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Royal Family of Romania Gives Messages Of Support To The Romanian People
Recently, Princess Margarita of Romania and her nephew Nicholas took to social media to offer their support to the people of their country during this difficult time.
Margarita, who is often styled as Her Majesty The Custodian of the Crown, delivered her message on the occasion of her birthday, 26 March. This year the princess turned seventy-one. Margarita is the eldest daughter of the late King Michael and Queen Anne of Romania. In her video, Margarita expressed thanks for the congratulations and well wishes on the occasion of her birthday, while also addressing the concerns around the current pandemic. Margarita is the founder of the Princess Margarita of Romania Foundation.
[English subtitles are available for the statement delivered by Prince Nicholas above.]
On 26 March, Nicholas of Romania wished his aunt Margarita a happy birthday on all of his social media platforms. Two days later, on 28 March, Nicholas issued a video statement wherein he thanked the Romanian authorities, nongovernmental organisations, private companies, and, especially, the medical professionals who are working to safe people affected with COVID-19 in the nation. Adhering to the advice offered by most medical experts on infectious diseases, Nicholas and his wife Alina-Maria have been self-isolating at home for the past several weeks. Nicholas is the founder of the Prince Nicholas Association.
The people of Romania can be certain that the members of their royal family stand with them in this current public health crisis, which has left no nation untouched.
Grand Duchess Maria of Russia Addresses Her Fellow Countrymen
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| Grand Duchess Maria Vladimirovna of Russia Photograph (c) Russian Imperial House |
Today Grand Duchess Maria of Russia, Head of the Imperial House of Russia, issued a public statement to the Russian people about the ongoing COVID-19 pandemic.
A Statement from the Head of the Imperial House of Russia H.I.H. The Grand Duchess Maria of Russia on the Coronavirus Pandemic
To my fellow Countrymen:
The entire world, including our country Russia, is enduring an enormous challenge. An illness is spreading across the globe and a cure for it has yet to be discovered.
In some countries, the virus has already claimed thousands of lives. But even in those countries where the situation is less desperate, there remains the possibility of a rapid explosion in the number of cases. The real danger lies in the fact that carriers of the virus often exhibit no symptoms, but can still transmit the disease, unknowingly, to many other people they encounter.
Just a few short months ago, we celebrated the New Year 2020, wishing each other happiness and making plans for the future. Probably no one expected that our lives would be suddenly and starkly changed, and that all of our plans, cares and problems would recede into the background, replaced by the global task facing each and every one of us: to prevent getting infected with the virus ourselves, and not to become a source of suffering and death for others.
In these circumstances, I consider it my duty to turn to you with a request and appeal.
Without despair or panic, and holding firm our faith in Divine protection, hope and optimism, we must be responsible as never before.
We must comply strictly and completely with the instructions of state authorities, doctors and other public health professionals.
We must be grateful to all the various medical professionals, pharmacists, law enforcement agencies, the military, firefighters and other emergency services, clergy, volunteers, store and shop employees and transport workers—everyone who is now working at considerable risk to their lives in order to meet the needs of the public and to strengthen our spirit. We must help them in any way we can and express our deep appreciation for their heroism and self-sacrifice. And we must in no way commit the sin of grumbling or otherwise obstructing the implementation of necessary measures being enacted to prevent the spread of this pandemic.
We can protect ourselves and others from danger by observing the simplest rules: do not leave your homes unless absolutely necessary, wash your hands and disinfect all surfaces, do not touch your face, keep the recommended distance, and limit contacts with others as much as possible.
In observing these small and temporary limitations on our freedom, we may save ourselves and possibly hundreds or even thousands of others.
There surely is no single explanation for why the Lord periodically allows such disasters to occur. But it is very clear that this is a serious life test for each of us. Think what answer we will give to our conscience if, due to our own carelessness, the lives of our parents and relatives, friends, or even strangers we happen upon, are cut short by an illness they contracted from us.
At such times, the words of our Saviour take on special meaning: “For unto whomsoever much is given, of him shall be much required: and to whom men have committed much, of him they will ask the more.” (Luke 12:48). The young and strong should, fully adhering to sanitary guidelines, step in to help the elderly and the weak who are in need of care and attention. The wealthy and those in positions of power must assume even more social responsibilities and prove by their actions that their privileges and positions serve the interests of society at this trying moment.
The people of Russia have endured many trials and tribulations and have each time saved their country through unity. Let us be united now, even if conditions force us to minimize direct contact with each other.
