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Szymanowski - Symphony No. 3 ”Song of the Night” (WarsawPhil Orchestra&Choir, Kaspszyk, Bartmiński)
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Rafał Bartmiński – tenor
Bartosz Michałowski – choir director
Karol Szymanowski - Symphony No. 3 ”Song of the Night”, Op. 27
text: Jalāl ad-Dīn Mohammad Rūmī
(1916)
published: 27 Jan 2022
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Karol Szymanowski ‒ 9 Preludes, Op.1
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
04:39 - No. 3 Andantino
06:02 - No. 4 Andantino con moto
07:34 - No. 5 Allegro molto - impetuoso
08:48 - No. 6 Leonto - Mesto
10:57 - No. 7 Moderato
13:48 - No. 8 Andante ma non troppo
16:32 - No. 9 Lento-mesto
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authenti...
published: 18 Jan 2016
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Karol Szymanowski: Harnasie (1923 - 31)
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor)
City of Birmingham Symphony Orchestra and Chorus
Sir Simon Rattle
Image: Landscape at the Tatra Mountains, Poland
published: 10 Feb 2013
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Karol Szymanowski ‒ Piano Sonata No.2, Op.21
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and published by the Viennese Universal Edition as early as 1912. The composer dedicated this work to his Russian friend, Natalia Davydov [Davidoff] from the estate of Wierzbówka, which neighboured Tymoszówka. She was a person of great artistic culture, who remained an admirer and connaisseur of Szymanowski’s music to the end of her life.
Sonata in A major is the last of Szymanowski’s piano work originating from the late Romanticism tradition. In contrast to the earlier, “school” compositions, such as Sonata in C minor or Fantasia in C major – one cannot discern in it traces of imitation of one or another model; what we do encounter here is ...
published: 06 Mar 2016
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Karol SZYMANOWSKI - Balet "Harnasie" op. 55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończenia sezonu artystycznego 2013/2014.
-------------------------------------------------------------------
WARSAW PHILHARMONIC ORCHESTRA AND CHOIR
Jacek KASPSZYK conductor
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - "Harnasie", Op. 55
Symphonic Concert Closing the 2013/14 Season.
published: 31 Jul 2014
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Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904) [Score-Video]
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-----------------------------------------------------
Support this YouTube Channel: https://www.patreon.com/georgengianopoulos
published: 30 Aug 2019
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Karol Szymanowski ‒ 4 Etudes, Op.4
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No. 2 Allegro molto (Gb major)
05:25 - No. 3 Andante (Bb minor)
09:52 - No. 4 Allegro (C major)
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively m...
published: 14 Jan 2016
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Karol Szymanowski - Etude in B Flat minor Op. 4 No. 3
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra in Bytom, Poland
recorded at Frederic Chopin School of Music Concert Hall in Bytom, July 08, 2015
#MaciejTomasiewicz #PolishYouthSymphonyOrchestra
published: 31 Jul 2015
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Karol Szymanowski - Symphony No. 4, Op. 60, "Symphonie Concertante"
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
III. Allegro non troppo, ma agitato ad ansioso [18:06]
Leif Ove Andsnes, piano
City of Birmingham Symphony Orchestra, Simon Rattle (1996)
Symphony No. 4, Op. 60, "Symphonie Concertante" is a work by Karol Szymanowski for piano and orchestra. The work was dedicated to Arthur Rubinstein, and it was premiered by the Poznań City Orchestra, conducted by Grzegorz Fitelberg, with Szymanowski himself at the piano. The piece is in three movements and typically lasts around 25 minutes.
"There was a gap of 16 years between Szymanowski’s Third Symphony ‘Song of the Night’ (1914–16) and his next orchestral work, the Fourth Symphony (1932). In t...
published: 23 May 2020
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Karol Szymanowski - Violin Concerto No. 2 (Warsaw Philharmonic Orchestra / Kaspszyk / van Keulen)
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmonii Narodowej
Jacek Kaspszyk - conductor / dyrygent
Isabelle van Keulen - violin / skrzypce
Karol Szymanowski - Violin Concerto No. 2, Op. 61 / II Koncert skrzypcowy op. 61 (1933)
#TUTTI.pl
#PWM
published: 16 Apr 2018
30:16
Szymanowski - Symphony No. 3 ”Song of the Night” (WarsawPhil Orchestra&Choir, Kaspszyk, Bartmiński)
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Raf...
