{"id":3318,"date":"2016-11-26T12:06:46","date_gmt":"2016-11-26T11:06:46","guid":{"rendered":"https:\/\/instytutpolski.pl\/brussels\/?p=3318"},"modified":"2020-05-08T12:09:34","modified_gmt":"2020-05-08T10:09:34","slug":"joseph-wieniawski-1837-1912-his-life-and-music-2","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/","title":{"rendered":"„Joseph Wieniawski (1837-1912): His Life and Music”"},"content":{"rendered":"\n<div class=\"desc\" style=\"margin-right: 0px;margin-bottom: 5px;margin-left: 0px;padding: 0px;font-size: 12px;line-height: 21.6px;color: #000000;font-family: Verdana, Arial, Helvetica, sans-serif\">\n<p style=\"font-size: 12px;line-height: 19.2px\">The pianist, composer and pedagogue\u00a0<strong style=\"line-height: 19.2px\">J\u00f3zef WIENIAWSKI<\/strong>\u00a0is one of the greatest musicians to have graced the end of the XIXth century in Europe. During his lifetime, he enjoyed glory and recognition; after his death, he was unjustly forgotten. Perhaps this can be explained by the fact that he started his career in the shadow of his older brother, the brilliant violonist and composer Henryk Wieniawski. Together, they played on the greatest stages in the world, and enjoyed tremendous success. In 1878, J\u00f3zef Wieniawski set up home in Brussels where he became a piano teacher, composed and gave many concerts. He was also a great propogator of the music of Fryderyk Chopin, his favourite composer, and Stanis\u0142aw Moniuszko.<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/>It is on this extraordinary personality that the\u00a0<strong style=\"line-height: 19.2px\">concert-conference<\/strong>\u00a0will focus on\u00a0<strong style=\"line-height: 19.2px\">26 November<\/strong>\u00a02016. The pianist\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,742,en,Joseph_Wieniawski_1837-1912_His_Life_and_Music#Jacek\">Jacek KORTUS<\/a>\u00a0will pay tribute to him by playing a series of pieces which typify his work:<\/p>\n<ul style=\"list-style-type: none;margin-top: 0px;margin-right: 0px;margin-bottom: 0px;padding: 0px 0px 0px 35px;line-height: 19.2px\">\n<li style=\"list-style-type: none\">\n<ul style=\"list-style-type: none;margin-top: 0px;margin-right: 0px;padding: 0px 0px 0px 35px;line-height: 19.2px\">\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Mazurek koncertowy<\/em><span style=\"line-height: 19.2px\">\u00a0(Mazourka de Concert) in D\u00a0major, op. 41<\/span><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Barcarolle<\/em><span style=\"line-height: 19.2px\">, op. 29<\/span><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Pens\u00e9e fugitive<\/em><span style=\"line-height: 19.2px\">, op. 8<\/span><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Valse de Concert<\/em><span style=\"line-height: 19.2px\">, op. 3\/1<\/span><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Piano Sonata\u00a0in B\u00a0minor<\/em><span style=\"line-height: 19.2px\">, op. 22<\/span><em style=\"line-height: 19.2px\">\u00a0<\/em><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p style=\"font-size: 12px;line-height: 19.2px\">The conference will be given by Prof.\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,742,en,Joseph_Wieniawski_1837-1912_His_Life_and_Music#Renata\">Renata SUCHOWIEJKO<\/a>, director of the department of methodology and the history of music (19th \u2013 21st century) at the Institute of Musicology at the Jagiellonian University in Krakow.<\/p>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">PRACTICAL INFORMATION<br style=\"line-height: 19.2px\" \/><\/strong>>>>\u00a0<strong style=\"line-height: 19.2px\">Koninklijk Conservatorium Brussel<\/strong>, Concertzaal (rue de la Regence 30A, 1050 Brussels) \u2013 see\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,742,en,Joseph_Wieniawski_1837-1912_His_Life_and_Music#map\">map<\/a><br style=\"line-height: 19.2px\" \/>>>>\u00a0<strong style=\"line-height: 19.2px\">26 November<\/strong>\u00a02016 \u2013\u00a0<strong style=\"line-height: 19.2px\">20:00<\/strong><br style=\"line-height: 19.2px\" \/>>>>\u00a0<strong style=\"line-height: 19.2px\">FREE OF CHARGE<\/strong>. RSVP before 24 November (<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"mailto:brussels@instytutpolski.org\">brussels@instytutpolski.org<\/a>\u00a0or +32 (0)2 554 06 90)<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/><em style=\"line-height: 19.2px\"><em style=\"line-height: 19.2px\"><span style=\"line-height: 19.2px\">The concert and conference were launched jointly by the Polish Institute in Brussels and the Flemish Royal Conservatory of Brussels with a view to shining a light on Belgium\u2019s shared cultural heritage.