Miedzianka/Kupferberg. Memory of the town

Miedzianka/Kupferberg. Memory of the town

2017

Winner of Asymptote Journal’s 2016 Close Approximations Translation Contest and Shortlisted for the Ryszard Kapuscinski Prize, Filip Springer’s History of a Disappearance is a fascinating true story of a small mining town in the southwest of Poland – Miedzianka that, after seven centuries of history, disappeared.

Lying at the crucible of Central Europe, the Silesian village of Kupferberg suffered the violence of the Thirty Years War, the Napoleonic Wars, and World War I. After Stalin’s post-World War II redrawing of Poland’s borders, Kupferberg became Miedzianka, a town settled by displaced people from all over Poland and a new center of the Eastern Bloc’s uranium-mining industry. Decades of neglect and environmental degradation led to the town being declared uninhabitable, and the population was evacuated. Today, it exists only in ruins, with barely a hundred people living on the unstable ground above its collapsing mines.

In this work of unsparing and insightful reportage, renowned journalist, photographer, and architecture critic Filip Springer rediscovers this small town’s fascinating history. Digging beyond the village’s mythic foundations and the great wars and world leaders that shaped it, Springer catalogs the lost human elements: the long-departed tailor and deceased shopkeeper; the parties, now silenced, that used to fill the streets with shouts and laughter; and the once-beautiful cemetery, with gravestones upended by tractors and human bones scattered by dogs. In Miedzianka, Springer sees a microcosm of European history, and a powerful narrative of how the ghosts of the past continue to haunt us in the present.

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2011

Miedzianka: Historia znikania [Miedzianka: Story of Disappearing] published by Wydawnictwo Czarne, Wołowiec 2011

Coppferberge, Kopferberg, Kupferberg, and later Miedzianka. A town; and in the town – a church, bakery, pharmacist’s, inn, brewery, paper-mill, forge and hairdresser’s. There were weddings there, children were born, somebody died. Supposedly, the town was cursed as at some point, a man murdered his own brother. And two crosses were put up beside the road: one of them read: ”Memento”, so the tragedy would not go forgotten. ”History has never really arrived here; more adequately, it just kept wandering about the neighbourhood”, writes Filip Springer in his debut book about the town which used to exist but does not anymore. The process of disappearing started with a cherry tree, devoured one time by a crack in the ground; the tree still had fruit on its top branches. Houses, tombs, started to sink deeper and deeper into the ground. People would vanish into thin air. Girls played with crystals from church chandeliers and boys reached into old, derelict graves to take out old skulls buried long before. What made the town, the seven-centuries-old town, cease to exist? Are the damages resulting from Uranium excavations conducted by the Russians between 1948 and 1952 to blame? Or, maybe, the underlying cause was the Evil Woman mentioned by the one-time Miedzianka inhabitants who fled the town? This polyphonic story of Miedzianka does not provide answers for all posed questions but the memory of the town has been preserved.

Filip Springer (b. 1982 in Poznań) is a photographer and journalist, whose works are published in all-Poland magazines such as ”Polityka” weekly. In 2010, he received a grant awarded by the Minister of Culture and National Heritage and in 2012, he was included in the ”Młoda Polska” (”Young Poland”) grant programme of the National Cultural Centre. Filip Springer co-created a project under the name “Ill – Bred” (”Źle Urodzone”), dedicated to documenting historic buildings of the post-war Modernist era in Poland and presenting them to broad audiences; in March 2012, a book covering this issue was published by Karakter. ”Miedzianka: Story of Disappearing” (”Miedzianka. Historia znikania”) is Filip Spinger’s début in the field of literature.