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Rafał Bartmiński – tenor
Bartosz Michałowski – choir director
Karol Szymanowski - Symphony No. 3 ”Song of the Night”, Op. 27
text: Jalāl ad-Dīn Mohammad Rūmī
(1916)
https://wn.com/Szymanowski_Symphony_No._3_”Song_Of_The_Night”_(Warsawphil_Orchestra_Choir,_Kaspszyk,_Bartmiński)
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Rafał Bartmiński – tenor
Bartosz Michałowski – choir director
Karol Szymanowski - Symphony No. 3 ”Song of the Night”, Op. 27
text: Jalāl ad-Dīn Mohammad Rūmī
(1916)
- published: 27 Jan 2022
- views: 14095
19:01
Karol Szymanowski ‒ 9 Preludes, Op.1
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
...
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
04:39 - No. 3 Andantino
06:02 - No. 4 Andantino con moto
07:34 - No. 5 Allegro molto - impetuoso
08:48 - No. 6 Leonto - Mesto
10:57 - No. 7 Moderato
13:48 - No. 8 Andante ma non troppo
16:32 - No. 9 Lento-mesto
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Between Szymanowski’s early piano works and the Métopes (1915) lies a radical expansion and realignment of aesthetic and technique. This took him from immersion in the dense fugal thinking of Reger to a shadowing of the mature Scriabin’s startling transformation during the first decade of the twentieth century and the leavening, salutary influence of Ravel’s and Debussy’s weightless, diaphanous textures. Devotion to a national tradition dropped from the picture early on, and it is a wider significance, not intrinsic Polishness, that distinguishes Szymanowski in posterity.
The piano was an integral part of Karol Szymanowski’s musical life. He was seven when he began his first lessons on the instrument, studying initially with his father and then with his uncle, Gustav Neuhaus—whose son, Genryk (Heinrich or Harry), Szymanowski’s cousin, was later to be the teacher of Sviatoslav Richter, Emil Gilels and Radu Lupu. The Nine Preludes, Op 1, some of which may have been written when he was only fourteen, attracted the support of Artur Rubinstein, a valuable early champion. It was the third of his Four Études, Op 4, that brought Szymanowski his first taste of popular success. Throughout his life, his music was written at the piano, and it was playing the piano that fed him in a particularly difficult period of his career, in 1932–35; indeed, the Sinfonia Concertante, his Fourth Symphony, written in 1932, became a vehicle for his own performance—he was a highly capable pianist, though no virtuoso.
https://wn.com/Karol_Szymanowski_‒_9_Preludes,_Op.1
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
04:39 - No. 3 Andantino
06:02 - No. 4 Andantino con moto
07:34 - No. 5 Allegro molto - impetuoso
08:48 - No. 6 Leonto - Mesto
10:57 - No. 7 Moderato
13:48 - No. 8 Andante ma non troppo
16:32 - No. 9 Lento-mesto
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Between Szymanowski’s early piano works and the Métopes (1915) lies a radical expansion and realignment of aesthetic and technique. This took him from immersion in the dense fugal thinking of Reger to a shadowing of the mature Scriabin’s startling transformation during the first decade of the twentieth century and the leavening, salutary influence of Ravel’s and Debussy’s weightless, diaphanous textures. Devotion to a national tradition dropped from the picture early on, and it is a wider significance, not intrinsic Polishness, that distinguishes Szymanowski in posterity.
The piano was an integral part of Karol Szymanowski’s musical life. He was seven when he began his first lessons on the instrument, studying initially with his father and then with his uncle, Gustav Neuhaus—whose son, Genryk (Heinrich or Harry), Szymanowski’s cousin, was later to be the teacher of Sviatoslav Richter, Emil Gilels and Radu Lupu. The Nine Preludes, Op 1, some of which may have been written when he was only fourteen, attracted the support of Artur Rubinstein, a valuable early champion. It was the third of his Four Études, Op 4, that brought Szymanowski his first taste of popular success. Throughout his life, his music was written at the piano, and it was playing the piano that fed him in a particularly difficult period of his career, in 1932–35; indeed, the Sinfonia Concertante, his Fourth Symphony, written in 1932, became a vehicle for his own performance—he was a highly capable pianist, though no virtuoso.