Let us try to turn this unfortunate situation into something good. Popular wisdom tells us: “There is always a silver lining” and “There is always some blessing in misfortune.” We can hope that the current misfortune might weaken the political and economic competition between nations and unite them to work together to save lives, without regard for religious, national and social differences, because the virus does not make such distinctions, but affects everyone. We can ourselves remember our traditional values and rely on them to bolster our resolve. We can appreciate anew our relationships with those near us or far away and the connections that bind all humanity. We can love and care for our spouses, parents and children, whom we can sometimes take for granted in a world filled with cares and bustle. We can do acts of mercy. We can put the needs of others above our own dreams and aspirations. We can learn from our history the necessary lessons for our future.
I was preparing to visit my homeland in May for the celebration of the 75th anniversary of Victory in World War II. The serious situation in Spain has confined me to Madrid, however, where, as you know, the rate of infection is extremely high and strict quarantine measures have been introduced by the government. As a result, I will not be able to travel outside of Spain in the immediate future. But the one person closest to me, my hope and support, my son and heir, Grand Duke George of Russia, is now in Moscow. It is difficult and sad for me to be apart from him, but I thank God that he—and through him, the Imperial House—can help our homeland in this difficult period, not only from abroad, but also directly inside Russia.
I extend my deepest, most sincere condolences to all who have lost relatives and friends in this pandemic. I pray for the speedy recovery of all those who have become ill, and for the preservation of the health of all.
May Almighty God help us and hasten the hour when the coronavirus pandemic shall end, through the strength of our Faith and Reason.
H.I.H. The Grand Duchess Maria of Russia
Madrid, 16/29 March 2020
Influential composer and conductor Krzysztof Penderecki dies aged 86 — Obituary
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| Krzysztof Penderecki at the Krakow opera house in 2008. Photo by Jacek Bednarczyk |
The Guardian — March 29, 2020
Polish musician won numerous awards, scored The Exorcist, and was admired by rock stars
Leading composer and conductor Krzysztof Penderecki has died at the age of 86 after a long illness, his family announced this morning.
The Polish-born Penderecki was a major figure in contemporary music whose compositions reached millions through celebrated film scores, which included for William Friedkin's The Exorcist, Stanley Kubrick's The Shining and David Lynch's Wild at Heart.
Penderecki's stated aim as an avant-gardist in the early 1960s was to "liberate sound beyond all tradition", and his emotionally charged experimental 1960 work Threnody to the Victims of Hiroshima, for 52 strings, brought him to international attention and acclaim when he was only 26. Over a long career he has also written operas, choral works and concertos, and won multiple awards, including four Grammys, most recently for best choral performance in 2016.
One of his best known fans is Radiohead's Jonny Greenwood, who collaborated with the composer in 2012. "His pieces make such wonderful sounds", said Greenwood. "I think a lot of people might think his work is stridently dissonant or painful on the ears. But because of the complexity of what's happening – particularly in pieces such as Threnody and Polymorphia, and how the sounds are bouncing around the concert hall, it becomes a very beautiful experience when you're there. It's not like listening to feedback, and it's not dissonant. It's something else. It's a celebration of so many people making music together and it's like – wow, you're watching that happen."
Penderecki had been tested for coronavirus after his carer was diagnosed with the illness, but the composer's result was negative, his daughter Beata Penderecka said.
Source: theguardian.com
Krzysztof Penderecki obituary
By Keith Potter
The Guardian — March 29, 2020
The Polish composer and conductor Krzysztof Penderecki, who has died aged 86, was an outstanding representative of musical modernism's success in the 1960s. From the early 70s he became equally emblematic of the subsequent failure of so many of that modernism's principal pioneers to sustain a lifelong career without abandoning their original principles.
In Penderecki's case, that appeared to mean the substitution of his early trademark emphasis on sound itself, the innovative textures of his choral and orchestral music replacing themes and tonality as the basis for musical construction, with a more lyrical and Romantic style that seemed more like a continuation of 19th-century compositional concerns than a radical reappraisal of received materials.
The composer's earlier manner reached its apogee in the St Luke Passion for two vocal soloists, reciter, three mixed choruses, children's choir and orchestra; its world premiere took place in March 1966 in Münster Cathedral.
As the German critic Hans Heinz Stuckenschmidt put it: "A large ecclesiastical choral work, composed by a representative of the new music in socialist Poland, performed for the first time in a centre of West German Catholicism, in the former bishop's seat of the daring anti-Nazi Graf von Galen [a prominent critic of the Third Reich when bishop of Münster during the 40s]: this gives occasion to a variety of thoughts". Many performances worldwide of the Passion took place over the next few years.
Penderecki's later approach is perhaps best exemplified by the First Violin Concerto, written in 1977 for Isaac Stern; by the Polish Requiem for four soloists, chorus and orchestra (1984, revised in 1993), many sections of which are dedicated to individuals or mass martyrs from Polish history; or by the Credo for five vocal soloists, chorus, children’s choir and orchestra (1998), in which Bach and Polish sources are encountered in a broadly 19th-century harmonic idiom.