\u00a0<\/span><\/em>\u00a0<\/em><\/p>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\">\u00a0<\/p>\n<p style=\"font-size: 12px;line-height: 19.2px\">The library of the Royal Conservatory of Brussels has preserved a large series of manuscripts signed by J\u00f3zef Wieniawski, beqeathed by his daughter Elisabeth and currently archived in the Wieniawski fund. This bequest includes the\u00a0<em style=\"line-height: 19.2px\">Sonata for piano and violin<\/em>\u00a0(op.\u00a020) and the\u00a0<em style=\"line-height: 19.2px\">Concerto for piano and orchestra<\/em>\u00a0(op. 24) dedicated to Leopold\u00a0II of Belgium.\u00a0<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/>We also have J\u00f3zef Wieniawski to thank for the famous „<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.mim.be\/fr\/double-piano-a-queue-a-clavier-renverse-freres-mangeot?from_i_m=1\" target=\"_blank\" rel=\"noopener noreferrer\">double piano with mirrored keyboards<\/a>„, built by the Mangeot brothers, one of which can be viewed at the Brussels Musical Instruments Museum (MIM).<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/>Born in Lublin on 23 May 1837, J\u00f3zef Wieniawski died in Brussels on 11 November 1912. His body was buried in Ixelles cemetery. His tomb was restored in summer 2016 thanks to the combined efforts of the Polish Institute and the Henryk Wieniawski Musical Society of Poznan. This restoration work was paid for from funds from the Polish Ministry of Culture and Cultural Heritage. Now, one can read the quotation from the poem \u2018Promethidion\u2019 by Cyprian Kamil NORWID which the composer had asked to have engraved on his tomb.<br style=\"line-height: 19.2px\" \/>+++\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,742,en,Joseph_Wieniawski_1837-1912_His_Life_and_Music#ici\">Read the summary report on the renovation and restoration work<\/a>\u00a0<br style=\"line-height: 19.2px\" \/>The photographs can be found in the photo album below.\u00a0<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/><em style=\"line-height: 19.2px\">Project carried out thanks to the joint efforts of the Henryk Wieniawski Musical Society of Poznan and the Polish Institute in Brussels, co-financed by the Polish Ministry of Culture and National Heritage. \u00a0<\/em><\/p>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"Jacek\"><\/a><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">Jacek KORTUS<\/strong><\/p>\n<p style=\"font-size: 12px;line-height: 19.2px\">Born in Poznan in 1988, Jacek Kortus, winner of the first prize from the I. J. Paderewski Conservatory, is a teaching assistant in the piano department of this establishment. Since his teenage years, he has been playing on Polish stages and has won several competitions. He has also played in many European countries, in the United States, Mexico, Brazil, Chile, Japan, China, Israel, Palestine and Morocco. He is the recipient of several grants, notably from the Polish Ministry of Culture and National Heritage. His first solo album was released in 2008 (label „Muza Polish Recordings”), whilst his second album, recorded with Polish tenor Tomasz Zagorski, was made in 2015.<\/p>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"Renata\"><\/a><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">Renata SUCHOWIEJKO<\/strong><\/p>\n<p style=\"font-size: 12px;line-height: 19.2px\">The holder of a doctorate in Musicology from the Jagiellonian University in Krakow, she received a DEA (French postgraduate degree) from the University of Tours in 1995. Her thesis was awarded the Prime Minister\u2019s Prize for the excellence of her work. Her post-doctorate also received an award from the rector of the Jagiellonian University. She was director of the Institute of Musicology of her alma mater from 2008 until 2012. At present, she is the director of the\u00a0 department of methodology and the history of music (19th \u2013 21st century) at the same institute. We have her to thank in particular for:<\/p>\n<ul style=\"list-style-type: none;margin-top: 0px;margin-right: 0px;margin-bottom: 0px;padding: 0px 0px 0px 35px;line-height: 19.2px\">\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Henryk Wieniawski \u2013 kompozytor na tle wirtuozowskiej tradycji skrzypcowej XIX wieku<\/em>\u00a0[Henryk Wieniawski, Composer and the 19th Century Violin Virtuoso Tradition], Pozna\u0144, 2005 ;<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\"><em style=\"line-height: 19.2px\">Henryk Wieniawski \u2013 wirtuoz w \u015bwietle XIX-wiecznej prasy<\/em>\u00a0[Henryk Wieniawski as Virtuoso According to the 19th Century Press], Pozna\u0144, 2011 ;\u00a0<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">„Henryk