- published: 18 Jan 2016
- views: 201217
33:49
Karol Szymanowski: Harnasie (1923 - 31)
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor...
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor)
City of Birmingham Symphony Orchestra and Chorus
Sir Simon Rattle
Image: Landscape at the Tatra Mountains, Poland
https://wn.com/Karol_Szymanowski_Harnasie_(1923_31)
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor)
City of Birmingham Symphony Orchestra and Chorus
Sir Simon Rattle
Image: Landscape at the Tatra Mountains, Poland
- published: 10 Feb 2013
- views: 98430
28:28
Karol Szymanowski ‒ Piano Sonata No.2, Op.21
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and publi...
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and published by the Viennese Universal Edition as early as 1912. The composer dedicated this work to his Russian friend, Natalia Davydov [Davidoff] from the estate of Wierzbówka, which neighboured Tymoszówka. She was a person of great artistic culture, who remained an admirer and connaisseur of Szymanowski’s music to the end of her life.
Sonata in A major is the last of Szymanowski’s piano work originating from the late Romanticism tradition. In contrast to the earlier, “school” compositions, such as Sonata in C minor or Fantasia in C major – one cannot discern in it traces of imitation of one or another model; what we do encounter here is the composer following the legacy left by the great ancestors to its outer limits; taking up a creative dialogue with the tradition. Sonata No. 2 represents Szymanowski’s final reckoning with his Romantic heritage within which he developed as a young composer; at the same time, he declares in it, “at the top of his voice,” the birth of his own, original style.
This monumental work consists of two parts.
The first part (Allegro assai. Molto appassionato) maintains the traditional form of sonata allegro. Its dramatic content is built up through strongly contrasting themes. The first of them, highly chromaticised and almost atonal, is violent and full of tensions, while the second one is based on a tuneful and lyrical melody.
The second part (Tema. Allegretto tranquillo. Grazioso) brings a carefully crafted combination of the theme with eight variations, and a four-part fugue which crowns the whole. Having mastered at an earlier stage (in op. 3 and op.10) the secrets of constructing forms of variations, the composer creates here an exceptionally original cycle of characteristic variations, each constitutuing an individual, far-advanced transformation of the theme. Alongside the bitonal variation IV, with its burlesque character, and the even bolder harmonically, almost totally atonal variation VII, we find here modern stylisations of old dances – sarabande and minuet (variations V and VI respectively). In the final fugue, the three-bar theme originating from the motifs of the initial variation theme undergoes such significant transformations that at the end it might be described as a double (i.e. two-theme) fugue. It ends with a virtuoso coda, reminiscent of the main thought of the first part of the work.
https://wn.com/Karol_Szymanowski_‒_Piano_Sonata_No.2,_Op.21
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and published by the Viennese Universal Edition as early as 1912. The composer dedicated this work to his Russian friend, Natalia Davydov [Davidoff] from the estate of Wierzbówka, which neighboured Tymoszówka. She was a person of great artistic culture, who remained an admirer and connaisseur of Szymanowski’s music to the end of her life.
Sonata in A major is the last of Szymanowski’s piano work originating from the late Romanticism tradition. In contrast to the earlier, “school” compositions, such as Sonata in C minor or Fantasia in C major – one cannot discern in it traces of imitation of one or another model; what we do encounter here is the composer following the legacy left by the great ancestors to its outer limits; taking up a creative dialogue with the tradition. Sonata No. 2 represents Szymanowski’s final reckoning with his Romantic heritage within which he developed as a young composer; at the same time, he declares in it, “at the top of his voice,” the birth of his own, original style.
This monumental work consists of two parts.
The first part (Allegro assai. Molto appassionato) maintains the traditional form of sonata allegro. Its dramatic content is built up through strongly contrasting themes. The first of them, highly chromaticised and almost atonal, is violent and full of tensions, while the second one is based on a tuneful and lyrical melody.
The second part (Tema. Allegretto tranquillo. Grazioso) brings a carefully crafted combination of the theme with eight variations, and a four-part fugue which crowns the whole. Having mastered at an earlier stage (in op. 3 and op.10) the secrets of constructing forms of variations, the composer creates here an exceptionally original cycle of characteristic variations, each constitutuing an individual, far-advanced transformation of the theme. Alongside the bitonal variation IV, with its burlesque character, and the even bolder harmonically, almost totally atonal variation VII, we find here modern stylisations of old dances – sarabande and minuet (variations V and VI respectively). In the final fugue, the three-bar theme originating from the motifs of the initial variation theme undergoes such significant transformations that at the end it might be described as a double (i.e. two-theme) fugue. It ends with a virtuoso coda, reminiscent of the main thought of the first part of the work.