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References:

http://www.europenowjournal.org/2017/04/03/history-of-a-disappearance-the-forgotten-story-of-a-polish-town-by-filip-springer/

http://www.kulturalna.warszawa.pl/kapuscinski,6,1776.html?locale=en_GB

http://wrzenie.pl/reportaz/451-miedzianka-wersja-angielska-history-of-a-disappearance.html

 

 

Mon cher Chopin and “Correspondence des arts”

Mon cher Chopin and “Correspondence des arts”

The Creative Group Symfonia seeks to combine various fields of art based on Polish indigenous music, poetry and literature. All this is embedded in the landscape of Polish spirituality and romantic tradition.

Vernissage of the “Mon cher Chopin. Pictures inspired by Chopin’s music” exhibition:

19:00 | Wednesday, 28 June 2017
PROM Kultury Saska Kępa, Warszawa
Free entrance

https://goingapp.pl/embed/893784

Curators: Anna Forycka-Putiatycka and Barbara Bielecka-Woźniczko

Balkan Erotic Epic and memory of the body

Balkan Erotic Epic and memory of the body

Dąbrówka Stępniewska


In the Balkan Erotic Epic (2005) multi-channel video installation Marina Abramović – the Grandmother of the Performance, as she calls herself – combines performance with ritual. She returns to the pagan roots, reffering to Balkan beliefs and practices, in which the body and sexuality play the key role. By recreating ritual activities , she shows the body in dialouge with nature. According to ancient beliefs fertility of the soil is inextricably linked to human fertility. Abramović’s monumental installation sublimates human vital and erotic functions – we find here the expression of pleasure drawn from visually aggressive sexual practices displaced by culture, and especially religion.

The installation can be seen within the BEYOND THE PLEASURE PRINCIPLE/ AFFECTIVE OPERATIONS exhibition in Zachęta – National Gallery of Art, Warsaw, Poland, 09.05 – 02.07.2017.

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Affect is construed here as the body’s automatic reaction to external stimuli or internal processes. These reactions, pleasant or not, occur beyond consciousness and the rational mind, and are not immediately subject to cognitive reflection. Affect is commonly identified with emotions, but in the context of this exhibition it is a proto-emotion: an experience of ‘intensity’ (anxiety, tension, tremor, uncertainty, experienced in the body, under the skin) that – when cognitively worked through, made conscious – triggers off specific emotions such as joy, fear, disgust, shame, anger, and many other related emotional nuances.

I sincerely recommend to see Marina Abramović’s installation and the whole BEYOND THE PLEASURE PRINCIPLE/ AFFECTIVE OPERATIONS exhibition (17 artists), although reception of it is not easy, indeed. In confrontation with the majority of the works I felt the above mentioned negative emotions and strong discomfort.

The Burren. Memories from the Middle-earth

The Burren. Memories from the Middle-earth

Dabrowka Stepniewska


The Burren is a limestone plateau in north County Clare, Ireland, dominated by karst landscape. It measures at least 250 square kilometers. This extraordinary region is rich in natural and cultural attractions. Traveling via the Wild Atlantic Way, along the rocky coast of the Atlantic Ocean, through the limestone desert interspersed with the green hills and valleys, you have the impression of traveling in time and space. In a moment you are back to the Neolithic Era, in the other you are crossing the gate to the world of fantasy full of Little People, Feries and other amazing creatures well known from the J.R.R. Tolkien works.

The name Burren comes from the Gaelic and means a rocky place. Historically, the name referred to the Barony of Burren situated in north-west County Clare. Geographically, the name has a wider meaning. The area lies between Galway Bay on the north, the Atlantic coast on the west and a line drawn through Doolin, Kilfenora, Gort and Kinvara. However, outside this area you can also find the limestone features, but not as frequently and concentrated.

The Burren, County Clare, Ireland
The Burren, County Clare, Ireland

The Burren is the youngest landscape in Europe and has suffered intense glaciation. The last one occurred about 10 000 years ago. You can find here almost all typical limestone landforms, like underground rivers, swallow holes, glacial erratics, caves, clints, grykes and closed depressions. The limestone is an organic sedimentary rock laid down millions of years ago in a shallow warm sea, it is the result of marine plants and animals dying and accumulating in horizontal beds on the sea floor.

