Zygmunt Noskowski Vídeos
músico polaco
- ópera, sinfonía, música clásica, música litúrgica
- Segunda República polaca, Imperio ruso
- director de orquesta, compositor, profesor de música, director de coro, periodista
Última actualización
2024-04-28
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Janusz Wawrowski Grzegorz Nowak Nowak Ludomir Różycki Antonio Stradivari Zygmunt Noskowski Maciej Radziwiłł Radziwiłł Royal Philharmonic Orchestra 1685 1944 2020
PHOENIX album is the first studio recording of Ludomir Różycki’s Violin Concerto, reconstructed on the basis of discovered fragments of the orchestration. In 1944 war-torn Warsaw, the composer started to put pen to paper and create the violin concerto. Alas, with the outbreak of the Warsaw Uprising, Różycki was forced to flee the capital, putting a stop to his creative workflow and leaving behind fragments of his manuscripts. The discovery of the manuscript allowed Janusz Wawrowski to reconstruct the work completely. Following the reconstruction, he travelled to London and recorded the piece for the first ever time with the world renowned Royal Philharmonic Orchestra. Read more: ► (http•••) ► (http•••) Order the album: ► (http•••) Listen more Janusz Wawrowski's music: ► Spotify (http•••) ► TIDAL (http•••) ► Apple Music (http•••) ► Deezer (http•••) ► Website: (http•••) ► Facebook: (http•••) ► Instagram: (http•••) ► Warner Classics: (http•••) Janusz Wawrowski plays on Antonio Stradivari violin Polonia 1685, courtesy Roman Ziemian. Producent of PHOENIX: Zygmunt Noskowski Foundation Released with the Music and Dance Institute, co-financed by the Ministry of Culture and National Heritage. Project is part of the commemoration of the centennial of the regaining of independence and rebuilding Polish statehood. Released with the Adam Mickiewicz Institute. Realized thanks to the courtesy of The University of Warsaw Library and The Warsaw Rising Museum. Many thanks to Maciej Radziwiłł and Trzy Trąby Foundation. In partnership with Żabka Sp. z. o. o. and Enea S.A. cover photo: Fabrizio Maltese design and photo edition: Kilmulis Studio film: Presto Musical Agency / Grzegorz Kućmierz
Piotr Maszyński Zygmunt Noskowski Frederick Delius 1855 1929 1934
Phillip Sear plays a beautiful 'Evening Song' from a 1929 set of 'Échos de Pologne' (Echoes of Poland) by the Polish composer and choral director Piotr Maszyński +••.••(...)). / The Polish composer Piotr Maszyński +••.••(...)) was born and died in Warsaw, and spent much of his life there. He studied piano with Alexander Michalowski at the Warsaw Music Institute, and later studied composition with Zygmunt Noskowski in Switzerland. On returning to Poland he worked as a choral director and also taught at the Warsaw Music Institute. He was held in high regard and received many honours in his homeland, and a street is named after him in Warsaw. The highly chromatic writing in this piece (and others of the set) brings to mind the music of Frederick Delius. / Played by Phillip Sear (http•••) (Email: •••@••• WhatsApp: (http•••) )
Ludomir Różycki Aleksander Michałowski Biernacki Zygmunt Noskowski Engelbert Humperdinck Emil Młynarski Karol Szymanowski Grzegorz Fitelberg Chopin Debussy 1883 1904 1905 1906 1907 1912 1918 1953
Ludomir Różycki - Fantazja Pianist: Valentina Seferinova ((http•••) Published in 1906 Biography Ludomir Różycki +••.••(...)) was born to a musical family. His father was a professor at the Warsaw Conservatory, and his mother was musically talented. Naturally, Różycki would study at the Warsaw Conservatory with Aleksander Michałowski who taught piano technique, Gustaw Rogulski and Michał Biernacki who taught theory, and with Zygmunt Noskowski who taught composition. He graduated the conservatory in 1904 with high honors. He later went on to study with Engelbert Humperdinck at the Academy of Arts in Berlin. After graduating from the Warsaw Conservatory, Różycki's compositional career took off. His symphonic scherzo "Stańczyk" premiered in 1904 at the Warsaw Philharmonic, conducted at the time by Emil Młynarski. In 1905, he, along with Karol Szymanowski, Grzegorz Fitelberg, and Apolinary Szeluto, founded the "Publishing Company of Young Polish Composers" (Spółkę Nakładową Młodych Kompozytorów Polskich). The group was primarily concerned with composing and promoting new Polish music abroad. In 1907, he moved to Lviv (Lwów) where he taught piano at the Galicia Music Society and conducted for the opera. He had applied to teach at the Oslo Conservatory, but was rejected. It worked out for the best because in 1912, just a few years later, he won an award for his symphonic poem King of "Kofetua" (Król Kofetua) in a compositional competition organized for the 10th anniversary of the Warsaw Philharmonic. He moved to Berlin the same year and used Berlin as a base from which to go on trips to Switzerland, Italy, and France. In 1918, he settled in Warsaw where he would remain for most of his life. For ten years after his return, he focused on composition and then became a professor at what is now the Frederic Chopin University of Music. At the same time, he led a renewal of organizational and publishing activity for the publishing company. During the Nazi occupation, the cultural life of Poland was carried out in underground movements. The musical life was no different. Różycki contributed as a pianist and accompanist in this underground movement. After the Warsaw Uprising, most of Warsaw was reduced to ashes, along with many of Różycki's works. After the destruction of Warsaw, he took shelter in Kraków and settled in Katowice. He spent the rest of his life reconstructing the pieces that had been destroyed. Fantasie This piece is one of Różycki's earlier works, that said, there is still all of darkness and intensity that one expects from Różycki. There are also some impressionistic, Debussy-like passages that blend incredibly well with the rest of the piece, creating a well-balanced fantasy that blends darkness and pensiveness. At the beginning, the basses