Henryk Melcer-Szczawiński Vídeos
músico polaco
- piano
- sinfonía
- Polonia
- pianista, director de orquesta, compositor, profesor de música
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2024-04-28
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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•••)
Chopin Mieczyslaw Horszowski Hans Swarowsky Maurizio Pollini Alexis Weissenberg Barbosa Artur Rubinstein Zimerman Kiril Kondrashin Ivo Pogorelich Abbado Halina Czerny Stefańska Czerny Richard Goode Anton Kuerti Murray Perahia Peter Serkin Serkin Groote Selby Cyrill Kistler Pablo Casals Beethoven Johann Sebastian Bach Wolfgang Amadeus Mozart Schumann Henryk Melcer Szczawiński Mieczysław Sołtys Stanisław Niewiadomski David Hertzberg 1892 1899 1901 1905 1906 1911 1940 1941 1951 1953 1957 1958 1960 1967 1971 1972 1979 1983 1993
Hans Swarowsky leads the Vienna State Philharmonia in this 1953 recording of the Chopin first piano concerto. Mieczyslaw Horszowski is soloist. From the LP collection shown above, issued in the mid 1970s on the Vox label, catalogue number SVBX 5402. Allegro maestoso (0:03) Romanze Larghetto (18:47) Rondo vivace (28:01) More Chopin: Chopin / Maurizio Pollini, 1960: Piano Concerto No. 1 in E Minor, Op. 11 - Complete - (http•••) Chopin / Alexis Weissenberg, 1967: Fantasy on Polish Airs, Op. 13 - Paris Conservatory Orchestra - (http•••) Chopin / Antonio Barbosa, 1971: Waltz in E-flat, Op. 18 - Connoisseur Society, 1972 LP - (http•••) Chopin / Robert Goldsand, 1951: Etude in A-flat, Op. 25 No. 1 - CHS LP - (http•••) Chopin / Alexis Weissenberg, 1967: Rondo à la Krakowiak in F major, Op. 14 - Vinyl LP - (http•••) Chopin / Artur Rubinstein, 1957: Nocturne in C-Sharp minor, Op. 27, No. 1 - RCA Victor LP - (http•••) Chopin / K Zimerman, November 3, 1979: Piano Concerto No. 1 - Kiril Kondrashin, Live Recording - (http•••) Chopin / Regina Smendzianka, 1958: Piano Concerto No. 2 in F minor, Op. 21 - Complete - (http•••) Chopin / Ivo Pogorelich, 1983: Piano Concerto No. 2 in F minor, Op. 21 - Abbado, CSO, DG Vinyl - (http•••) Chopin / Halina Czerny-Stefańska, 1958: Piano Concerto No. 1 in E minor, Op. 11 - Vinyl LP - (http•••) Mieczysław Horszowski (June 23, 1892 / May 22, 1993) was a Polish-American pianist who had one of the longest careers in the history of the performing arts. Horszowski was widely recorded, and can be heard on the HMV, Columbia, RCA, Vanguard, Nonesuch, and other labels. He also taught at the Curtis Institute of Music in Philadelphia, among his pupils: Robert Dennison, Julius Eastman, Richard Goode, Anton Kuerti, Murray Perahia, Peter Serkin, Steven De Groote, Kathryn Selby, Cecile Licad, and Leslie Spotz. Mieczysław Horszowski (* 23. Juni 1892 in Lemberg, Galizien; † 22. Mai 1993 in Philadelphia) war ein polnischer Pianist. Horszowski begann Ende des 19. Jahrhunderts als Wunderkind seine Karriere. Einer seiner Lehrmeister war der deutsche Komponist und Musikpädagoge Cyrill Kistler, der ihn 1899 bei einem Klavierabend in Bad Kissingen kennengelernt hatte. Gemeinsam mit Pablo Casals (Cello), dessen Begleiter Horszowski seit 1906 war, spielte er in den 1950er Jahren mehrere Beethoven-Stücke ein. Horszowski zog nach dem 1. Weltkrieg nach Italien, wo er bis 1941 lebte und unterrichtete. Danach emigrierte er nach den USA, wo er bis zu seinem Tod am Curtis Institute of Music in Philadelphia unterrichtete. Er trat bis zu seinem 100. Geburtstag regelmäßig öffentlich in den USA und in Europa auf. Zu seinem Standardrepertoire gehörten die Klavierwerke von Johann Sebastian Bach, Wolfgang Amadeus Mozart, Beethoven, Chopin und Schumann. Mieczysław Horszowski pochodził z wyznającej katolicyzm żydowskiej rodziny, która prowadziła we Lwowie skład fortepianów. Francuski krytyk André Tubeuf powiedział o nim: Horszowski był zarówno bardzo żydowski, jak i bardzo katolicki, tak potrafią tylko Polacy. Uczył się grać w Galicyjskim Towarzystwie Muzycznym we Lwowie u Karola Mikulego. W wieku siedmiu lat wyjechał do Wiednia, gdzie pobierał nauki u Teodora Leszetyckiego. Do nauczycieli jego należeli także: Henryk Melcer-Szczawiński, Mieczysław Sołtys i Stanisław Niewiadomski. W 1901 r. zadebiutował publicznie w Warszawie, grając koncert fortepianowy Beethovena No. 1. Jako dziecko odbył tournée po Europie i Stanach Zjednoczonych. W 1905 r. Horszowski zagrał dla G. Faurégo i spotkał się z C. Saint-Saënsem w Nicei. W 1911 roku Horszowski przestał koncertować, aby rozpocząć studia literatury, filozofii i