Wieniawski in America”, in : „Ad Parnassum”, April, 2005, pp. 45\u201355 ;<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">„Henryk Wieniawski\u2019s Concert Performances in Russia”, in : „Fontes Artis Musicae”, January \u2013March 2011, vol. 58\/1, pp. 24\u201334 ;<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">„Les violonistes virtuoses et la presse au XIXe si\u00e8cle : \u00e9pistemologie d\u2019une recherche \u00e0 partir de l\u2019exemple de Henryk Wieniawski”, in :\u00a0<em style=\"line-height: 19.2px\">En p\u00e8lerinage avec Liszt: Virtuosos, Repertoire and Performing Venues in 19th-Century Europe<\/em>, ed. Fulvia Morabito, Turnhout 2014, pp. 279-300<\/li>\n<\/ul>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"ici\"><\/a><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">Renovation and restoration work, summer 2016<br style=\"line-height: 19.2px\" \/><\/strong>J\u00f3zef Wieniawskis tomb was built from a Belgian marble typical of the region,\u00a0 in the form of a simple obelisc decorated by a bas-relief representing an angel, a portrait of the deceased and an inscription. One can also find molded parts in the bronze. The relentless wear and tear of time led the materials to deteriorate, changing the aesthetic effect of the monument. The black marble had lost its shine, \u00a0becoming matte with a grey hue. The bas-relief features and other features in bronze \u00a0had, nevertheless, taken on this characteristic patina which gives them a beautiful greenish colour. As a result of these atmospheric conditions, the stone had become covered wih a multitude of cracks, which also allowed the increased growth of microorganisms.<br style=\"line-height: 19.2px\" \/>The restoration and conservation work carried out in 2016 by Piotr Niemcewicz\u2019s team aimed to limit the deterioration of the monument \u00a0and give it all its artistic and aesthetic value. The work had several stages: eliminating the products of corrosion, eliminating the stratifications to which the stone and the metal had fallen victim, disinfection of the elements, replacing missing elements and polishing the matte marble. Moreover, the metal was protected by adding a malachite patina. The inscription, which had been rendered illegible, was also cleaned, re-engraved and burnished. The final stage consisted of reinforcing the foundations and coating the monument with waterproof products.<br style=\"line-height: 19.2px\" \/>The tomb thus took on its orignal aspect once more. Erasing the corrosive products gave the marble back its initial colour, which highlights even more the bronze elements coated in malachite patina. If the tomb\u2019s appearance was altered by the renovation and conservation work, the quality of the materials was also brought out, thus underscoring the high artistic quality of the object.<br style=\"line-height: 19.2px\" \/>(Text written by\u00a0<strong style=\"line-height: 19.2px\">Piotr Niemcewicz<\/strong>,\u00a0Faculty of Fine Arts, Nicolaus Copernicus University in Toru\u0144)<\/p>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><br \/><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"map\"><\/a><\/p>\n<\/div>\n<h3 class=\"boxTitle\" style=\"margin-top: 20px;margin-bottom: 10px;padding: 0px 0px 0px 5px;font-size: 12px;line-height: 19.2px;clear: both;width: 275px;background-color: #000000;color: #ffffff;font-family: Verdana, Arial, Helvetica, sans-serif\">Links<\/h3>\n<ul class=\"linkList\" style=\"list-style-type: none;margin-top: 0px;margin-right: 0px;margin-bottom: 20px;padding: 0px;font-size: 12px;line-height: 19.2px;width: 572px;color: #000000;font-family: Verdana, Arial, Helvetica, sans-serif\">\n<li style=\"list-style-type: none;margin: 0px;padding: 5px 0px;line-height: 21.6px\"><img decoding=\"async\" style=\"line-height: 19.2px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=logoT_M_H_Wieniawski840499899462798357418918&ex=jpg&t=image&mt=image%2Fjpeg&width=128&height=64\" alt=\"\" \/>\u00a0Towarzystwo Muzyczne im. H. Wieniawskiego:\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.wieniawski.pl\/\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.wieniawski.pl<\/a><\/li>\n<li style=\"list-style-type: none;margin: 0px;padding: 5px 0px;line-height: 21.6px\"><img decoding=\"async\" style=\"line-height: 19.2px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=mkidn346403626485307266484678&ex=jpg&t=image&mt=image%2Fjpeg&width=128&height=64\" alt=\"\" \/>\u00a0MKiDN:\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.mkidn.gov.pl\/\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.mkidn.gov.pl<\/a><\/li>\n<li style=\"list-style-type: none;margin: 0px;padding: 5px 0px;line-height: 