The first people to arrive in the Burren were hunters and fishermen who moved into animal husbandry with the keeping of cattle, sheep and goats. From the results of research and archaeological excavations a lot of information has been gathered about the life and death of these early settlers. There are numerous monuments and tombs dated to the Neolithic Era from, ca. 4000 – 3000 BC. The tombs of the first farmers, widely known as megaliths, are impressive monuments over the graves of their dead.

Poulnabrone Dolmen, by Steve Ford Elliott
Poulnabrone Dolmen, by Steve Ford Elliott

The Burren is also well known for the remains of over twenty churches constructed between the 6th and 12th centuries. These are evidences of the spread of Christianity in this region and traces of stay of the early Irish missionaries, like St. Colman and St. Cronan, who laboured in this remote area. Most of these churches are of architectural interest and in most cases their patrons and founders being known and revered.

The Corcomroe Abbey is one of these remains, sited among the grey hills and valleys of the Burren. It is best known for its lonely situation. The abbey acquired the name of Sancta Maria de Petra Fertili (St. Mary of the Fertile Rock) which reflects the fertile nature of the Burren lands. It has been built in the 12th century and used by the Cistercian community for the next 400 years.

The Corcomroe Abbey

In a countryside like the County Clare, isolated from the rest of the country by the river Shannon, with so many visible remains of the past and an extraordinary landscape that stimulates imagination, the folklore was rich and survived over the centuries maintained by the Gaelic language. It has left many material and immaterial traces in the landscape and in the literature.

Recently it turned out that the magical landscape of the Burren may have inspired J.R.R. Tolkien to bring to life the Middle-earth – the central continent of the Earth in Tolkien’s imagined mythological past. The term is equivalent to the term Miðgarðr from Norse mythology, describing the human-inhabited world. In ancient Germanic mythology, the world of Men is known by several names, such as Midgard, Middenheim, Manaheim, and Middengeard. The Old English word middangeard descends from an earlier Germanic word, transliterated to modern English as Midgard.

Doolin Fertile Stone
Doolin Fertile Stone

Tolkien’s world famous works, like The Hobbit and The Lord of the Rings, take place entirely in Middle-earth. J.R.R. Tolkien worked as an external examiner to National University Galway in the 40s and 50s of the XX century. Galway, the most central port on the West Coast in the sheltered eastern corner of Galway Bay, located between County Galway in the province of Connacht to the north and the Burren in County Clare in the province of Munster to the south, was a great starting point for exploring the surrounding area.

It is said by the locals that Tolkien would often take trips to the lunar-like landscape of the Burren. When you consider that Tolkien was visiting the Burren around the same time that he was writing The Lord of The Rings, it is easy to see how the stark beauty of this region might have inspired him. The landscape here is certainly unusual, and for a fantasy author such as Tolkien it must have been magnetic.

The Burren, County Clare, Ireland
The Burren, County Clare, Ireland

Amongst the craggy fissures and creeping woods of the Burren there is a cave called Pol na Gollum (Hole of Gollum). The Gollum’s character is essential to the entire plot of The Lord of The Rings. Did Tolkien get the name for this miserable creature from this cave? Furthermore, Gollum in The Lord of The Rings had a distinctive gurgling cough, and at the mouth of this cave the chirps and calls of rock doves echo and transform into a similar guttural sound.

Thanks to Peter Curtin, the owner of The Roadside Tavern pub in County Clare and a member of The Burren Society Tolkien Symposium, it has been accepted that one of the most iconic authors of the fantasy literature – J.R.R. Tolkien, was influenced by the magic of the incredible place of the Burren while writing his most famous work.

