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<http://dbpedia.org/resource/Eugeniusz_Knapik>	<http://dbpedia.org/ontology/abstract>	"Eugeniusz Knapik (n\u00E9 le 9 juillet 1951 \u00E0 Ruda \u015Al\u0105ska) est un pianiste polonais ainsi qu'un p\u00E9dagogue et un compositeur de musique classique. Sa pi\u00E8ce de chambre la plus connue est le Quatuor \u00E0 cordes no 1 de 1980. Knapik a \u00E9tudi\u00E9 la composition et le piano avec Henryk G\u00F3recki (1933-2010) et \u00E0 l'Acad\u00E9mie de musique Karol Szymanowski de Katowice. Ensuite, il a \u00E9tudi\u00E9 la composition avec Olivier Messiaen \u00E0 Paris. Comme pianiste, il a beaucoup enregistr\u00E9, se sp\u00E9cialisant tout particuli\u00E8rement dans la musique du XXe si\u00E8cle. Il a gagn\u00E9 de nombreux prix pour ses compositions, en particulier au Festival of Polish Piano Interpretation \u00E0 S\u0142upsk, et au Concours International de Musique de Chambre de Vienne. En compagnie d'Andrzej Krzanowski et Aleksander Laso\u0144, Knapik est g\u00E9n\u00E9ralement consid\u00E9r\u00E9 comme un des chefs de file des compositeurs qui ont \u00E9merg\u00E9 en Pologne au milieu des ann\u00E9es 1970. Ce groupe a \u00E9t\u00E9 appel\u00E9 Groupe de Stalowa Wola d'apr\u00E8s le nom de la cit\u00E9 dans laquelle ils ont publi\u00E9 en 1975 lors du festival de musique leur manifeste sous-intitul\u00E9 \"De la part de jeunes compositeurs \u00E0 une jeune cit\u00E9\". Leur manifeste affirmait: \"L'\u0153uvre des compositeurs qui entament leur carri\u00E8re artistique au festival de Stalowa Wola, est une forme d'opposition \u00E0 l'avant-garde des ann\u00E9es 1950 et 60: opposition \u00E0 la nouveaut\u00E9 pour l'amour de nouveaut\u00E9, et vers la destruction totale. Cette opposition est une r\u00E9action spontan\u00E9e, intuitive, profond\u00E9ment enracin\u00E9e, qui n'est devenue consciente que bien plus tard. Knapik est souvent vu comme un compositeur hors de son temps, car sa musique est fortement influenc\u00E9e par le langage musical de l'\u00E9poque post-romantique, en particulier par les \u0153uvres de Gustav Mahler (1860-1911). D'autres influences plus r\u00E9centes sont venues de G\u00F3recki, Krzysztof Penderecki (n\u00E9 en 1933) et Witold Lutos\u0142awski (1913-1994). Il a emprunt\u00E9 \u00E0 la po\u00E9sie anglaise du XIXe et XXe si\u00E8cle des textes pour ses livrets, ce qui le met \u00E0 part de la plupart de ses contemporains polonais. Aujourd'hui, Knapik enseigne \u00E0 l'Acad\u00E9mie de Musique de Katowice, o\u00F9 il est professeur et directeur de composition."@fr .
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<http://dbpedia.org/resource/Eugeniusz_Knapik>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Eugeniusz Knapik (n\u00E9 le 9 juillet 1951 \u00E0 Ruda \u015Al\u0105ska) est un pianiste polonais ainsi qu'un p\u00E9dagogue et un compositeur de musique classique. Sa pi\u00E8ce de chambre la plus connue est le Quatuor \u00E0 cordes no 1 de 1980. Knapik a \u00E9tudi\u00E9 la composition et le piano avec Henryk G\u00F3recki (1933-2010) et \u00E0 l'Acad\u00E9mie de musique Karol Szymanowski de Katowice. Ensuite, il a \u00E9tudi\u00E9 la composition avec Olivier Messiaen \u00E0 Paris. Comme pianiste, il a beaucoup enregistr\u00E9, se sp\u00E9cialisant tout particuli\u00E8rement dans la musique du XXe si\u00E8cle. Il a gagn\u00E9 de nombreux prix pour ses compositions, en particulier au Festival of Polish Piano Interpretation \u00E0 S\u0142upsk, et au Concours International de Musique de Chambre de Vienne."@fr .
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<http://dbpedia.org/resource/Eugeniusz_Knapik>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Eugeniusz Antoni Knapik (ur. 9 lipca 1951 w Rudzie) \u2013 polski kompozytor i pianista, profesor sztuki, nauczyciel akademicki, w latach 2002\u20132008 rektor Akademii Muzycznej im. Karola Szymanowskiego w Katowicach."@pl .