21.6px\"><img decoding=\"async\" style=\"line-height: 19.2px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=KCB879137826198&ex=jpg&t=image&mt=image%2Fjpeg&width=128&height=64\" alt=\"\" \/>\u00a0Koninklijk Conservatorium Brussel:\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.kcb.be\/\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.kcb.be\/<\/a><\/li>\n<\/ul>\n<h3 class=\"boxTitle\" style=\"margin-top: 20px;margin-bottom: 10px;padding: 0px 0px 0px 5px;font-size: 12px;line-height: 19.2px;clear: both;width: 275px;background-color: #000000;color: #ffffff;font-family: Verdana, Arial, Helvetica, sans-serif\">Picture gallery<\/h3>\n<div id=\"gallery\" class=\"thumbs\" style=\"margin-top: 0px;margin-right: 0px;margin-left: 0px;padding: 0px;font-size: 12px;line-height: 19.2px;color: #000000;font-family: Verdana, Arial, Helvetica, sans-serif\"><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"licence Wiki Commons\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=Image1706556785658885365657225&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=Image1706556785658885365657225&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"licence Wiki Commons\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"Jacek Kortus\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=JacekKortus3937378978550843113740&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=JacekKortus3937378978550843113740&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"Jacek Kortus\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_01936787721908&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_01936787721908&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_02330714890049&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_02330714890049&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_03544984258583&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_03544984258583&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_04871896917226&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_04871896917226&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_05151803181511&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_05151803181511&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_06287655231425&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_06287655231425&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a>\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" title=\"\u00a9 all rights reserved\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_07134784252602&ex=jpg&t=image&mt=image%2Fjpeg&width=587&height=587\"><img decoding=\"async\" style=\"line-height: 19.2px;margin: 0px 15px 15px 0px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=393___Wieniawski_07134784252602&ex=jpg&t=image&mt=image%2Fjpeg&width=550&height=120\" alt=\"\u00a9 all rights reserved\" \/><\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The pianist, composer and pedagogue\u00a0J\u00f3zef WIENIAWSKI\u00a0is one of the greatest musicians to have graced the end of the XIXth century in Europe. During his lifetime, he enjoyed glory and recognition; after his death, he was unjustly forgotten. Perhaps this can be explained by the fact that he started his career in the shadow of his […]<\/p>\n","protected":false},"author":127,"featured_media":3316,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[96],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>"Joseph Wieniawski (1837-1912): His Life and Music" - Instytut Polski w Brukseli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Joseph Wieniawski (1837-1912): His Life and Music" - Instytut Polski w Brukseli\" \/>\n<meta property=\"og:description\" content=\"The pianist, composer and pedagogue\u00a0J\u00f3zef WIENIAWSKI\u00a0is one of the greatest musicians to have graced the end of the XIXth century in Europe. During his lifetime, he enjoyed glory and recognition; after his death, he was unjustly forgotten. Perhaps this can be explained by the fact that he started his career in the shadow of his […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Brukseli\" \/>\n<meta property=\"article:published_time\" content=\"2016-11-26T11:06:46+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-05-08T10:09:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-12.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"572\" \/>\n\t<meta property=\"og:image:height\" content=\"358\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"dyjakn\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"dyjakn\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/\",\"name\":\"\\\"Joseph Wieniawski (1837-1912): His Life and Music\\\"\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#website\"},\"datePublished\":\"2016-11-26T11:06:46+01:00\",\"dateModified\":\"2020-05-08T10:09:34+01:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2016-11-26\",\"endDate\":\"2016-11-26\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"image\":[\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-12.