historii sztuki w Paryżu. Pablo Casals namówił Horszowskiego, aby powrócił do gry na fortepianie. Po I wojnie światowej, Horszowski zamieszkał w Mediolanie. W 1940 r. przed wkroczeniem Niemców do Paryża przeprowadził się do Nowego Jorku. Мечислав Хоршовский (польск. Mieczysław Horszowski; 23 июня 1892, Львов, Польша — 22 мая 1993, Филадельфия, США) — польско-американский пианист и музыкальный педагог. "David Hertzberg" Ludwig van Beethoven / Лудвиг ван Бетховен / لودفيج فان بيتهوفن / লুটৱিস ফান বিটহ'ফন / Λούντβιχ βαν Μπετόβεν / لودویگ فان بتهوون / 루트비히 판 베토벤 / Լյուդվիգ վան Բեթհովեն / לודוויג ואן בטהובן / ルートヴィヒ・ヴァン・ベートーヴェン / Лю́двиг ван Бетхо́вен 弗雷德里克·肖邦 / பிரடெரிக் சொப்பின் / Фредерик Шопен / Фридери́к Шопе́н / فریڈرک شوپن / フレデリック・ショパン / ფრედერიკ შოპენი / פרדריק שופן / 프레데리크 쇼팽 / فردریک شؤپأن / 蕭邦 / Φρεντερίκ Σοπέν 弗雷德里克·肖邦 / பிரடெரிக் சொப்பின் / Фридери́к Шопе́н / ਫਰਾਦਾਰੀਕ ਸ਼ੋਪੁਹ / フレデリック・ショパン / ფრედერიკ შოპენი / ഫ്രെഡെറിക് ഷൊപിൻ / ფრიდერიკ შოპენი / פרדריק שופן / فردریک شوپن / Φρεντερίκ Σοπέν
Henryk Melcer Szczawiński Anton Rubinstein Rubinstein Liszt 1869 1885 1907 1928 1966
Henryk Melcer-Szczawiński - Sonata na fortepian i skrzypce G-Dur Published in 1907 I - Allegretto: 00:04 II - Scherzo: 10:16 III - Andante Cantabile: 15:45 IV - Allegro Giojoso: 21:22 Henryk Melcer-Szczawiński +••.••(...)) was a composer who, in addition to his compositional career, spent his time teaching in conservatories from Helsinki to Vienna. He eventually became the director of the Warsaw Conservatory. His life was an interesting one. He travelled as a performer while also staying rooted to places where he had long-term positions in conservatories. He was also an incredibly accomplished composer. His compositional career was jump-started when he won the Anton Rubinstein Competition in 1885 for his Piano Concerto in E-Minor, his Two Morceaux Caracteristique, and his Piano Trio in G-Minor. This wonderful violin sonata bears a slight resemblance to the Piano Trio in G-Minor. They both have four movements and one can notice the similarities in texture and melody (long melodic lines, fluctuating but repetitive textures, lush and inventive harmonies) that are characteristic of Melcer-Szczawiński's style. There is one extremely noticeable difference that makes this Violin Sonata stand out - its cyclic nature. The sonata, unlike the Trio, uses material from the earlier movements throughout the piece (See 27:24 for an example). This, of course, was not a new development for the time, but it allows the sonata to tell a unique story where ideas play out over the entire piece instead of being relegated to one movement. There is another, somewhat less noticeable, defining feature of this sonata. The main theme of the first movement has the character of an Oberek (A Polish Dance) [1]. It is extremely rare for folk music to be at the forefront in a Sonata form movement. The treatment of the melody here is rather unique [1]. I - Allegretto The main theme takes on all of the characteristics of an Oberek, which is characterized by an unstable rhythm with the accents on the beats changing often. The Oberek also tends to involve improvisation. The general atmosphere is a palpable chaos (the section beginning at 4:02 comes to mind). Despite the drama of the 1st Movement, one can hear and feel Oberek in almost all of the material. II - Scherzo The violin is absolutely stunning in this movement. Melcer-Szczawiński manages to transform a somewhat banal Scherzo theme into a movement full of atmosphere, drama, and elegant stateliness. III - Andante Cantabile This movement brings Liszt's Benediction de dieu dans la solitude to mind. It evokes the same atmosphere, but its subtlety and intermittent darkness invite Faure comparisons. Even so, one can at times sense the return of the Oberek in the dotted melodies, resulting in a spectacular clash of the folk village atmosphere with sublime contemplation. IV - Allegro Giojoso The final movement is full of exuberance and virtuosity. There is plenty of that over-the-top material that makes a finale so satisfying. It is here that the material of the 1st movement returns so conspicuously to carry the sonata to its close. [1] Włodzimierz Poźniak, Muzyka kameralna i skrzypcowa, w: Z dziejów polskiej kultury muzycznej II. Oświecenia do Młodej Polski, red. S. Łobaczewska, Kraków 1966, s. 503-504. Sources: (http•••) (http•••) (http•••) (http•••) Imslp: (http•••)
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): M...