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Eugeniusz Knapik; \u0440\u043E\u0434. 9 \u0438\u044E\u043B\u044F 1951, \u0420\u0443\u0434\u0430-\u0421\u043B\u0451\u043D\u0441\u043A\u0430) \u2014 \u043F\u043E\u043B\u044C\u0441\u043A\u0438\u0439 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0442\u043E\u0440. \u041E\u043A\u043E\u043D\u0447\u0438\u043B (1976) \u0443 \u0413\u0435\u043D\u0440\u0438\u043A\u0430 \u0413\u0443\u0440\u0435\u0446\u043A\u043E\u0433\u043E (\u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u044F) \u0438 \u0427\u0435\u0441\u043B\u0430\u0432\u0430 \u0421\u0442\u0430\u043D\u0447\u0438\u043A\u0430 (\u0444\u043E\u0440\u0442\u0435\u043F\u0438\u0430\u043D\u043E), \u043F\u043E \u0433\u0440\u0430\u043D\u0442\u0443 \u041F\u0440\u0430\u0432\u0438\u0442\u0435\u043B\u044C\u0441\u0442\u0432\u0430 \u0424\u0440\u0430\u043D\u0446\u0438\u0438 \u0441\u0442\u0430\u0436\u0438\u0440\u043E\u0432\u0430\u043B\u0441\u044F \u0432 \u041F\u0430\u0440\u0438\u0436\u0435 \u0443 \u041E\u043B\u0438\u0432\u044C\u0435 \u041C\u0435\u0441\u0441\u0438\u0430\u043D\u0430. \u041B\u0430\u0443\u0440\u0435\u0430\u0442 \u0440\u044F\u0434\u0430 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0442\u043E\u0440\u0441\u043A\u0438\u0445 \u043A\u043E\u043D\u043A\u0443\u0440\u0441\u043E\u0432, \u0432 \u0442\u043E\u043C \u0447\u0438\u0441\u043B\u0435 \u043E\u0431\u043B\u0430\u0434\u0430\u0442\u0435\u043B\u044C \u043F\u0435\u0440\u0432\u043E\u0439 \u043F\u0440\u0435\u043C\u0438\u0438 \u043D\u0430 \u043A\u043E\u043D\u043A\u0443\u0440\u0441\u0435 \u00AB\u041C\u043E\u043B\u043E\u0434\u044B\u0435 \u043C\u0443\u0437\u044B\u043A\u0430\u043D\u0442\u044B \u2014 \u043C\u043E\u043B\u043E\u0434\u043E\u043C\u0443 \u0433\u043E\u0440\u043E\u0434\u0443\u00BB (\u043F\u043E\u043B\u044C\u0441\u043A. M\u0142odzi Muzycy M\u0142odemu Miastu; \u0421\u0442\u0430\u043B\u0451\u0432\u0430-\u0412\u043E\u043B\u044F, 1978, \u0437\u0430 \u0425\u043E\u0440\u0430\u043B, \u0438\u043D\u0442\u0435\u0440\u043B\u044E\u0434\u0438\u044E \u0438 \u0430\u0440\u0438\u044E \u0434\u043B\u044F \u0444\u043B\u0435\u0439\u0442\u044B, \u043A\u043B\u0430\u0432\u0435\u0441\u0438\u043D\u0430 \u0438 \u0441\u0442\u0440\u0443\u043D\u043D\u044B\u0445) \u0438 \u0442\u0440\u0435\u0442\u044C\u0435\u0439 \u043F\u0440\u0435\u043C\u0438\u0438 \u041C\u0435\u0436\u0434\u0443\u043D\u0430\u0440\u043E\u0434\u043D\u043E\u0433\u043E \u043A\u043E\u043D\u043A\u0443\u0440\u0441\u0430 \u043A\u0430\u043C\u0435\u0440\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438 \u0432 \u0412\u0435\u043D\u0435 (1977, \u0437\u0430 \u041A\u043E\u043D\u0447\u0435\u0440\u0442\u043E \u0433\u0440\u043E\u0441\u0441\u043E). \u0412 1979 \u0433\u043E\u0434\u0443 \u043E\u043D \u0437\u0430\u043F\u0438\u0441\u0430\u043B \u0440\u0430\u0431\u043E\u0442\u0443 \u041E\u043B\u0438\u0432\u044C\u0435 \u041C\u0435\u0441\u0441\u0438\u0430\u043D\u0430 Vingt Regards sur l\u2019Enfant J\u00E9sus, CD \u0432\u044B\u043F\u0443\u0449\u0435\u043D \u0432 2012 \u0433\u043E\u0434\u0443, \u0444\u0438\u0440\u043C\u0430 \u0433\u0440\u0430\u043C\u0437\u0430\u043F\u0438\u0441\u0438 DUX \u0438\u0437 \u041F\u043E\u043B\u044C\u0448\u0438. \u041F\u0440\u043E\u0444\u0435\u0441\u0441\u043E\u0440 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u0438 \u0432 \u041A\u0430\u0442\u043E\u0432\u0438\u0446\u043A\u043E\u0439 \u0410\u043A\u0430\u0434\u0435\u043C\u0438\u0438 \u043C\u0443\u0437\u044B\u043A\u0438 \u0438\u043C\u0435\u043D\u0438 \u0428\u0438\u043C\u0430\u043D\u043E\u0432\u0441\u043A\u043E\u0433\u043E. \u0421 