Pauline Baynes's copy of J.R.R. Tolkien's The Lord Of The Rings
Pauline Baynes’s copy of J.R.R. Tolkien’s The Lord Of The Rings

Gallery

Reference:

http://www.clarelibrary.ie/eolas/coclare/places/the_burren/burren_karst.htm

http://www.ireland.com/en-gb/what-is-available/attractions-built-heritage/historic-ireland/articles/burren-and-tolkien/

https://www.theceltictimes.com/index.php/irish-stories-main-menu/the-little-people

https://www.theceltictimes.com/index.php/irish-stories-main-menu/fairy-and-folk-tales

https://en.wikipedia.org/wiki/Middle-earth#Etymology

https://en.wikipedia.org/wiki/Galway_Bay

http://www.dailymail.co.uk/news/article-3287440/Show-way-Mordor-Unique-hand-drawn-map-Middle-Earth-gives-rare-insight-Tolkien-s-mind.html

https://www.lib.utexas.edu/maps/historical/history_colbeck_1905.html

https://www.theguardian.com/books/australia-books-blog/2016/sep/26/hannah-kent-the-good-people-dives-into-an-irish-world-of-faith-and-fantasy

The Baltic Way. Memory of solidarity and non-violent fight for freedom

The Baltic Way. Memory of solidarity and non-violent fight for freedom

23 August 1989: Human chain linking Estonia, Latvia and Lithuania
in their drive for freedom

Vilnius – Širvintos – Ukmergė – Panevėžys – Pasvalys – Bauska – Iecava – Ķekava – Rīga – Vangaži – Sigulda – Līgatne – Drabeši – Cēsis – Lode – Valmiera – Jēči – Lizdēni – Rencēni – Oleri – Zasi – Rūjiena – Koniņi – Nuija – Karksi – Viljandi – Türi – Rapla – Tallin


UNESCO Memory of the World
Dr Algirdas Jakubčionis, Lietuvos Nacionalinis Muziejus

On 23 August 1939 foreign ministers of the USSR and Germany – Vyacheslav Molotov and Joachim von Ribbentrop, as ordered by their superiors Stalin and Hitler, signed a treaty which affected the fate of Europe and the entire world. This pact, and the secret clauses it contained, divided the spheres of influence of the USSR and Germany and led to World War II, and to the occupation of the three Baltic States – Estonia, Latvia and Lithuania.

50 years later, on 23 August 1989, the three nations living by the Baltic Sea surprised the world by taking hold of each other’s hands and jointly demanding recognition of the secret clauses in the Molotov-Ribbentrop pact and the re-establishment of the independence of the Baltic States. More than a 1,5 million people joined hands to create a 600 km long human chain from the foot of Toompea in Tallinn to the foot of the Gediminas Tower in Vilnius, crossing Riga and the River Daugava on its way, creating a synergy in the drive for freedom that united the three countries.The Baltic Way was organised by the national movements of each of the Baltic States: the Popular Front of Estonia Rahvarinne, the Popular Front of Latvia and the Lithuanian Reform Movement Sąjūdis.

The preparation for the Baltic Way took place in the summer of 1989. According to the plan, the Baltic Way had to start at the Gediminas Tower in Lithuania, continue through the Latvian capital Riga by the Freedom Monument and end at Tall Hermann’s Tower in Tallinn. The Baltic Way was 650 kilometres of freedom, in which ca. 1,5 million Estonians, Latvians and Lithuanians had to stand with their hands joined in a live human chain, though actually their number reached 2 millions. Lithuania was assigned a 200 kilometre section of the way. It was divided into 50 smaller sections symbolizing the years of the occupation. These sections had to be filled with inhabitants of various Lithuanian cities and towns. Certain sections of the way were allotted for representatives of various occupations and organisations. For example, the section from the Vilnius Cathedral to the Green Bridge over the Neris river was assigned for the deportees.