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| Krzysztof Penderecki, Gdańsk, 2008 |
Composition studies with Artur Malawski and Stanislaw Wiechowicz at the State Higher School of Music (now known as the Academy) in Kraków (1954-1958) led to his being appointed a teacher of composition there himself. This was only five years after the death of Stalin; and, despite the advent of the Warsaw autumn international festival of contemporary music in 1956, communist rule in Poland discouraged modernist tendencies.
Penderecki himself was then still writing music essentially neoclassical in style, and in 1958 it must have looked as though the young composer was set for a safe but dull career of merely local significance.
In the following year, however, came a rise both to sudden maturity and to fame surely as swift as that experienced by any composer at any period. Penderecki had, anonymously, as its terms required, submitted three works to a competition organised by the Union of Polish Composers.
When his name turned out to be on the scores winning all the top three prizes, the works involved – Strophes, Emanations and Psalms of David – all immediately became well-known in European avant-garde circles, and commissioners of new works quickly beat a path to his door.
The reasons for Penderecki's increasing popularity during this time clearly lay in the fact that his reliance on sound itself, rather than on melody or harmony as such – an approach that came to be called "sonorism" – was allied to a highly expressive manner that quickly resonated with listeners beyond the avant garde, promising to create a new public for contemporary music.
The works that Penderecki now began to write – deploying sound masses including unusual instrumental and vocal techniques, and combining conventional and more graphic methods of notation – extended this coupling of experimental sound-world and immediacy of expression to develop a texture-based language of assertive individuality.
In the St Luke Passion, the use of chant, recitative and chorales, not to mention the BACH motif (using German note-names, B flat-A-C-B natural) and occasional major triads, helped to make it famous as an instinctively dramatic reworking of a genre familiar from the baroque period. The work was also very timely since, despite emerging from communist Poland, it expressed a spirit of post-second world war reconciliation. Penderecki's Passion became regarded as a kind of avant-garde counterpart to Benjamin Britten's War Requiem, premiered only four years before it.
An expressive approach to new materials and means such as Penderecki's found contemporary parallels in the outputs not only of other Polish composers such as Henryk Górecki and, to some extent, Witold Lutosławski, but also in those of Iannis Xenakis and György Ligeti. Part of the broader agenda here was a concern to find a way forward that addressed the problems of musical structure and comprehensibility raised by the so-called total serialism of such composers as Pierre Boulez and Karlheinz Stockhausen, and that yet retained a radical attitude to musical materials.
West Germany, in particular, opened its doors to Penderecki in the 60s: the publisher Hermann Moeck and Heinrich Strobel – a radio producer who also ran the Donaueschingen Music Days – were soon prominent champions. It was not long before Penderecki was showered with awards, both in that country and elsewhere.
One of the first of these, a Unesco prize, went to his most famous early composition before the St Luke Passion, his Threnody to the Victims of Hiroshima (1960). Written for 52 strings and originally known as 8'37" (the work's length), Threnody is classic early Penderecki: its vividly unconventional writing for massed strings, including quarter-tones, tremolos and multiple glissandi, allied – after the composer changed the title – to highly emotive and political subject matter.
This combination would serve him well both at this period and later. Indeed, just as the highly expressive, sometimes programmatically charged, approach of other early works such as Polymorphia for 48 strings (1961), with its thunderously concluding C major chord, or the Dies Irae for three vocal soloists, chorus and orchestra (1967), which commemorates the dead of Auschwitz, was subsequently carried over into the more conventional sound-world of Penderecki's output from the 70s onwards, so the potentially incompatible range of musical materials to be found in some of his 60s compositions can sometimes be detected in his output too.
The Polish Requiem and Credo offer two contrasting approaches here: the former incorporating 60s sonoristic effects, the latter more consistently conventional in idiom.
More rigorously modernist commentators soon criticised Penderecki's scores of the 60s for cheap eclecticism, producing "effects-without-causes" music.
Subsequently, his move into what was often called "neo-Romanticism" supplied them with fresh ammunition, as the view of Penderecki as a "sheep in wolf's clothing" appeared vindicated. Now that most of the more obviously avant-garde surface aspects of his music had largely disappeared, thematic and tonal underpinning could show through, unencumbered by any remaining equivocations about expressing musical and extra-musical ideas as approachably as possible to a public for whom most contemporary music remains anathema.
Yet those early works, which at the time struck so many as so arresting in their dramatic challenge to convention, now seem – for some listeners at least – shallow, simplistic, or even opportunistic. Penderecki's subsequent manner, meanwhile, retained the endless chromatic melodic sequences and tritones of the earlier manner in the context of a thematic tonality that could now prove simply banal.
A notable example is the Second Symphony, subtitled the Christmas Symphony (1980), with its quotation of the carol Silent Night: this seems inadequate to the task of handling the religious and political meanings with which it is often charged. Some would argue that the composer had long since proved to be a spent force.