- published: 06 Mar 2016
- views: 97769
39:18
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończ...
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończenia sezonu artystycznego 2013/2014.
-------------------------------------------------------------------
WARSAW PHILHARMONIC ORCHESTRA AND CHOIR
Jacek KASPSZYK conductor
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - "Harnasie", Op. 55
Symphonic Concert Closing the 2013/14 Season.
https://wn.com/Karol_Szymanowski_Balet_Harnasie_Op._55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończenia sezonu artystycznego 2013/2014.
-------------------------------------------------------------------
WARSAW PHILHARMONIC ORCHESTRA AND CHOIR
Jacek KASPSZYK conductor
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - "Harnasie", Op. 55
Symphonic Concert Closing the 2013/14 Season.
- published: 31 Jul 2014
- views: 108870
16:25
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904) [Score-Video]
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-------------------------------------------------...
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-----------------------------------------------------
Support this YouTube Channel: https://www.patreon.com/georgengianopoulos
https://wn.com/Karol_Szymanowski_Variations_On_A_Polish_Folk_Theme_For_Piano,_Op._10_(1904)_Score_Video
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-----------------------------------------------------
Support this YouTube Channel: https://www.patreon.com/georgengianopoulos
- published: 30 Aug 2019
- views: 30784
13:22
Karol Szymanowski ‒ 4 Etudes, Op.4
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No....
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No. 2 Allegro molto (Gb major)
05:25 - No. 3 Andante (Bb minor)
09:52 - No. 4 Allegro (C major)
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Szymanowski’s Four Études, Op 4, were composed between 1900 and 1902. Before his Warsaw studies Szymanowski had attended the music school of his father’s cousin, Gustav Neuhaus, at Elisavetgrad, in what is now Ukraine. He dedicated these pieces to Tala (Natalia) Neuhaus, a lifelong friend. The harmonic and melodic inflections of early Scriabin are especially noticeable in the first Étude, in E flat minor, though not the distilled, evanescent brevity also characteristic of him. The second Étude, in G flat major, simultaneously divides groups of six semiquavers into subsets of both two and three to create an Escher-like, dizzying sense of conflicting perceptions. The B flat minor third Étude, which in posterity has achieved some independent fame, presents a sorrowful cantilena above slow repeating chords, rising to an imposing climactic restatement of the principal idea before reaching a sombre but subdued conclusion. The last Étude of the group offers a tantalizing glimpse of a far more tangential approach to tonality, juxtaposing hints of C major and A flat minor at the outset and launching without preamble into a restless discourse marked by obsessive repetition of short melodic motifs against a backdrop of triplet quavers. Eventually the fires burn themselves out, however, and with final calm comes unequivocal affirmation of C major as the sovereign key.
(Hyperion)
https://wn.com/Karol_Szymanowski_‒_4_Etudes,_Op.4
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No. 2 Allegro molto (Gb major)
05:25 - No. 3 Andante (Bb minor)
09:52 - No. 4 Allegro (C major)
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Szymanowski’s Four Études, Op 4, were composed between 1900 and 1902. Before his Warsaw studies Szymanowski had attended the music school of his father’s cousin, Gustav Neuhaus, at Elisavetgrad, in what is now Ukraine. He dedicated these pieces to Tala (Natalia) Neuhaus, a lifelong friend. The harmonic and melodic inflections of early Scriabin are especially noticeable in the first Étude, in E flat minor, though not the distilled, evanescent brevity also characteristic of him. The second Étude, in G flat major, simultaneously divides groups of six semiquavers into subsets of both two and three to create an Escher-like, dizzying sense of conflicting perceptions. The B flat minor third Étude, which in posterity has achieved some independent fame, presents a sorrowful cantilena above slow repeating chords, rising to an imposing climactic restatement of the principal idea before reaching a sombre but subdued conclusion. The last Étude of the group offers a tantalizing glimpse of a far more tangential approach to tonality, juxtaposing hints of C major and A flat minor at the outset and launching without preamble into a restless discourse marked by obsessive repetition of short melodic motifs against a backdrop of triplet quavers. Eventually the fires burn themselves out, however, and with final calm comes unequivocal affirmation of C major as the sovereign key.
