Articles (selection)

Justyna Szombara, The Collection of Musical Manuscripts in I.J. Paderewski's Personal Library, "Fontes Artis Musicae", Jan-Mar 2014, Vol. 61/1, s. 1-20.

The Centre for the Documentation of 19th- and 20th-Century Polish Music, named after I.J. Paderewski holds a valuable collection, owned before the World War II by the famous Polish pianist, composer, and politician Ignacy Jan Paderewski. The collection consists of about 4,000 books, nearly the same number of musical prints and other valuable archives, including pages of Paderewski's musical manuscripts, photos and letters. An interesting part of the collection constitutes, beside the mentioned above, manuscripts of other musicians – professional composers, composition adepts and also amateurs, who offered their own works to the pianist as an expression of their admiration and affection. Notes and letters attached to several manuscripts indicate that some of the artists used to send and even dedicate their compositions to Paderewski counting on a favorable opinion or other support from the famous virtuoso. Among the existing manuscripts, there are many unique sources. Compositions which were published and were familiar to musicologists constitute a small part of the collection. Strongly represented are works of little-known or forgotten composers from Poland, U.S., France and other countries. These compositions are not always of top quality, but nowadays they are primarily of historical interest. The articles includes a list of the musical manuscripts by other composers in I. J. Paderewski's private library held by the Centre.

Małgorzata Perkowska-Waszek, Jeszcze o dacie urodzin oraz o 'powinności wojskowej' I.J. Paderewskiego [More About the Date of Birth and the Military Obligations of I.J. Paderewski], w: Muzykolog wobec świadectw źródłowych i dokumentów: Księga Pamiątkowa dedykowana Profesorowi Piotrowi Poźniakowi w 70. rocznicę urodzin, red. Z. Dobrzańska-Fabiańska [et al.], Kraków 2009, s. 301-309.

Małgorzata Perkowska-Waszek, The letters of Ignacy Jan Paderewski as a source of knowledge concerning cultural relationships of Europe, w: Musikgeschichte in Mittel- und Osteuropa: Mitteilungen der Internationalen Arbeitsgemeinschaft an der Universität Leipzig, H. 10, red. H. Loos, E. Möller, Leipzig 2005, s. 43-56.

The letters of Ignacy Jan Paderewski as a source of knowledge concerning cultural relationships of Europe

Małgorzata Perkowska-Waszek, O Paderewskim – pedagogu [Paderewski as a Pedagogue], w: Muzyka wobec tradycji. Idee-dzieło-recepcja, red. Szymon Paczkowski, Warszawa 2004, s. 619-634.

Based on the available source materials (such as records of the Warsaw Institute of Music, from the Archives of the City of Warsaw, Paderewski's letters to his father and Helena Górska from the Centre for the Documentation of 19th- and 20th-Century Polish Music), the author discusses issues related to Paderewski's views on the problems of teaching music, methods, as well as complement the information on Paderewski's pupils.

Małgorzata Perkowska-Waszek, O jeńcach Kozielska i Starobielska w korespondencji ze zbiorów Ośrodka Paderewskiego [On Captives from Kozielsk and Starobielsk in the Correspondence from the Paderewski Centre], w: Muzykolog wobec dzieła muzycznego: Zbiór prac dedykowanych doktor Elżbiecie Dziębowskiej w siedemdziesiątą rocznicę urodzin, red. M. Woźna-Stankiewicz, Z. Dobrzańska-Fabiańska, Kraków 1999, s. 71-80.

Examines the correspondence of Helena Paderewska's secretary, Helena Lübke with Paderewski's secretary, Sylwin Strakacz and his wife Aniela regarding requests for political intervention on behalf of Polish captives during World War II. A selection of letters from the collection of the Centre for the Documentation of 19th- and 20th-Century Polish Music is provided.


Małgorzata Perkowska-Waszek, Les débuts parisiens d'Ignace J. Paderewski et quelques événements de sa vie artistique, "Musica Iagellonica", Vol. 1 (1995), s. 159-175.71-80.

Małgorzata Perkowska-Waszek, Nieznane kompozycje Paderewskiego w świetle badań źródłowych [Unknown Compositions of I.J. Paderewski in Light of Source Research], "Muzyka" 1988 nr 3, s. 21- 33.

Unknown Compositions by Paderewski In Light of Source Research

Małgorzata Perkowska-Waszek, Włodzimierz Pigła, Katalog rękopisów Paderewskiego [A Catalogue of I.J. Paderewski's Manuscripts], "Muzyka" 1988 nr 3, s. 53-70.], "Muzyka" 1988 nr 3, s. 53-70.

The catalogue of Paderewski's manuscripts is the first attempt at presenting the state of research into his recently discovered autographs. The material is preserved in various institutions both in Poland and abroad (sometimes only as fragments or single pages of music). The material was difficult to order and classify, requiring knowledge nor merely of the artist's work and biography but, more importantly, of Paderewski's correspondence, which mentions previously unknown works that remain as autographs.

Małgorzata Perkowska-Waszek, Wczesne utwory Paderewskiego w świetle źródeł prasowych [Early Works by Paderewski in Light of Press Sources], "Muzyka" 1981 nr 3-4, s. 117-120.

Discusses several pieces by Paderewski on the basis of press notices and concert programs from the 1870s to the 1890s. The first piece performed publicly was the song Dola [Fate], on 30 June 1878 in Warsaw. Other pieces discussed are Pieśń [Song] F major for violin and piano, 1878; Impromptu for piano, published and performed by the composer in 1879; Suite in E-flat major for piano, performed 1879; Allegro for piano, performed 1883; a preliminary version of the Allegro from Paderewski's piano concerto; and Powódz [The Flood] for piano, published 1884.


Małgorzata Perkowska-Waszek, Początki i rozkwit kariery pianistycznej Paderewskiego [The Beginnings and Flowering of Paderewski's Piano Career], "Muzyka" 1977 nr 3, s. 39-59.

The earliest concert by Paderewski for which the date is known was held in 1874 in Płock. Prior to this he had also appeared in public in Zasław and in Ostróg. A Vienna concert of 1888 marked the beginning of his world career. The territorial scope of Paderewski's concertizing, his repertoire, and the critical reception accorded him by the Polish press are discussed.