Penderecki's later, as well as his earlier music, retained some champions, however; both before and after the imposition of martial law in Poland in December 1981, the composer's works were adopted as a representation of the struggle between church and state. This did not stop Penderecki from maintaining links with the Polish political establishment in the years immediately after 1981, something that his compatriots Lutosławski and Górecki – the latter also directly linked, like Penderecki, with the Solidarity movement – refused to do.
Works such as the Te Deum for four vocal soloists, chorus and orchestra (1980) – dedicated to Cardinal Karol Wojtyla of Kraków, who became Pope John Paul II in October 1978 – and the Polish Requiem – both of which quote old Polish hymns – should be understood in this light.
Other signs of Penderecki's acceptance included the number of leading international soloists who premiered works by the composer, among them Mstislav Rostropovich, for whom the Second Cello Concerto (1982) was written, and Anne-Sophie Mutter, for whom both the Second Violin Concerto, subtitled Metamorphosen (1995), and the capriccio for solo violin solo, entitled La Follia, premiered in 2013, were composed.
Four operas – beginning with a suitably lurid Devils of Loudun (1969), based on a book by Aldous Huxley – received prominent performances, if not very many productions in the UK. Parts of this work, as well as his String Quartet and Kanon for Orchestra and Tape, were used on the soundtrack to the film The Exorcist (1973); and Penderecki's music featured in films including Stanley Kubrick's The Shining (1980), David Lynch's Wild at Heart (1990), Alfonso Cuarón's Children of Men (2006) and Martin Scorsese's Shutter Island (2010).
The most recent of the composer's eight symphonies – subtitled Lieder der Verganglichkeit (Songs of Transience), for three vocal soloists, chorus and orchestra, a 50-minute choral symphony in 12 movements setting 19th- and early 20th-century German poets – was completed in 2005 and revised in 2008.
Penderecki also worked frequently, and internationally, as a conductor – including, notably, of the music of Dmitri Shostakovich as well as his own. He was rector of the Krakow Academy (1972-1987), and taught at Yale University (1973-1978).
He is survived by his second wife, Elżbieta Solecka, whom he married in 1965, and by their son and daughter; and by a daughter from his first marriage.
Source: theguardian.com
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| Krzysztof Penderecki conducting his oratorio "Seven Gates of Jerusalem" at the Winter Palace, St Petersburg, in 2001. Photo by Dmitry Lovetsky |
Yalnız Yalnız Kovboy
Archduke Sigismund, Titular Grand Duke of Tuscany, Gives Statement To Tuscans Urging Solidarity In Uncertain Times
On Friday, 27 March, Archduke Sigismund of Austria, Titular Grand Duke of Tuscany, issued a statement offering good wishes and strength to the Tuscan people during the ongoing public health crisis due to coronavirus. Sigismund (b.1966) is the Head of the Grand Ducal House of Tuscany. He is son of Archduke Leopold Franz (b.1942), who renounced his rights as Head of House to his eldest son in 1993, and Laetitia de Belzunce-d'Arenberg (b.1941).
The grand ducal statement reads as follows:
Dear all,
In this moment of hard trial, both physical and moral, I wish to make all of you, the Tuscan People, as well as all other Italians, feel the sense of my caring and vigilant attention, as well as my intension solidarity.
The health authorities do well to warn us against this dangerous and invisible enemy; measures that tend towards the so-called "social distancing" are necessary, but, inevitably, they generate in each of us a sense of tiredness and frustration.
For this reason, and also in order to live better this strong Lenten time, I invite you to "not lose sight of each other"; if this is physically impossible nowadays, we can still cheer up the day of some old Friend (or brother) of ours by calling him and making him feel our affectionate closeness.
[May] this Lenten time, so strange and so different from any other time experienced so far, be for all of us a moment of deep reflection and awakening of our consciousness. Prayer then becomes fundamental to create a virtuous circle of good souls who are committed to soliciting and encouraging the healing of the sick, as well as to accelerate the transit to the Lord of those who have not made it.
Our thoughts go to the inhabitants of the whole world, since this devious and terrible enemy does not seem to spare any country at all.
For my part, I am close to you with much affection and participation in your anxieties, worries and fears, with the promise to return to you as soon as possible in your beautiful country. In the meantime, I wish you all the best for the approaching Holy Easter, first, and hopefully last, of this kind.
[signed]
Sigismondo d'Asburgo-Lorena
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| Sigismund's ancestor: Grand Duke Ferdinando IV of Tuscany |
Archduke Sigismund is the great-great grandson of Grand Duke Ferdinand IV of Tuscany, who was the last member of the dynasty to rule. Ferdinand IV (1835-1908) reigned for less than a year, between June 1859 and March 1860, when the grand duke lost his country due to Italian unification under the Savoys of Sardinia.
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