The Baltic Way was a phenomenon which showed how three small countries – the Baltic States, regardless of their unique individual national characteristics, created a cross-cultural spiritual synergy both internally and between the Baltic States in the name of a common goal – to overcome the consequences of World War II and to destroy the totalitarian regimes. The Baltic Way is a historic symbol that is alive in the collective memory, enriching the understanding of the sense and values of solidarity and freedom of expression.

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References:

http://www.lnm.lt/en/gediminas-castle-tower/

http://www.balticway.net/index.php?hl=en

http://baltikett.ajaloomuuseum.ee/eng/index.html

Tannenberg-Denkmal and the cult of memory

Tannenberg-Denkmal and the cult of memory

History, is devoted to its memory. It is built from collected fragments of information, the detritus of knowledge about the past, and the relics of memories lost.

Memory, in this case it is not a record of experienced recollections but an attempt at an orderly re-assembling of lost memory. It is memory arranged in the form of an archive.

Oblivion, is tantamount to the erasure of the memory of the monument. Devastation experienced years ago, pillage and the dispersion of its unwanted (alien) remains provokes a set of basic questions:

Should one speak about the Tannenberg-Denkmal now?
How should one speak about it?

Dorota Nieznalska, Tanneberg-Denkmal. The cult of memory!

Dabrowka Stepniewska


The Tanneberg – Denkmal, built in 1925-1927, was once a monumental building, located between Olsztynek and Sudwa villages, in former East Prussia and present Warmian-Masurian Voivodeship of Poland. It commemorated the victory of the Prussian army over the Russian in the Battle of Tannenberg 1914. Later on it became also the mausoleum of Paul Hindenburg, a German military man, a field marshal (Generalfeldmarschall) and politician – the President of the Reich during the Weimar Republic and the early Third Reich in 1925-1934.

In 1934, Hindenburg’s body was ceremoniously buried in a special crypt in the monument. Adolf Hitler, appointed by Hindenburg to be the Chancellor in 1933, participated in the funeral. In 1935, Hindenburg’s remains were transferred to the specially prepared mausoleum located in one of the Tannenberg-Denkmal towers.

In January 1945, the Germans, fearing the possibility of the profanation of his remains by the Russian army, managed to take his coffin at the last moment and transport it deep into German territory. A few days later, the mausoleum was partially destroyed by an explosion caused by retreating German troops. Currently, Hindenburg’s remains rest in St. Elisabeth’s Church in Marburg, Germany.

Some of building blocks of the Tannenberg-Denkmal were used for the construction of the stairs at the building of The Central Committee of the Polish United Workers’ Party in Warsaw (1948), for the construction of The Palace of Culture and Science in Warsaw (1952–1955) and the Monument of the Liberation of Warmia and Mazury in Olsztyn (1954).

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Dorota Nieznalska, a Polish visual artist engaged in critical art, creating installations, sculptural objects, vide art and photographs, accomplished her project “Tannenberg-Denkmal. The cult of memory!”, supported by the Polish Ministry of Culture and National Heritage and devoted entirely to history – remembrance – oblivion issues.

Dorota Nieznalska’s works – the movie and the website, juxtapose archival documents, photos and videos of the Tannenberg-Denkmal monument with Wagner’s music and the words of Pierre Nora, a French historian and precursor of studies on “the sites of memory”. The project is an attempt to deal with the memory of the historical and cultural heritage of former East Prussia.

Kult pamięci! Tannenberg-Denkmal | Dorota Nieznalska 2014
“Kult pamięci! Tannenberg-Denkmal”, 2014

References:

http://www.tannenberg-denkmal.com/

http://muzeum.olsztynek.pl/en/about-museum/

http://ninateka.pl/film/kult-pamieci-tannenberg-denkmal-dorota-nieznalska

http://www.visit.olsztyn.eu/article/319/nieznalska-z-pasja-o-tannenberg-denkmal

Chopin. Memory and musical landscapes, part II

Chopin. Memory and musical landscapes, part II

Dąbrówka Stępniewska


Part II
Biography of place and landscape. Memory and monuments.