(Hyperion)
- published: 14 Jan 2016
- views: 162355
6:09
Karol Szymanowski - Etude in B Flat minor Op. 4 No. 3
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra i...
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra in Bytom, Poland
recorded at Frederic Chopin School of Music Concert Hall in Bytom, July 08, 2015
#MaciejTomasiewicz #PolishYouthSymphonyOrchestra
https://wn.com/Karol_Szymanowski_Etude_In_B_Flat_Minor_Op._4_No._3
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra in Bytom, Poland
recorded at Frederic Chopin School of Music Concert Hall in Bytom, July 08, 2015
#MaciejTomasiewicz #PolishYouthSymphonyOrchestra
- published: 31 Jul 2015
- views: 21856
24:36
Karol Szymanowski - Symphony No. 4, Op. 60, "Symphonie Concertante"
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
II...
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
III. Allegro non troppo, ma agitato ad ansioso [18:06]
Leif Ove Andsnes, piano
City of Birmingham Symphony Orchestra, Simon Rattle (1996)
Symphony No. 4, Op. 60, "Symphonie Concertante" is a work by Karol Szymanowski for piano and orchestra. The work was dedicated to Arthur Rubinstein, and it was premiered by the Poznań City Orchestra, conducted by Grzegorz Fitelberg, with Szymanowski himself at the piano. The piece is in three movements and typically lasts around 25 minutes.
"There was a gap of 16 years between Szymanowski’s Third Symphony ‘Song of the Night’ (1914–16) and his next orchestral work, the Fourth Symphony (1932). In the intervening years, he had composed his opera Król Roger (King Roger), in which he consummated his passion for Mediterranean culture and tussled with the Dionysian and Apollonian impulses that both drove him forward creatively and marked him personally. In 1921, during the composition of King Roger, he wrote his first work drawing on Polish sources, and this turn of direction dominated his composition for the last 16 years.
Where the Third Symphony refashioned the genre into a single-movement work for solo tenor, chorus and orchestra, the Fourth broke with tradition in a different way. It is, effectively, a piano concerto in three movements. The ‘concertante’ aspect refers to Szymanowski’s wish to write a companionable work that he could perform himself. He was a good pianist, but not by nature a soloist. The Fourth Symphony makes an interesting comparison with the understated Third Piano Concerto (1945) by Béla Bartók, because they both demonstrate a simplification of musical idiom and also because they begin in strikingly similar ways.
The first movement opens with a repeated F major chord over which the soloist elaborates a beguiling theme in double octaves. Its origins in the exuberant folk idioms of the Tatra Mountains, where Szymanowski had a home, soon become apparent in the polyphony with horns and wind instruments. The lyrical high violin lines and the intense climaxes from his earlier music are still present, although now he uses a more modestly sized orchestra. There is a new earthiness, a new edge to his treatment of the musical world that he had found on his doorstep.
The opening of the Andante molto sostenuto could hardly provide a greater contrast. The soloist provides background figuration for a flute melody, later taken up by solo violin. An alternating minor third (initially C-A on the timpani) underpins the drive to the full-blooded central climax, where what had seemed so innocent on the flute at the start becomes impassioned in a way that would not have been out of place in the Straussian works of his first period. The flute returns, this time with the first theme of the first movement. A few piano flourishes tumble down to the start of the Finale.
Szymanowski called the third movement ‘almost orgiastic in places’. It is his most thrilling evocation of the dance—he invariably had to repeat it in concert and it has served as a model for many subsequent Polish composers. It is cast as an oberek, a fast cousin of the mazurka. The timpani return to their minor third, now A-C, propelling the music to its first climax. Soloist and orchestra whirl and stamp vigorously, before a solo violin leads to the calmer central section, closer in tempo to the slower mazurka. But the undercurrent of energy cannot be contained and the movement—with extreme and almost grotesque elements thrown in for good measure (high violins sounding anything but lyrical)—hurtles heedlessly headlong."