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-12-300x188.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-12.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-12.jpg\"],\"description\":\"The pianist, composer and pedagogue\u00a0J\u00f3zef WIENIAWSKI\u00a0is one of the greatest musicians to have graced the end of the XIXth century in Europe. During his lifetime, he enjoyed glory and recognition; after his death, he was unjustly forgotten. Perhaps this can be explained by the fact that he started his career in the shadow of his older brother, the brilliant violonist and composer Henryk Wieniawski. Together, they played on the greatest stages in the world, and enjoyed tremendous success. In 1878, J\u00f3zef Wieniawski set up home in Brussels where he became a piano teacher, composed and gave many concerts. He was also a great propogator of the music of Fryderyk Chopin, his favourite composer, and Stanis\u0142aw Moniuszko.It is on this extraordinary personality that the\u00a0concert-conference\u00a0will focus on\u00a026 November\u00a02016. The pianist\u00a0Jacek KORTUS\u00a0will pay tribute to him by playing a series of pieces which typify his work:\\nMazurek koncertowy\u00a0(Mazourka de Concert) in D\u00a0major, op. 41\\nBarcarolle, op. 29\\nPens\u00e9e fugitive, op. 8\\nValse de Concert, op. 3\/1\\nPiano Sonata\u00a0in B\u00a0minor, op. 22\u00a0\\nThe conference will be given by Prof.\u00a0Renata SUCHOWIEJKO, director of the department of methodology and the history of music (19th \u2013 21st century) at the Institute of Musicology at the Jagiellonian University in Krakow.\\nPRACTICAL INFORMATION>>>\u00a0Koninklijk Conservatorium Brussel, Concertzaal (rue de la Regence 30A, 1050 Brussels) \u2013 see\u00a0map>>>\u00a026 November\u00a02016 \u2013\u00a020:00>>>\u00a0FREE OF CHARGE. RSVP before 24 November (brussels@instytutpolski.org\u00a0or +32 (0)2 554 06 90)The concert and conference were launched jointly by the Polish Institute in Brussels and the Flemish Royal Conservatory of Brussels with a view to shining a light on Belgium\u2019s shared cultural heritage.\u00a0\u00a0\\n\u00a0\\nThe library of the Royal Conservatory of Brussels has preserved a large series of manuscripts signed by J\u00f3zef Wieniawski, beqeathed by his daughter Elisabeth and currently archived in the Wieniawski fund. This bequest includes the\u00a0Sonata for piano and violin\u00a0(op.\u00a020) and the\u00a0Concerto for piano and orchestra\u00a0(op. 24) dedicated to Leopold\u00a0II of Belgium.\u00a0We also have J\u00f3zef Wieniawski to thank for the famous \\\"double piano with mirrored keyboards\\\", built by the Mangeot brothers, one of which can be viewed at the Brussels Musical Instruments Museum (MIM).Born in Lublin on 23 May 1837, J\u00f3zef Wieniawski died in Brussels on 11 November 1912. His body was buried in Ixelles cemetery. His tomb was restored in summer 2016 thanks to the combined efforts of the Polish Institute and the Henryk Wieniawski Musical Society of Poznan. This restoration work was paid for from funds from the Polish Ministry of Culture and Cultural Heritage. Now, one can read the quotation from the poem \u2018Promethidion\u2019 by Cyprian Kamil NORWID which the composer had asked to have engraved on his tomb.+++\u00a0Read the summary report on the renovation and restoration work\u00a0The photographs can be found in the photo album below.\u00a0Project carried out thanks to the joint efforts of the Henryk Wieniawski Musical Society of Poznan and the Polish Institute in Brussels, co-financed by the Polish Ministry of Culture and National Heritage. \u00a0\\nJacek KORTUS\\nBorn in Poznan in 1988, Jacek Kortus, winner of the first prize from the I. J. Paderewski Conservatory, is a teaching assistant in the piano department of this establishment. Since his teenage years, he has been playing on Polish stages and has won several competitions. He has also played in many European countries, in the United States, Mexico, Brazil, Chile, Japan, China, Israel, Palestine and Morocco. He is the recipient of several grants, notably from the Polish Ministry of Culture and National Heritage. His first solo album was released in 2008 (label \\\"Muza Polish Recordings\\\"), whilst his second album, recorded with Polish tenor Tomasz Zagorski, was made in 2015.