The Birthplace. The composer’s mother, Justyna nee Krzyżanowska, from an impoverished gentry family, helped with the house keeping as a resident of the Skarbek’s manor house. She met Mikołaj Chopin, a French immigrant who became tutor to the Skarbek’s children at Żelazowa Wola. The Chopins married in 1806 and set up home in the right part of the annexe of the Skarbek’s estate.

Nothing is known about the furnishings of the flat where Fryderyk’s parents lived in the annexe of the Skarbek’s manor house. It could have contained furniture belonging to the Skarbeks, but the Chopins might also have possessed their own. There is no doubt, however, that the interiors were furnished modestly and in a stylistically inconsistent way. The existing books belonged to the family and certainly have been kept in a bookcase.

The Birthplace of Fryderyk Chopin in Żelazowa Wola. Photo M. Czechowicz
The Chopin’s Room. Permanent display at the Birthplace of Fryderyk Chopin and Park in Żelazowa Wola. Photo by M. Czechowicz

After moving to Warsaw in the autumn 1810, the Chopin family maintained close and warm contacts with the Skarbek family. Żelazowa Wola became a destination for  Chopins summer excursions. Only one letter addressed to Fryderyk’s friend Jan Białobłocki survived, where the composer describes his summer holiday in Poland. Fryderyk and Jan spent the summers of 1824 and 1825 in close proximity. Their visited one another on regular basis. Białobłocki died at 21, most probably of tuberculosis of the knee. Chopin wrote 13 letters to his friend, the last dated 12 March 1827.

Descriptions from the period, which are not always reliable, speak of the composer giving concerts on a piano carried out from the house and placed beneath a spurt, on which occasions his music would have been heard by all around.

The Park Monument_Żelazowa Wola
The Park – Monument in Żelazowa Wola

The Museum. The idea of creating a museum devoted to Fryderyk Chopin in the annexe of the Skarbek’s estate dates back to 1891, but it was not until the inter-war period that concepts for its display began to be realized at Żelazowa Wola. None of them was fully implemented at that time. The intention was to furnish Chopin’s birthplace partly with historical furniture, in an effort to recreate the atmosphere of the times. The plan was to fill the display devoted to Chopin with souvenirs connected with the composer and his family.

During the period when the Chopin Family was living at Żelazowa Wola, the right part of the annexe was residential, while the left part, with a cellar, served functional purposes. The display in this room presents the history of this modest manorial annexe, with its successive renovations and functions from beginning of the XVIII century, when the landed estate of Żelazowa Wola was acquired by Count Skarbek, up to the 1930s, when the neglected building was rebuilt and turned into a museum – a place devoted to the memory of Fryderyk Chopin.

Broadwood & Sons piano 1843 in Żelazowa Wola
Broadwood & Sons piano 1843 in Żelazowa Wola

Although the display was not officially opened until 1949, it is known that the Chopin’s death mask was already here in 1930 and later also two pianos, copies of portraits of the composer by Delacroix, Scheffer and the Bissons, a collection of Chopin-related drawings and probably a cast of his hand.  Few of the items from the pre-war interiors survived the World War II.

In post-war display, the furnishings were more in line with current conceptions of the interiors of a XIX century Polish manor house than the humble annexe in which Chopin was born. At that time, the left side of the annexe was not distinguished as having been non-residential, with a fictive vision of a manor house created throughout the building.

Żelazowa Wola, First Chopin's Monument 1894
The First Chopin Monument in Żelazowa Wola, 1894

The Monument. On 14 October 1894, the first Chopin monument on Polish lands was unveiled. Modest in form, referring to the tradition of obelisk commemoration and given such a form due to censorship restrictions. It was shaped like a gravestone, since that was the only form allowed by the Russian imperial authorities of those times. The medallion with an effigy of Fryderyk Chopin was designed by Jan Woydyga whereas the whole monument was designed by Bronisław Żochowski.

