{"id":7779,"date":"2023-01-22T00:00:00","date_gmt":"2023-01-21T23:00:00","guid":{"rendered":"https:\/\/instytutpolski.pl\/leipzig\/?p=7779"},"modified":"2023-02-13T17:00:39","modified_gmt":"2023-02-13T16:00:39","slug":"fryderyk-chopin-poet-of-polish-freedom","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/","title":{"rendered":"Fryderyk Chopin \u2013 poet of Polish freedom"},"content":{"rendered":"\n<p><strong>One hundred sixty years ago, in September 1863, during the January Uprising, the Russians demolished the Zamoyski Palace in Warsaw, throwing the piano once played by Fryderyk Chopin out of the building\u2019s window. The moment made history.<\/strong><\/p>\n<p>Fryderyk Chopin\u2019s music aroused patriotic sentiments even before his scores left the printing presses. Even back when he was known only as the son of the proprietor of one of Warsaw\u2019s finest boarding houses, he would perform for his colleagues in the evenings, improvising on historical themes. Later, the guests at his salon in Paris could listen to the entire poems, only fragments of which he poured onto paper. The nationalist, patriotic feature of his work was apparent not only to Poles. It was recognised already by Robert Schumann, the first international reviewer of the young Chopin (it was he who, with regard to Chopin\u2019s Variations pp. 2, wrote \u2018Hats off gentlemen, a genius!\u2019). In his review of Chopin\u2019s Piano Concertos, he characterises the artist alluding to the November Uprising: \u201eSo he stood, supplied with the deepest knowledge of his art, aware of his power and hence armed with courage, when in 1830 the mighty voice of the peoples rang out in the west. Hundreds of young men awaited that moment, but Chopin was the first on the ramparts [&#8230;]. Fate had prepared something more for the meeting of a new time and new relations: it distinguished Chopin and made him interesting through his expressive, original Polish nationality. [&#8230;] if the autocratic monarch [the tsar] knew what a dangerous enemy threatened him in Chopin\u2019s works, in the simple melodies of the mazurkas, he would ban them. Chopin\u2019s compositions are cannons buried in flowers.\u201d The echoes of Kurpi\u0144ski\u2019s insurrectionist song Litwinka in op. 49 or the \u2018heroic\u2019 developments of the polonaise in op. 53 were evident immediately upon listening.<\/p>\n<p>Chopin left ample evidence of his patriotic commitment. The outbreak of the 1830 uprising became a watershed moment in his musical style. When his friends, nigh forcibly, stopped him from returning home and taking up arms, he wrote that he \u2018thunderbolts on the piano\u2019 at nights. He began to introduce dark tones, violent contrasts and numerous chromatic runs that break down the classical simplicity of the major-minor style. According to his family accounts, it was also then that he wrote the Etude in C Minor, known as the \u2018Revolutionary\u2019, the violent Scherzo in B minor and even a sketch of the Prelude in D Minor, published many years later in the op. 28 cycle referring to Bach\u2019s The Well-Tempered Clavier.<\/p>\n<p>Chopin was well versed in the geopolitical situation, as best evidenced by a letter to Julian Fontana from April 1848, in which he writes, among other things: \u2018Our people are gathering in Pozna\u0144. Czartoryski was the first to go there, but God only knows what direction events will take [&#8230;] horrible things are likely to happen, but when it all ends, there will be a great, big Poland; in a word: Poland.\u201d<\/p>\n<p>When in September 1863 (14 years after the composer\u2019s death), Russian troops demolished the Zamoyski Palace in Warsaw in retaliation for the January Uprising participants\u2019 attempt to assassinate the governor Theodor Berg, surely nobody realised that the destruction of the piano would take on a symbolic dimension. Cyprian Kamil Norwid, who met Chopin in Paris as a youth, immortalised this moment, raising it in his famous poem Chopin\u2019s Piano to the status of a clash of cultures and value systems. It was an important act of including Chopin\u2019s work in the discourse of the independence struggle, perhaps most clearly demonstrated by Ignacy Jan Paderewski in his famous speech in Lviv in 1910, on the 100th anniversary of the composer\u2019s birth. Indeed, the address opened the path of political activity for the future Polish prime minister: \u201eChopin embodies everything we have been forbidden: the colourful kontushes, the gold-lined belts, [&#8230;] the clank of the nobles\u2019 sabres and the scythes or our peasant\u2019s, the moan of the wounded chest, the rebellion of the shackled spirit, [&#8230;] the slavery\u2019s pain, the freedom\u2019s mourning, the tyrants\u2019 curse and the victory\u2019s joyful song.\u201d It is clear why the German occupation authorities banned his songs during World War II.<\/p>\n<p>In 21st-century Poland, Chopin\u2019s music still holds a special place. Millions of Poles follow the International Chopin Piano Competition every five years as Warsaw fills with the composer\u2019s music, from the philharmonic hall to the taxis. Today we also understand the extraordinary universalism of Chopin\u2019s work, whose genius finds a way into the hearts of people from all over the world and helps to build international communities of those who admire beauty and truth.