h00    Cocktail de clôture

For a full program visit: Chopin with Cherries blog.


Entrance to the PAN - Paris Center