The unveiling ceremony represents a symbolic watershed in the history of the commemoration of Chopin’s birthplace. It also marked the start of lengthy efforts to set up a museum devoted to the composer. From the beginning of the XX century, many initiatives designed to popularize the birthplace of Fryderyk Chopin were undertaken, like numerous concerts, trips and exhibitions, accompanied by the collecting of donations initially towards the purchase of the annexe from private hands and then for the creation of a museum.

The Chopin Monument in Żelazowa Wola
The First Chopin Monument in Żelazowa Wola, 2016

Mily Balakirev, a Russian composer, pianist, conductor and musical activist and an enthusiast of Fryderyk Chopin’s music, secured the permission of the Russian imperial governor of Warsaw to erect a monument to the composer. Aleksander Poliński, a member of the Committee of the Warsaw Music Society, sought to buy the historical annexe from the then owner of the estate. Although the plan fell through at that time, a monument was raised in front of the annexe.

During the unveiling ceremony, works by the Polish composer were played by Aleksander Michałowski, one of the leading pianist in the transmission of the Chopin pianistic tradition, Mily Balakirev, and the pianist and journalist Jan Kleczyński. The official programme featured a performance of Zygmunt Noskowski’s polonaise-style cantata On the Banks of the Utrata/ Nad Utratą, and the Lutnia choir sang vocal transcriptions of works by Chopin.

The Park – Monument. The rebuilt annexe of the Skarbek family estate was to be the centerpiece of a modernist park-monument designed by Franciszek Krzywda-Polkowski, founder and head of the Parks and Landscape Architecture Department of the Warsaw University of Life Sciences, who broke with the idea of an idyllic garden detached from the context of the surrounding Mazovian landscape. The modernist character of the design was manifest in the treatment of the park as a closed, individual work of art, characterized by the geometrisation and rhythmisation of the spatial elements such as architectural features, paths and avenues. Their composition with the flora, laid out in a free and picturesque way, indicates the character of a landscape park.

The Park Monument at Żelazowa Wola
The Park – Monument in Żelazowa Wola

The work on laying out The Park – Monument began in the early spring of 1933. In many places the lie of the land was altered mostly new flora was planted, not all of it native to Poland, and paths and avenues were marked out, including the road leading from the new gate to the Chopin’s birthplace. Terraces, steps and bridge were built, the River Utrata was regulate, water bodies were created and architectural features were raised, like bowers, rain shelters, a pergola and a summer concert stage. The 1894 monument was moved from in front of the annexe to the western part of the park, and in its place a pool was created, in which the annexe’s façade is reflected. The work was completed in December 1937.

Skarbek family estate in Żelazowa Wola
Remains of the Skarbek family estate in Żelazowa Wola

The decision not to recreate the surroundings of the annexe from Chopin’s times gave rise to numerous polemics in that times. Opponents of the modern vision argued that a garden typical of the impoverished gentry of the period ought to be created around the composer’s birthplace. That argument was countered with notions of the revolutionary and innovative character of Chopin’s music, which should be reflected in a bold design. Finally, the revolutionary vision was realized.

The latest archaeological research revealed that the annexe in which Chopin was born stood opposite the larger building referred to in documents as the Old Manor – probably the only residential building besides the annexe on the Skarbek’s estate.

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Detailed information is derived from the New Display at the Birthplace of Fryderyk Chopin in Żelazowa Wola, 2015

 

Gallery:

Żelazowa Wola Chopin. Memory and musical landscapes

Reference:

http://chopin.museum/en/museum/zelazowa_wola/id/757

http://pl.chopin.nifc.pl/chopin/persons/detail/id/6748

http://bazawiedzy.chopin2010.pl/en/people/wszystkie-osoby/entry/4043-bialoblocki-jan.html

Related article:
Chopin. Memory and musical landscapes, part I. People and objects. Music, memory mediums and emotions.