\\nRenata SUCHOWIEJKO\\nThe holder of a doctorate in Musicology from the Jagiellonian University in Krakow, she received a DEA (French postgraduate degree) from the University of Tours in 1995. Her thesis was awarded the Prime Minister\u2019s Prize for the excellence of her work. Her post-doctorate also received an award from the rector of the Jagiellonian University. She was director of the Institute of Musicology of her alma mater from 2008 until 2012. At present, she is the director of the\u00a0 department of methodology and the history of music (19th \u2013 21st century) at the same institute. We have her to thank in particular for:\\nHenryk Wieniawski \u2013 kompozytor na tle wirtuozowskiej tradycji skrzypcowej XIX wieku\u00a0[Henryk Wieniawski, Composer and the 19th Century Violin Virtuoso Tradition], Pozna\u0144, 2005 ;\\nHenryk Wieniawski \u2013 wirtuoz w \u015bwietle XIX-wiecznej prasy\u00a0[Henryk Wieniawski as Virtuoso According to the 19th Century Press], Pozna\u0144, 2011 ;\u00a0\\n\\\"Henryk Wieniawski in America\\\", in : \\\"Ad Parnassum\\\", April, 2005, pp. 45\u201355 ;\\n\\\"Henryk Wieniawski\u2019s Concert Performances in Russia\\\", in : \\\"Fontes Artis Musicae\\\", January \u2013March 2011, vol. 58\/1, pp. 24\u201334 ;\\n\\\"Les violonistes virtuoses et la presse au XIXe si\u00e8cle : \u00e9pistemologie d\u2019une recherche \u00e0 partir de l\u2019exemple de Henryk Wieniawski\\\", in :\u00a0En p\u00e8lerinage avec Liszt: Virtuosos, Repertoire and Performing Venues in 19th-Century Europe, ed. Fulvia Morabito, Turnhout 2014, pp. 279-300\\nRenovation and restoration work, summer 2016J\u00f3zef Wieniawskis tomb was built from a Belgian marble typical of the region,\u00a0 in the form of a simple obelisc decorated by a bas-relief representing an angel, a portrait of the deceased and an inscription. One can also find molded parts in the bronze. The relentless wear and tear of time led the materials to deteriorate, changing the aesthetic effect of the monument. The black marble had lost its shine, \u00a0becoming matte with a grey hue. The bas-relief features and other features in bronze \u00a0had, nevertheless, taken on this characteristic patina which gives them a beautiful greenish colour. As a result of these atmospheric conditions, the stone had become covered wih a multitude of cracks, which also allowed the increased growth of microorganisms.The restoration and conservation work carried out in 2016 by Piotr Niemcewicz\u2019s team aimed to limit the deterioration of the monument \u00a0and give it all its artistic and aesthetic value. The work had several stages: eliminating the products of corrosion, eliminating the stratifications to which the stone and the metal had fallen victim, disinfection of the elements, replacing missing elements and polishing the matte marble. Moreover, the metal was protected by adding a malachite patina. The inscription, which had been rendered illegible, was also cleaned, re-engraved and burnished. The final stage consisted of reinforcing the foundations and coating the monument with waterproof products.The tomb thus took on its orignal aspect once more. Erasing the corrosive products gave the marble back its initial colour, which highlights even more the bronze elements coated in malachite patina. If the tomb\u2019s appearance was altered by the renovation and conservation work, the quality of the materials was also brought out, thus underscoring the high artistic quality of the object.(Text written by\u00a0Piotr Niemcewicz,\u00a0Faculty of Fine Arts, Nicolaus Copernicus University in Toru\u0144)\\nLinks\\n\u00a0Towarzystwo Muzyczne im. H. Wieniawskiego:\u00a0http:\/\/www.wieniawski.pl\\n\u00a0MKiDN:\u00a0http:\/\/www.mkidn.gov.pl\\n\u00a0Koninklijk Conservatorium Brussel:\u00a0http:\/\/www.kcb.be\/\\nPicture gallery\\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/brussels\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"“Joseph Wieniawski (1837-1912): His Life and Music”\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/\",\"name\":\"Instytut Polski w Brukseli\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/brussels\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18\",\"name\":\"dyjakn\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g\",\"caption\":\"dyjakn\"},\"url\":\"https:\/\/instytutpolski.pl\/brussels\/author\/dyjakn\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"\"Joseph Wieniawski (1837-1912): His Life and Music\" - Instytut Polski w Brukseli","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/","og_locale":"pl_PL","og_type":"article","og_title":"\"Joseph Wieniawski (1837-1912): His Life and Music\" - Instytut Polski w Brukseli","og_description":"The pianist, composer and pedagogue\u00a0J\u00f3zef WIENIAWSKI\u00a0is one of the greatest musicians to have graced the end of the XIXth century in Europe. 