1992 \u0433. \u0432\u043E\u0437\u0433\u043B\u0430\u0432\u043B\u044F\u0435\u0442 \u0442\u0430\u043A\u0436\u0435 \u0441\u043E\u0437\u0434\u0430\u043D\u043D\u0443\u044E \u043F\u0440\u0438 \u043D\u0435\u0439 \u0421\u0442\u0443\u0434\u0438\u044E \u043A\u043E\u043C\u043F\u044C\u044E\u0442\u0435\u0440\u043D\u043E\u0439 \u0438 \u044D\u043B\u0435\u043A\u0442\u0440\u043E\u043D\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438. \u0421\u0440\u0435\u0434\u0438 \u043E\u0441\u043D\u043E\u0432\u043D\u044B\u0445 \u043F\u0440\u043E\u0438\u0437\u0432\u0435\u0434\u0435\u043D\u0438\u0439 \u041A\u043D\u0430\u043F\u0438\u043A\u0430 \u2014 \u043E\u043F\u0435\u0440\u043D\u0430\u044F \u0442\u0440\u0438\u043B\u043E\u0433\u0438\u044F \u00AB\u041C\u044B\u0441\u043B\u0438 \u0415\u043B\u0435\u043D\u044B \u0422\u0440\u0443\u0431\u043B\u0435\u0439\u043D\u00BB (\u0430\u043D\u0433\u043B. The Minds of Helena Troubleyn; 1987\u20141996), \u0441\u043E\u0437\u0434\u0430\u043D\u043D\u0430\u044F \u0432 \u0441\u043E\u0434\u0440\u0443\u0436\u0435\u0441\u0442\u0432\u0435 \u0441 \u0430\u0432\u0442\u043E\u0440\u043E\u043C \u043B\u0438\u0431\u0440\u0435\u0442\u0442\u043E \u0438 \u0440\u0435\u0436\u0438\u0441\u0441\u0451\u0440\u043E\u043C-\u043F\u043E\u0441\u0442\u0430\u043D\u043E\u0432\u0449\u0438\u043A\u043E\u043C \u042F\u043D\u043E\u043C \u0424\u0430\u0431\u0440\u043E\u043C."@ru .
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<http://dbpedia.org/resource/Eugeniusz_Knapik>	<http://dbpedia.org/ontology/abstract>	"Eugeniusz Knapik (born July 9, 1951 in Ruda \u015Al\u0105ska) is a Polish pianist and composer of classical music best known for his 1980 chamber piece String Quartet No. 1. Knapik studied composition and piano with Henryk G\u00F3recki (1933\u20132010) and at the University of Music in Katowice. Later, he studied composition under Olivier Messiaen in Paris under a French government scholarship. As a pianist he has recorded widely, specialising mainly in 20th-century music. He has won numerous prizes for his compositions, including at the Festival of Polish Piano Interpretation in S\u0142upsk, and the International Chamber Music Competition in Vienna. Along with Andrzej Krzanowski and Aleksander Laso\u0144, Knapik is generally seen as a leading member of the composers who emerged in Poland during the mid-1970s. This group was collectively named Stalowa Wola after the city at which they stated their manifesto at a 1975 festival of music which was sub-titled \"From young composers to a young City\". Their statement read, \"The work of the composers who entered their artistic lives at the festivals in Stalowa Wola was a kind of opposition to the 1950s and 60s avant-garde: opposition towards novelty for novelty's sake, and towards total destruction. This opposition was a spontaneous, intuitive, deep-rooted reaction, which we only later became fully aware of.\" Knapik is often seem as a composer out of his time, in that his music is heavily influenced by the musical idioms of the late Romantic era, in particular by the work of Gustav Mahler (1860-1911). More recent influences include G\u00F3recki, Krzysztof Penderecki (b. 1933) and Witold Lutos\u0142awski (1913-1994). He has borrowed from 19th and 20th century English language poetry for both libretto and inspiration, a fact which sets him apart from most of his Polish contemporaries. Today, Knapik teaches at the Katowice Academy of Music, where he is professor and director of composition."@en .
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