Milhaud, Darius : Choral en l’honneur d’Ignace Paderewski (Homage to Paderewski)
Work Overview
Publication Year：1942
First Publisher：Boosey & Hawkes
Instrumentation：Piano Solo
Genre：Various works
Total Playing Time：2 min 00 sec
Copyright：Under Copyright Protection
Commentary (1)
Author : Nishihara, Masaki
Last Updated: July 12, 2021
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Author : Nishihara, Masaki
Milhaud's "Choral" (Homage to Paderewski / published 1942 by Boosey & Hawkes) is an unnumbered work included in the piano collection Homage to Paderewski. Separately from this work, Milhaud composed another unpublished "Choral" (Op. 111) for solo piano in 1930, subtitled "à la mémoire de Raymonde Linossier." Caution is advised as there are instances of confusion with the present work. This piece was completed on May 24, 1941, in Oakland. It is a one-page miniature in 5/4 time, marked Modéré (moderately). It employs a typical polytonal idiom, with both hands simultaneously playing chords in different keys. However, the polytonality here is merely a means to express a solemn sentiment; it is not intended to deliberately create dissonance.
The composers who contributed works to Homage to Paderewski were 17 individuals residing in the United States or Canada at the time. Well-known names include Bartók, Arthur Benjamin, Benjamin Britten, Castelnuovo-Tedesco, Goossens, Martinu, Milhaud, Joaquín Nin-Culmell, and Vittorio Rieti. The others were Theodore Chanler, Richard Hammond, Felix Labunski, Karol Rathaus, Ernest Schelling, Zygmunt Stojowski, Jaromir Weinberger, and Emerson Whithorne. Regardless of their later renown, all of them left a definite mark on music history. The historical significance of the collection is beyond doubt. However, Homage to Paderewski was long left largely unregarded after its initial publication. What I personally find particularly ironic is that Britten, who misunderstood the commission for a "short piece for solo piano," provided a work for two pianos (Mazurka Elegiaca, Op. 23-2) which could not be included in the collection and was instead published separately. This piece, in turn, saw consistent reprints and never fell out of the Boosey catalogue. It goes without saying that the works by the other composers are in no way inferior to Britten's.
Boosey & Hawkes finally published a revised edition of Homage to Paderewski in 2014. It includes commentary by Joseph A. Herter, a Polish musicologist from the United States, and the score, which in my opinion had no deficiencies in the first edition, was deliberately re-engraved. The commentary discusses the significance of the collection from a contemporary perspective, details the activities and specific financial accounts of the Paderewski Testimonial Fund (the primary publisher), records the premiere held on February 17, 1942, at the New York private residence of Samuel Barlow (writer, composer), and provides a synopsis of each piece. Milhaud's work is said to have been performed by Joaquín Nin-Culmell. On the other hand, the prefaces by American diplomat Hugh Gibson and The Paderewski Testimonial Fund, which were included in the first edition, were entirely omitted from the new edition. There is not even a mention that prefaces existed in the first edition. Gibson was the first U.S. Ambassador to Poland, engaged in direct diplomatic negotiations with Paderewski, who was then Polish Prime Minister (and Foreign Minister), and later worked for nuclear disarmament after the war. The authentic voice of someone who dealt with Paderewski as an equal, rather than merely elevating him as a great figure, carries immeasurable weight. It must be concluded that Boosey's new edition fundamentally lacks respect for the endeavors of its predecessors. While the entire first edition may eventually be shared electronically, I would like to present here in my translation the prefaces from the first edition that Boosey & Hawkes discarded.
ForewordI was talking the other day about the difficulty of finding words to express adequately the memory of Paderewski. The next day one of his closest and dearest friends sent me the following passage: --- I am not here to mourn a departed leader. I am here with you to celebrate the light and greatness of an immortal spirit. I am not here to read a eulogy. I am here to pay homage and love to one of the noblest and purest of mankind --- These words might have been spoken at Paderewski's bier, so faithfully do they reflect his noble and straightforward character. But they were spoken by Paderewski at the funeral of President Woodrow Wilson. When one tries to describe Paderewski to someone who has never met him, one is almost bound to give the impression of an almost superhumanly perfect individual. And that would be a false picture, for no one was ever more human than he. Of course, he is most widely known as a musician, but the single word musician is not enough to describe his genius. If he had not been a musician, he might have been famous as a mathematician, an orator, a historian, or a classicist. In none of these would he have been merely ordinary. And I would like to state that he will undoubtedly be remembered in history not so much for his genius as for his dedication and self-sacrifice—the most human of human qualities. His friends cherish his memory, not because he was a genius, but because of his rare capacity for altruistic friendship. Perhaps the greatest joy of his life was in helping his friends, particularly his fellow musicians. His wide circle of acquaintances included friendships with many contemporary composers, and he was never happier than when helping one of these colleagues. No composer ever sought his help and was refused. It is natural that composers should wish to honor their memories of Paderewski. Since Paderewski regarded composition as the highest expression of art, no tribute could be more valued by him than the dedication of a musical work. At this very moment, when we were preparing to celebrate the fiftieth anniversary of Paderewski's American debut, a large number of distinguished contemporary musicians have gathered in America. A collection of short piano pieces contributed by this group of musicians has been published, and the royalties for one year will be paid to the Paderewski Testimonial Fund, to be used for the relief of suffering Poles. It is a happy thing to honor a great artist and at the same time a generous donor. It also helps this worthy organization alleviate the suffering of its compatriots. Hugh Gibson First American Ambassador to Poland, 1919-1924 |
The Paderewski Testimonial FundIn the spring of 1941, Darius Milhaud, one of the most distinguished contemporary French composers, while lecturing at Mills College in California, pointed out to Doda Conrad, Vice-Chairman of our Fund, that a remarkable group of musicians had gathered in the Western world. Mr. Conrad, a young Polish baritone, was then on an extensive concert tour, and in parallel with his recitals, was also promoting the activities of the Paderewski Fund for Polish Relief. Mr. Milhaud suggested that, in homage to Ignacy Jan Paderewski, and to mark the 50th anniversary of his New York debut, composers of American origin and residence might be invited to contribute original musical works. Mr. Conrad, being very busy, asked Dorothy Lawton, Music Librarian of the New York Public Library's Circulation Department, for her cooperation. Miss Lawton, also an admirer of Paderewski, accepted Mr. Conrad's request and commissioned the composers to complete this collection. Due to Paderewski's passing on June 29, 1941, the celebration of his 50th debut anniversary could not take place. A slight delay was deemed necessary for score proofreading, and thus November 17 became the publication date. We express our heartfelt gratitude and admiration for the artistic homage paid by the composers to our beloved Paderewski, and for their generous donation of royalties. The Paderewski Testimonial Fund |