Władysław Żeleński Videos
polnischer Komponist
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- Oper, Sinfonie
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- Pianist, Komponist, Musikpädagoge, Professor, Organist, Dirigent
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2024-06-12
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Sigismond Stojowski Ignacy Jan Paderewski Henryk Bobiński Władysław Żeleński Anton Rubinstein Rubinstein Louis Diémer Léo Delibes Théodore Dubois Jules Massenet Tchaikovsky Brahms Busoni Bax Melcer Szczawiński Bortkiewicz 1619 1729 1852 1870 1887 1891 1909 1910 1946 1953 2002
Zygmunt Stojowski - Drugi koncert fortepianowy Composed from 1909-1910 Pianist: Witold Wilczek Conductor: Marek Wroniszewski Orchestra: Sinfonia Iuventus 0:00 - Prologue: Andante con Moto 8:10 - Scherzo: Presto 13:41 - Theme and Variations: Theme 14:49 - I. Molto Sostenuto 16:19 - II. Con espressione, poco rubato 17:29 - III. Piu mosso 18:52 - IV. Allegretto moderato 19:53 - V. Molto vivace 20:31 - VI. Con fuoco, agitato 21:37 - VII. Con moto energico 23:15 - VIII. Andante sostenuto 24:28 - IX. Andantino ben moderato 27:01 - X. Allegro molto Bio Zygmunt Stojowski +••.••(...)) was a Polish composer born in Strzelce (which is near Kielce), who would be best known for his friendship with Ignacy Jan Paderewski and his promotion of the Polish cause abroad. Stojowski would run through a gauntlet of incredible teachers beginning with Henryk Bobiński and Stanisław Dybowski among others in his youth. The Stojowski family moved to Kraków where took private lessons with Władysław Żeleński. His mother ran a music salon there, which is where he first met Ignacy Paderewski and Anton Rubinstein. After graduating in 1887, he moved to Paris to continue his musical education. There, he studied piano with Louis Diémer, composition with Léo Delibes, and harmony with Théodore Dubois. He consulted with Saint-Saëns and Jules Massenet, and he befriended Tchaikovsky and Brahms while in Paris. In 1891, he became a student of Ignacy Jan Paderewski. After graduating from the Paris Conservatory, he toured and gave concerts in England, France, Belgium, Germany, and Poland. He won a prize for his Symphony in D-Minor in Leipzig, and continued with much success. Despite this, he decided to move to New York and stayed there until his death. He taught at the Institute of Musical Art (a precursor to the Juilliard School of Music) and then the Von Ende School of Music all while giving private lessons. He won a reputation as an effective musical teacher. While he was abroad, he never ceased supporting the Polish cause. He founded the Polish Institute of Arts and Letters and worked for the Kosciuszko Foundation while also writing articles. In addition to music, he also studied philosophy and languages. He was fluent in English, German, Russian, French, Latin, and Ancient Greek in addition to his native Polish. All of this is to say that Stojowski had a cosmopolitan education with influences pouring in from across Europe. In the face of such a deluge of influence, he never forgot his homeland. His friendship with Ignacy Jan Paderewski and his dedication to promoting Polish culture ensured that he would remain close to his roots stylistically while integrating fresh ideas from other schools of music. The Piano Concerto By 1909, we start seeing some composers break away from the typical sonata-allegro form, reordering movements in their concerti. The structure of prologue, scherzo, and variations had once been incredibly unusual, but by this time, composers like Busoni and Bax had used 'prologue' movements to great effect. Other composers used programmatic names for movements in otherwise standard works. What we gleam from this is that the structure of the piano concerto can be bent and reshaped in new, interesting ways, and this concerto twists that structure around, forming something unique. Prologue - Setting the pace for this understated movement, the prologue states the fantastically hollywood-esque main theme at 2:39 after a slow introduction. The orchestration is subtle and the piano technique remains firmly grounded. Of course, there is some chromaticism and virtuosity, but it is neither flashy nor opulent. As the prologue makes its way, it restates the main theme (6:00) to set it firmly in the listener's memory. Taking advantage of the movement's earlier economy, the restatements fill the air with the full-blooded romantic brilliance that the listener eagerly awaits. Scherzo - Like the previous movement, there is something of Melcer-Szczawiński's 2nd piano concerto lurking here. The economic and patient use of time dotted by the piano and sparse, yet full orchestral figurations characterize an unexpected transition between the prologue and the more substantial 'theme and variations' movement. Theme and Variations - It is necessary to remember the prologue's lofty main theme here because the juxtaposition between it and the passionate, slow theme introduced here forms the basis for the whole movement (see 24:07, 25:50 orch, and obviously 30:42 and 33:13). We see everything here: storming virtuosity, cool, shimmering andantes, and a radiant climax prefiguring Bortkiewicz's 3rd piano concerto. At the very end, the tenth variation forms a stand-in finale movement. Info sources: (http•••) (http•••) (http•••) Imslp: (http•••)
Sigismond Stojowski Dux Ignacy Jan Paderewski Henryk Bobiński Władysław Żeleński Anton Rubinstein Rubinstein Louis Diémer Léo Delibes Théodore Dubois Jules Massenet Tchaikovsky Brahms Chopin Rachmaninoff 1606 1630 1701 1870 1887 1890 1891 1946 2002