<\/p>\n<p><em><strong>Artur Szklener<\/strong><\/em><br \/><em>Director of the Fryderyk Chopin Institute<\/em><\/p>\n<p>\u00a0<\/p>\n<p><em>The text is simultaneously published in the Polish monthly \u201eWszystko Co Najwa\u017cniejsze\u201d as part of a project carried out with the Institute of National Remembrance and the Polish National Foundation.<\/em><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>One hundred sixty years ago, in September 1863, during the January Uprising, the Russians demolished the Zamoyski Palace in Warsaw, throwing the piano once played by Fryderyk Chopin out of the building\u2019s window. The moment made history. Fryderyk Chopin\u2019s music aroused patriotic sentiments even before his scores left the printing presses. Even back when he [&hellip;]<\/p>\n","protected":false},"author":79,"featured_media":4417,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[133],"tags":[159],"class_list":["post-7779","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-presspolska","tag-presspolska"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Fryderyk Chopin \u2013 poet of Polish freedom - Instytut Polski w Lipsku<\/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\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fryderyk Chopin \u2013 poet of Polish freedom - Instytut Polski w Lipsku\" \/>\n<meta property=\"og:description\" content=\"One hundred sixty years ago, in September 1863, during the January Uprising, the Russians demolished the Zamoyski Palace in Warsaw, throwing the piano once played by Fryderyk Chopin out of the building\u2019s window. The moment made history. Fryderyk Chopin\u2019s music aroused patriotic sentiments even before his scores left the printing presses. Even back when he [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Lipsku\" \/>\n<meta property=\"article:published_time\" content=\"2023-01-21T23:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-02-13T16:00:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"595\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rainer Mende\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rainer Mende\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/\",\"url\":\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/\",\"name\":\"Fryderyk Chopin \u2013 poet of Polish freedom\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg\",\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain-300x149.jpg\",\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain-1024x508.jpg\",\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg\",\"datePublished\":\"2023-01-21T23:00:00+02:00\",\"dateModified\":\"2023-02-13T16:00:39+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/#\/schema\/person\/a74d20cf3dac53f5579b2a3ec40f22dd\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2023-01-22\",\"endDate\":\"2023-01-22\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"One hundred sixty years ago, in September 1863, during the January Uprising, the Russians demolished the Zamoyski Palace in Warsaw, throwing the piano once played by Fryderyk Chopin out of the building\u2019s window. The moment made history.\\nFryderyk Chopin\u2019s music aroused patriotic sentiments even before his scores left the printing presses. Even back when he was known only as the son of the proprietor of one of Warsaw\u2019s finest boarding houses, he would perform for his colleagues in the evenings, improvising on historical themes. Later, the guests at his salon in Paris could listen to the entire poems, only fragments of which he poured onto paper. The nationalist, patriotic feature of his work was apparent not only to Poles. It was recognised already by Robert Schumann, the first international reviewer of the young Chopin (it was he who, with regard to Chopin\u2019s Variations pp. 2, wrote \u2018Hats off gentlemen, a genius!\u2019). In his review of Chopin\u2019s Piano Concertos, he characterises the artist alluding to the November Uprising: \u201eSo he stood, supplied with the deepest knowledge of his art, aware of his power and hence armed with courage, when in 1830 the mighty voice of the peoples rang out in the west. Hundreds of young men awaited that moment, but Chopin was the first on the ramparts [...]. Fate had prepared something more for the meeting of a new time and new relations: it distinguished Chopin and made him interesting through his expressive, original Polish nationality. [...] if the autocratic monarch [the tsar] knew what a dangerous enemy threatened him in Chopin\u2019s works, in the simple melodies of the mazurkas, he would ban them. Chopin\u2019s compositions are cannons buried in flowers.\u201d The echoes of Kurpi\u0144ski\u2019s insurrectionist song Litwinka in op. 49 or the \u2018heroic\u2019 developments of the polonaise in op. 53 were evident immediately upon listening.\\nChopin left ample evidence of his patriotic commitment. The outbreak of the 1830 uprising became a watershed moment in his musical style. When his friends, nigh forcibly, stopped him from returning home and taking up arms, he wrote that he \u2018thunderbolts on the piano\u2019 at nights. He began to introduce dark tones, violent contrasts and numerous chromatic runs that break down the classical simplicity of the major-minor style. According to his family accounts, it was also then that he wrote the Etude in C Minor, known as the \u2018Revolutionary\u2019, the violent Scherzo in B minor and even a sketch of the Prelude in D Minor, published many years later in the op. 28 cycle referring to Bach\u2019s The Well-Tempered Clavier.