(source: Hyperion Records)
Original audio: https://www.youtube.com/watch?v=FEZ18RVS4Vw
https://wn.com/Karol_Szymanowski_Symphony_No._4,_Op._60,_Symphonie_Concertante
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
III. Allegro non troppo, ma agitato ad ansioso [18:06]
Leif Ove Andsnes, piano
City of Birmingham Symphony Orchestra, Simon Rattle (1996)
Symphony No. 4, Op. 60, "Symphonie Concertante" is a work by Karol Szymanowski for piano and orchestra. The work was dedicated to Arthur Rubinstein, and it was premiered by the Poznań City Orchestra, conducted by Grzegorz Fitelberg, with Szymanowski himself at the piano. The piece is in three movements and typically lasts around 25 minutes.
"There was a gap of 16 years between Szymanowski’s Third Symphony ‘Song of the Night’ (1914–16) and his next orchestral work, the Fourth Symphony (1932). In the intervening years, he had composed his opera Król Roger (King Roger), in which he consummated his passion for Mediterranean culture and tussled with the Dionysian and Apollonian impulses that both drove him forward creatively and marked him personally. In 1921, during the composition of King Roger, he wrote his first work drawing on Polish sources, and this turn of direction dominated his composition for the last 16 years.
Where the Third Symphony refashioned the genre into a single-movement work for solo tenor, chorus and orchestra, the Fourth broke with tradition in a different way. It is, effectively, a piano concerto in three movements. The ‘concertante’ aspect refers to Szymanowski’s wish to write a companionable work that he could perform himself. He was a good pianist, but not by nature a soloist. The Fourth Symphony makes an interesting comparison with the understated Third Piano Concerto (1945) by Béla Bartók, because they both demonstrate a simplification of musical idiom and also because they begin in strikingly similar ways.
The first movement opens with a repeated F major chord over which the soloist elaborates a beguiling theme in double octaves. Its origins in the exuberant folk idioms of the Tatra Mountains, where Szymanowski had a home, soon become apparent in the polyphony with horns and wind instruments. The lyrical high violin lines and the intense climaxes from his earlier music are still present, although now he uses a more modestly sized orchestra. There is a new earthiness, a new edge to his treatment of the musical world that he had found on his doorstep.
The opening of the Andante molto sostenuto could hardly provide a greater contrast. The soloist provides background figuration for a flute melody, later taken up by solo violin. An alternating minor third (initially C-A on the timpani) underpins the drive to the full-blooded central climax, where what had seemed so innocent on the flute at the start becomes impassioned in a way that would not have been out of place in the Straussian works of his first period. The flute returns, this time with the first theme of the first movement. A few piano flourishes tumble down to the start of the Finale.
Szymanowski called the third movement ‘almost orgiastic in places’. It is his most thrilling evocation of the dance—he invariably had to repeat it in concert and it has served as a model for many subsequent Polish composers. It is cast as an oberek, a fast cousin of the mazurka. The timpani return to their minor third, now A-C, propelling the music to its first climax. Soloist and orchestra whirl and stamp vigorously, before a solo violin leads to the calmer central section, closer in tempo to the slower mazurka. But the undercurrent of energy cannot be contained and the movement—with extreme and almost grotesque elements thrown in for good measure (high violins sounding anything but lyrical)—hurtles heedlessly headlong."
(source: Hyperion Records)
Original audio: https://www.youtube.com/watch?v=FEZ18RVS4Vw
- published: 23 May 2020
- views: 21108
29:54
Karol Szymanowski - Violin Concerto No. 2 (Warsaw Philharmonic Orchestra / Kaspszyk / van Keulen)
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmo...
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmonii Narodowej
Jacek Kaspszyk - conductor / dyrygent
Isabelle van Keulen - violin / skrzypce
Karol Szymanowski - Violin Concerto No. 2, Op. 61 / II Koncert skrzypcowy op. 61 (1933)
#TUTTI.pl
#PWM
https://wn.com/Karol_Szymanowski_Violin_Concerto_No._2_(Warsaw_Philharmonic_Orchestra_Kaspszyk_Van_Keulen)
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmonii Narodowej
Jacek Kaspszyk - conductor / dyrygent
Isabelle van Keulen - violin / skrzypce
Karol Szymanowski - Violin Concerto No. 2, Op. 61 / II Koncert skrzypcowy op. 61 (1933)
#TUTTI.pl
#PWM
- published: 16 Apr 2018
- views: 34780