*Re-Up with Dux Recording* Zygmunt Stojowski - Koncert fortepianowy fis-moll Pianist: Marek Szlezer Conductor: Marek Wroniszewski Orchestra: Sinfonia Iuventus 0:00 - Andante poco mosso 14:42 - Romanza. Andante sostenuto e molto cantabile 23:32 - Allegro con fuoco Biography Zygmunt Stojowski +••.••(...)) was a Polish composer born in Strzelce (which is near Kielce), who would be best known for his friendship with Ignacy Jan Paderewski and his promotion of the Polish cause abroad. His parents were incredibly talented people. His mother was well connected in the arts and in the aristocracy, so she served to be Stojowski's first piano teacher. Stojowski would run through a gauntlet of incredible teachers beginning with Henryk Bobiński and Stanisław Dybowski among others in his youth. The Stojowski family moved to Kraków where took private lessons with Władysław Żeleński. His mother ran a music salon there, which is where he first met Ignacy Paderewski and Anton Rubinstein. After graduating in 1887, he moved to Paris to continue his musical education. There, he studied piano with Louis Diémer, composition with Léo Delibes, and harmony with Théodore Dubois. He consulted with Saint-Saëns and Jules Massenet, and he befriended Tchaikovsky and Brahms while in Paris. In 1891, he became a student of Ignacy Jan Paderewski. After graduating from the Paris Conservatory, he toured and gave concerts in England, France, Belgium, Germany, and Poland. He won a prize for his Symphony in D-Minor in Leipzig, and continued with much success. Despite this, he decided to move to New York and stayed there until his death. He taught at the Institute of Musical Art (a precursor to the Juilliard School of Music) and then the Von Ende School of Music all while giving private lessons. He won a reputation as an effective musical teacher. While he was abroad, he never ceased supporting the Polish cause. He founded the Polish Institute of Arts and Letters and worked for the Kosciuszko Foundation while also writing articles. In addition to music, he also studied philosophy and languages. He was fluent in English, German, Russian, French, Latin, and Ancient Greek in addition to his native Polish. All of this is to say that Stojowski had a cosmopolitan education with influences pouring in from across Europe. In the face of such a deluge of influence, he never forgot his homeland. His friendship with Ignacy Jan Paderewski and his dedication to promoting Polish culture ensured that he would remain close to his roots stylistically while integrating fresh ideas from other schools of music. The Piano Concerto This concerto was composed in 1890 and premiered in Paris in 1891. If we trace back Stojowski's education, this concerto sounds nothing like Żeleński. Instead, it takes the cosmopolitan approach of Tchaikovsky and Paderewski with many echoes of Chopin. Overall, it feels somewhere between Chopin's concerti and Rachmaninoff's 1st piano concerto. Andante poco mosso - The introductory movement is absolutely vast. There are moments of subtilty that are reminiscent of Chopin and there are explosions of virtuosity and drama that bring Rachmaninoff and Tchaikovsky to mind. The first several bars set the stage for a dark, desolate movement, but the piano introduces itself and instantly pulls the concerto back to Chopin. This tension is what characterizes the 1st mvt. as the virtuosic transitions thunder between the sensitive, lyrical sections. What is important to note is that the lyrical sections do not always harken back to Chopin and the virtuoso sections do not always employ a cosmopolitan approach. For example, see how Rachmanovian the lyrical passage at 11:53 is and how Chopinesque the virtuosity is at 5:45. The final passage breaks through the subtilty and aggressively announces the triumph of the bold over the subtle. Romanza. Andante sostenuto e molto cantabile - The slow movement of the piece maintains the tension of the earlier movement. There is both Chopinesque and Rachmaninovian lyricism (compare 17:01 and 16:06). What is extremely interesting is that there is some repeated material that Stojowski snuck in from the 1st mvt. Compare the rhythm at 16:30 with the timpani at the beginning of the 1st mvt and it's subsequent restatements. The passage that begins at 20:37 is the most lyrical and heartfelt moment in the whole piece and contrasts the 1st mvt.'s bombastic ending. Allegro con fuoco - The stormy final movement showcases some of the best virtuosity the concerto has to offer. The melodies are dramatic and the texturing is forceful. Despite this, there are still plenty of lyrical passages to keep the finale from outrunning itself. Info sources: (http•••) (http•••) (http•••) Imslp: (http•••)
Feliks Nowowiejski Żeleński Szymanowski 1877 1915 1946
Pianist: Magdalena Adamek Feliks Nowowiejski +••.••(...)) was a Polish Composer who was born in Barczewo (Wartenburg during the partitions). Despite living in the Prussian partition, Nowowiejski's father was an ardent supporter of Polish culture, and his mother was a pianist who played Polish folk songs on a regular basis in addition to reciting Polish, German, and her own poetry. All of this rubbed off on Nowowiejski, who wrote plenty of programmatic music based on Polish literature - the most famous of which was his oratorio Quo Vadis, which was based on Henryk Sienkiewicz's novel of the same name. Nowowiejski composed organ symphonies, a piano concerto, several symphonies, songs, and piano pieces. Here, we have a piano piece from a set titled simply "piano pieces" that has a lot of dramatic flair but is not one of his later, more brilliant works. Published around 1915, this piece moves away from the conservatism of Żeleński but does not embrace the ethereal style of Szymanowski. The repeated chords that feature toward the end of the piece at different tempi are extremely interesting and contrast the melodic character of other segments of the ballade. They create a tension that is explored more subtly and then resolved in the final bars of the piece. IMSLP: (http•••)
Alfred Orda Orda Wladyslaw Zelenski 1943 1947 2012
Provided to YouTube by NAXOS of America Slowiczkii moj (My nightingale) · Alfred Orda Alfred Orda in Recital +••.••(...)) ℗ 2012 Symposium Released on: 2012-04-03 Artist: Alfred Orda Artist: Adela Kotowska Composer: Wladyslaw Zelenski Auto-generated by YouTube.
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