\\nChopin was well versed in the geopolitical situation, as best evidenced by a letter to Julian Fontana from April 1848, in which he writes, among other things: \u2018Our people are gathering in Pozna\u0144. Czartoryski was the first to go there, but God only knows what direction events will take [...] horrible things are likely to happen, but when it all ends, there will be a great, big Poland; in a word: Poland.\u201d\\nWhen in September 1863 (14 years after the composer\u2019s death), Russian troops demolished the Zamoyski Palace in Warsaw in retaliation for the January Uprising participants\u2019 attempt to assassinate the governor Theodor Berg, surely nobody realised that the destruction of the piano would take on a symbolic dimension. Cyprian Kamil Norwid, who met Chopin in Paris as a youth, immortalised this moment, raising it in his famous poem Chopin\u2019s Piano to the status of a clash of cultures and value systems. It was an important act of including Chopin\u2019s work in the discourse of the independence struggle, perhaps most clearly demonstrated by Ignacy Jan Paderewski in his famous speech in Lviv in 1910, on the 100th anniversary of the composer\u2019s birth. Indeed, the address opened the path of political activity for the future Polish prime minister: \u201eChopin embodies everything we have been forbidden: the colourful kontushes, the gold-lined belts, [...] the clank of the nobles\u2019 sabres and the scythes or our peasant\u2019s, the moan of the wounded chest, the rebellion of the shackled spirit, [...] the slavery\u2019s pain, the freedom\u2019s mourning, the tyrants\u2019 curse and the victory\u2019s joyful song.\u201d It is clear why the German occupation authorities banned his songs during World War II.\\nIn 21st-century Poland, Chopin\u2019s music still holds a special place. Millions of Poles follow the International Chopin Piano Competition every five years as Warsaw fills with the composer\u2019s music, from the philharmonic hall to the taxis. Today we also understand the extraordinary universalism of Chopin\u2019s work, whose genius finds a way into the hearts of people from all over the world and helps to build international communities of those who admire beauty and truth.\\nArtur SzklenerDirector of the Fryderyk Chopin Institute\\n\u00a0\\nThe text is simultaneously published in the Polish monthly \u201eWszystko Co Najwa\u017cniejsze\u201d as part of a project carried out with the Institute of National Remembrance and the Polish National Foundation.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg\",\"width\":1200,\"height\":595},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/leipzig\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Fryderyk Chopin \u2013 poet of Polish freedom\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/leipzig\/\",\"name\":\"Instytut Polski w Lipsku\",\"description\":\"Kolejna witryna sieci &#8222;Instytuty Polskie&#8221;\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/leipzig\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/#\/schema\/person\/a74d20cf3dac53f5579b2a3ec40f22dd\",\"name\":\"Rainer Mende\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/leipzig\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/61382ed949dec269ce106c2fd5871a60?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/61382ed949dec269ce106c2fd5871a60?s=96&d=mm&r=g\",\"caption\":\"Rainer Mende\"},\"url\":\"https:\/\/instytutpolski.pl\/leipzig\/author\/mender\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Fryderyk Chopin \u2013 poet of Polish freedom - Instytut Polski w Lipsku","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\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/","og_locale":"pl_PL","og_type":"article","og_title":"Fryderyk Chopin \u2013 poet of Polish freedom - Instytut Polski w Lipsku","og_description":"One hundred sixty years ago, in September 1863, during the January Uprising, the Russians demolished the Zamoyski Palace in Warsaw, throwing the piano once played by Fryderyk Chopin out of the building\u2019s window. 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The moment made history.\nFryderyk Chopin\u2019s music aroused patriotic sentiments even before his scores left the printing presses. Even back when he was known only as the son of the proprietor of one of Warsaw\u2019s finest boarding houses, he would perform for his colleagues in the evenings, improvising on historical themes. Later, the guests at his salon in Paris could listen to the entire poems, only fragments of which he poured onto paper. The nationalist, patriotic feature of his work was apparent not only to Poles. It was recognised already by Robert Schumann, the first international reviewer of the young Chopin (it was he who, with regard to Chopin\u2019s Variations pp. 2, wrote \u2018Hats off gentlemen, a genius!\u2019). In his review of Chopin\u2019s Piano Concertos, he characterises the artist alluding to the November Uprising: \u201eSo he stood, supplied with the deepest knowledge of his art, aware of his power and hence armed with courage, when in 1830 the mighty voice of the peoples rang out in the west. Hundreds of young men awaited that moment, but Chopin was the first on the ramparts [...]. Fate had prepared something more for the meeting of a new time and new relations: it distinguished Chopin and made him interesting through his expressive, original Polish nationality. [...] if the autocratic monarch [the tsar] knew what a dangerous enemy threatened him in Chopin\u2019s works, in the simple melodies of the mazurkas, he would ban them. Chopin\u2019s compositions are cannons buried in flowers.