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During his lifetime, he enjoyed glory and recognition; after his death, he was unjustly forgotten. Perhaps this can be explained by the fact that he started his career in the shadow of his older brother, the brilliant violonist and composer Henryk Wieniawski. Together, they played on the greatest stages in the world, and enjoyed tremendous success. In 1878, J\u00f3zef Wieniawski set up home in Brussels where he became a piano teacher, composed and gave many concerts. He was also a great propogator of the music of Fryderyk Chopin, his favourite composer, and Stanis\u0142aw Moniuszko.It is on this extraordinary personality that the\u00a0concert-conference\u00a0will focus on\u00a026 November\u00a02016. The pianist\u00a0Jacek KORTUS\u00a0will pay tribute to him by playing a series of pieces which typify his work:\nMazurek koncertowy\u00a0(Mazourka de Concert) in D\u00a0major, op. 41\nBarcarolle, op. 29\nPens\u00e9e fugitive, op. 8\nValse de Concert, op. 3\/1\nPiano Sonata\u00a0in B\u00a0minor, op. 22\u00a0\nThe conference will be given by Prof.\u00a0Renata SUCHOWIEJKO, director of the department of methodology and the history of music (19th \u2013 21st century) at the Institute of Musicology at the Jagiellonian University in Krakow.\nPRACTICAL INFORMATION>>>\u00a0Koninklijk Conservatorium Brussel, Concertzaal (rue de la Regence 30A, 1050 Brussels) \u2013 see\u00a0map>>>\u00a026 November\u00a02016 \u2013\u00a020:00>>>\u00a0FREE OF CHARGE. RSVP before 24 November (brussels@instytutpolski.org\u00a0or +32 (0)2 554 06 90)The concert and conference were launched jointly by the Polish Institute in Brussels and the Flemish Royal Conservatory of Brussels with a view to shining a light on Belgium\u2019s shared cultural heritage.\u00a0\u00a0\n\u00a0\nThe library of the Royal Conservatory of Brussels has preserved a large series of manuscripts signed by J\u00f3zef Wieniawski, beqeathed by his daughter Elisabeth and currently archived in the Wieniawski fund. This bequest includes the\u00a0Sonata for piano and violin\u00a0(op.\u00a020) and the\u00a0Concerto for piano and orchestra\u00a0(op. 24) dedicated to Leopold\u00a0II of Belgium.\u00a0We also have J\u00f3zef Wieniawski to thank for the famous \"double piano with mirrored keyboards\", built by the Mangeot brothers, one of which can be viewed at the Brussels Musical Instruments Museum (MIM).Born in Lublin on 23 May 1837, J\u00f3zef Wieniawski died in Brussels on 11 November 1912. His body was buried in Ixelles cemetery. His tomb was restored in summer 2016 thanks to the combined efforts of the Polish Institute and the Henryk Wieniawski Musical Society of Poznan. This restoration work was paid for from funds from the Polish Ministry of Culture and Cultural Heritage. Now, one can read the quotation from the poem \u2018Promethidion\u2019 by Cyprian Kamil NORWID which the composer had asked to have engraved on his tomb.+++\u00a0Read the summary report on the renovation and restoration work\u00a0The photographs can be found in the photo album below.\u00a0Project carried out thanks to the joint efforts of the Henryk Wieniawski Musical Society of Poznan and the Polish Institute in Brussels, co-financed by the Polish Ministry of Culture and National Heritage. \u00a0\nJacek KORTUS\nBorn in Poznan in 1988, Jacek Kortus, winner of the first prize from the I. J. Paderewski Conservatory, is a teaching assistant in the piano department of this establishment. Since his teenage years, he has been playing on Polish stages and has won several competitions. He has also played in many European countries, in the United States, Mexico, Brazil, Chile, Japan, China, Israel, Palestine and Morocco. He is the recipient of several grants, notably from the Polish Ministry of Culture and National Heritage. His first solo album was released in 2008 (label \"Muza Polish Recordings\"), whilst his second album, recorded with Polish tenor Tomasz Zagorski, was made in 2015.