Ignace Jan Paderewski

Ignace Jan Paderewski, one of the world’s foremost piano virtuosos and

one of Poland’s most renowned statesmen, was born in Kurylówka, Podolia,

on November 18, 1860. A child prodigy, he was given piano lessons from

his third year on. Several patrons arranged to send him to the Warsaw

Conservatory, from which he was graduated in 1878. Between 1881 and 1883

he studied composition and orchestration in Berlin, and from 1884 to

1887 piano with Leschetizky in Vienna. Paderewski’s first major success

as a pianist came in Vienna in 1889, a concert that was the beginning of

a virtuoso career extending for about half a century and carrying him

triumphantly to all parts of the world. In 1919 he temporarily withdrew

from music to become the first Premier of the Polish Republic, but about

a year later he resumed concert work. He made his American debut in New

York in 1891, and his last American tour took place in 1939. During the

early part of World War II he returned to political activity as

President of the Parliament of the Polish Government in Exile. He died

in New York on June 29, 1941. By order of President Roosevelt he was

given a state burial in Arlington National Cemetery.

Paderewski produced many ambitious compositions, some in the style of

Polish folk music; these included the opera _Manru_, a symphony, piano

concerto, the _Polish Fantasy_ for piano and orchestra and numerous

shorter compositions for the piano. Ironically it is not for one of his

ambitious works that he is most often recalled as a composer, but

through a slight piece: the _Minuet_ in G, or _Menuet à l’antique_, a

graceful, well-mannered composition in an 18th-century style. This is

one of the three most popular minuets ever written, the other two being

by Mozart and Beethoven. Paderewski originally wrote it for the piano;

it is the first of six pieces collectively entitled _Humoresques de

concert_, op. 14. Fritz Kreisler transcribed it for violin and piano;

Gaspar Cassadó for cello and piano. It has, of course, been frequently

adapted for orchestra.

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