\u201d The echoes of Kurpi\u0144ski\u2019s insurrectionist song Litwinka in op. 49 or the \u2018heroic\u2019 developments of the polonaise in op. 53 were evident immediately upon listening.\nChopin left ample evidence of his patriotic commitment. The outbreak of the 1830 uprising became a watershed moment in his musical style. When his friends, nigh forcibly, stopped him from returning home and taking up arms, he wrote that he \u2018thunderbolts on the piano\u2019 at nights. He began to introduce dark tones, violent contrasts and numerous chromatic runs that break down the classical simplicity of the major-minor style. According to his family accounts, it was also then that he wrote the Etude in C Minor, known as the \u2018Revolutionary\u2019, the violent Scherzo in B minor and even a sketch of the Prelude in D Minor, published many years later in the op. 28 cycle referring to Bach\u2019s The Well-Tempered Clavier.\nChopin was well versed in the geopolitical situation, as best evidenced by a letter to Julian Fontana from April 1848, in which he writes, among other things: \u2018Our people are gathering in Pozna\u0144. Czartoryski was the first to go there, but God only knows what direction events will take [...] horrible things are likely to happen, but when it all ends, there will be a great, big Poland; in a word: Poland.\u201d\nWhen in September 1863 (14 years after the composer\u2019s death), Russian troops demolished the Zamoyski Palace in Warsaw in retaliation for the January Uprising participants\u2019 attempt to assassinate the governor Theodor Berg, surely nobody realised that the destruction of the piano would take on a symbolic dimension. Cyprian Kamil Norwid, who met Chopin in Paris as a youth, immortalised this moment, raising it in his famous poem Chopin\u2019s Piano to the status of a clash of cultures and value systems. It was an important act of including Chopin\u2019s work in the discourse of the independence struggle, perhaps most clearly demonstrated by Ignacy Jan Paderewski in his famous speech in Lviv in 1910, on the 100th anniversary of the composer\u2019s birth. Indeed, the address opened the path of political activity for the future Polish prime minister: \u201eChopin embodies everything we have been forbidden: the colourful kontushes, the gold-lined belts, [...] the clank of the nobles\u2019 sabres and the scythes or our peasant\u2019s, the moan of the wounded chest, the rebellion of the shackled spirit, [...] the slavery\u2019s pain, the freedom\u2019s mourning, the tyrants\u2019 curse and the victory\u2019s joyful song.\u201d It is clear why the German occupation authorities banned his songs during World War II.\nIn 21st-century Poland, Chopin\u2019s music still holds a special place. Millions of Poles follow the International Chopin Piano Competition every five years as Warsaw fills with the composer\u2019s music, from the philharmonic hall to the taxis. Today we also understand the extraordinary universalism of Chopin\u2019s work, whose genius finds a way into the hearts of people from all over the world and helps to build international communities of those who admire beauty and truth.\nArtur SzklenerDirector of the Fryderyk Chopin Institute\n\u00a0\nThe text is simultaneously published in the Polish monthly \u201eWszystko Co Najwa\u017cniejsze\u201d as part of a project carried out with the Institute of National Remembrance and the Polish National Foundation."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/#primaryimage","url":"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg","contentUrl":"https:\/\/instytutpolski.pl\/leipzig\/wp-content\/uploads\/sites\/29\/2020\/10\/Chopin-Unterschrift-Wikipedia-Public-Domain.jpg","width":1200,"height":595},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/leipzig\/2023\/01\/22\/fryderyk-chopin-poet-of-polish-freedom\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/leipzig\/"},{"@type":"ListItem","position":2,"name":"Fryderyk Chopin \u2013 poet of Polish freedom"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/leipzig\/#website","url":"https:\/\/instytutpolski.pl\/leipzig\/","name":"Instytut Polski w Lipsku","description":"Kolejna witryna sieci &#8222;Instytuty Polskie&#8221;","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/leipzig\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/leipzig\/#\/schema\/person\/a74d20cf3dac53f5579b2a3ec40f22dd","name":"Rainer Mende","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/leipzig\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/61382ed949dec269ce106c2fd5871a60?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/61382ed949dec269ce106c2fd5871a60?s=96&d=mm&r=g","caption":"Rainer Mende"},"url":"https:\/\/instytutpolski.pl\/leipzig\/author\/mender\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/posts\/7779","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/users\/79"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/comments?post=7779"}],"version-history":[{"count":7,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/posts\/7779\/revisions"}],"predecessor-version":[{"id":7794,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/posts\/7779\/revisions\/7794"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/media\/4417"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/media?parent=7779"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/categories?post=7779"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/leipzig\/wp-json\/wp\/v2\/tags?post=7779"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}