\nRenata SUCHOWIEJKO\nThe holder of a doctorate in Musicology from the Jagiellonian University in Krakow, she received a DEA (French postgraduate degree) from the University of Tours in 1995. Her thesis was awarded the Prime Minister\u2019s Prize for the excellence of her work. Her post-doctorate also received an award from the rector of the Jagiellonian University. She was director of the Institute of Musicology of her alma mater from 2008 until 2012. At present, she is the director of the\u00a0 department of methodology and the history of music (19th \u2013 21st century) at the same institute. We have her to thank in particular for:\nHenryk Wieniawski \u2013 kompozytor na tle wirtuozowskiej tradycji skrzypcowej XIX wieku\u00a0[Henryk Wieniawski, Composer and the 19th Century Violin Virtuoso Tradition], Pozna\u0144, 2005 ;\nHenryk Wieniawski \u2013 wirtuoz w \u015bwietle XIX-wiecznej prasy\u00a0[Henryk Wieniawski as Virtuoso According to the 19th Century Press], Pozna\u0144, 2011 ;\u00a0\n\"Henryk Wieniawski in America\", in : \"Ad Parnassum\", April, 2005, pp. 45\u201355 ;\n\"Henryk Wieniawski\u2019s Concert Performances in Russia\", in : \"Fontes Artis Musicae\", January \u2013March 2011, vol. 58\/1, pp. 24\u201334 ;\n\"Les violonistes virtuoses et la presse au XIXe si\u00e8cle : \u00e9pistemologie d\u2019une recherche \u00e0 partir de l\u2019exemple de Henryk Wieniawski\", in :\u00a0En p\u00e8lerinage avec Liszt: Virtuosos, Repertoire and Performing Venues in 19th-Century Europe, ed. Fulvia Morabito, Turnhout 2014, pp. 279-300\nRenovation and restoration work, summer 2016J\u00f3zef Wieniawskis tomb was built from a Belgian marble typical of the region,\u00a0 in the form of a simple obelisc decorated by a bas-relief representing an angel, a portrait of the deceased and an inscription. One can also find molded parts in the bronze. The relentless wear and tear of time led the materials to deteriorate, changing the aesthetic effect of the monument. The black marble had lost its shine, \u00a0becoming matte with a grey hue. The bas-relief features and other features in bronze \u00a0had, nevertheless, taken on this characteristic patina which gives them a beautiful greenish colour. As a result of these atmospheric conditions, the stone had become covered wih a multitude of cracks, which also allowed the increased growth of microorganisms.The restoration and conservation work carried out in 2016 by Piotr Niemcewicz\u2019s team aimed to limit the deterioration of the monument \u00a0and give it all its artistic and aesthetic value. The work had several stages: eliminating the products of corrosion, eliminating the stratifications to which the stone and the metal had fallen victim, disinfection of the elements, replacing missing elements and polishing the matte marble. Moreover, the metal was protected by adding a malachite patina. The inscription, which had been rendered illegible, was also cleaned, re-engraved and burnished. The final stage consisted of reinforcing the foundations and coating the monument with waterproof products.The tomb thus took on its orignal aspect once more. Erasing the corrosive products gave the marble back its initial colour, which highlights even more the bronze elements coated in malachite patina. If the tomb\u2019s appearance was altered by the renovation and conservation work, the quality of the materials was also brought out, thus underscoring the high artistic quality of the object.(Text written by\u00a0Piotr Niemcewicz,\u00a0Faculty of Fine Arts, Nicolaus Copernicus University in Toru\u0144)\nLinks\n\u00a0Towarzystwo Muzyczne im. H. Wieniawskiego:\u00a0http:\/\/www.wieniawski.pl\n\u00a0MKiDN:\u00a0http:\/\/www.mkidn.gov.pl\n\u00a0Koninklijk Conservatorium Brussel:\u00a0http:\/\/www.kcb.be\/\nPicture gallery\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0"},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2016\/11\/26\/joseph-wieniawski-1837-1912-his-life-and-music-2\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/brussels\/"},{"@type":"ListItem","position":2,"name":"“Joseph Wieniawski (1837-1912): His Life and Music”"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/brussels\/#website","url":"https:\/\/instytutpolski.pl\/brussels\/","name":"Instytut Polski w Brukseli","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/brussels\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18","name":"dyjakn","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g","caption":"dyjakn"},"url":"https:\/\/instytutpolski.pl\/brussels\/author\/dyjakn\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/3318"}],"collection":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/users\/127"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/comments?post=3318"}],"version-history":[{"count":1,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/3318\/revisions"}],"predecessor-version":[{"id":3319,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/3318\/revisions\/3319"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media\/3316"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media?parent=3318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/categories?post=3318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/tags?post=3318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}