that occur on the off beat provide the perfect texture for a slow, ascending melody to climb in the distance on the back of the stirring dark chords. This pattern continues until the tension grows enough for arpeggios to take over in the left hand, at which point the steady, foreboding chords in the right hand continue until a couple of slowing figurations introduce the more impressionistic B-Section that is marked to be played "with sentiment." The B-Section, while short, is full of content. A pleasant melody in high registers pierces the low hum of the pedaled bass and the mellow chords in the middle section. This musical idea, in a sense, simultaneously captures the joy of a memory and the ache of losing that moment's immanence. Eventually, the melody slows and we are left with blurred chords that shroud what was once there. The final arpeggio at (2:29) gives an air of satisfaction as the recollections cease and life resumes again. The return of the introduction suggests a new, rejuvenated life at first, but the mood quickly sours. Here, an amazing stream of crashing chords blended with arpeggios slowly build to a minor climax at (3:29), prefiguring another minor climax at (3:43). After the emotional rampage, the introduction returns once more with a subtler, blacker mood. A period of relative calm appears, but it is pulled into a whirlwind of desperation at (4:46) which carries the subject to the true climax of the piece at (5:05) - a synthesis of both the introductory material and the A section's heavy chords. The discord resolves to strong, heroic chords that present a thunderous melody which eventually calm and re-introduce the B-Section. The short recapitulation of the B-section uses arpeggios instead of blurring chords and basses to bring the memory back in all of its clarity, rescuing it from the despair of the rest of the piece. The coda uses arpeggiated chords and downward arpeggios to blur the memory once again. The cadence resolves on an inverted major chord, suggesting a happy, yet imperfect ending. (http•••)
Chopin Grzegorz Fitelberg Karol Szymanowski Emil Młynarski Engelbert Humperdinck Zygmunt Noskowski Biernacki Aleksander Michałowski Ludomir Różycki Brahms Tchaikovsky Liszt 1953 1919 1918 1912 1907 1905 1904 1883
Ludomir Różycki - Fantasy Pieces Published in 1919 0:00 - Andante ma non troppo 2:42 - Allegro non troppo 7:23 - Allegro 9:14 - Berceuse - Andante ma non troppo 13:27 - Allegro maestoso -Biography- Ludomir Różycki +••.••(...)) was born to a musical family. His father was a professor at the Warsaw Conservatory, and his mother was musically talented. Naturally, Różycki would study at the Warsaw Conservatory with Aleksander Michałowski who taught piano technique, Gustaw Rogulski and Michał Biernacki who taught theory, and with Zygmunt Noskowski who taught composition. He graduated the conservatory in 1904 with high honors. He later went on to study with Engelbert Humperdinck at the Academy of Arts in Berlin. After graduating from the Warsaw Conservatory, Różycki's compositional career took off. His symphonic scherzo "Stańczyk" premiered in 1904 at the Warsaw Philharmonic, conducted at the time by Emil Młynarski. In 1905, he, along with Karol Szymanowski, Grzegorz Fitelberg, and Apolinary Szeluto, founded the "Publishing Company of Young Polish Composers" (Spółkę Nakładową Młodych Kompozytorów Polskich). The group was primarily concerned with composing and promoting new Polish music abroad. In 1907, he moved to Lviv (Lwów) where he taught piano at the Galicia Music Society and conducted for the opera. He had applied to teach at the Oslo Conservatory, but was rejected. It worked out for the best because in 1912, just a few years later, he won an award for his symphonic poem King of "Kofetua" (Król Kofetua) in a compositional competition organized for the 10th anniversary of the Warsaw Philharmonic. He moved to Berlin the same year and used Berlin as a base from which to go on trips to Switzerland, Italy, and France. In 1918, he settled in Warsaw where he would remain for most of his life. For ten years after his return, he focused on composition and then became a professor at what is now the Frederic Chopin University of Music. At the same time, he led a renewal of organizational and publishing activity for the publishing company. During the Nazi occupation, the cultural life of Poland was carried out in underground movements. The musical life was no different. Różycki contributed as a pianist and accompanist in this underground movement. After the Warsaw Uprising, most of Warsaw was reduced to ashes, along with many of Różycki's works. After the destruction of Warsaw, he took shelter in Kraków and settled in Katowice. He spent the rest of his life reconstructing the pieces that had been destroyed. -The Fantasy Pieces- Ludomir Różycki never went to the extremes of Karol Szymanowski, and he never created a radically new musical language. He does however follow after the impressionists at times, but his focus is more on synthesizing a neo-romantic style from the style of Brahms, Chopin, and Tchaikovsky with influences from Polish Folk Music, Impressionism, and even, at times, German modernism. Różycki has no problem invoking both Brahms and Wagner in the same piece. His orchestral music is always colorful and innovative. His piano music, however, tends to be slightly more conservative. Here we see some more conservative elements of his neo-romantic style. Andante ma non troppo - This piece is exercise in playing out a melody with the texture buffering between the melodic elements. The texture here is quite interesting. The downward arpeggios give the melody a loftier character even though they are not in the high registers. The middle section gives a stronger emphasis to these contrasting elements. Allegro non troppo - Two very different styles appear in this piece, there is the kind of innovative romantic pianism of Michałowski in the outer sections and a light impressionism in the middle section yet they blend almost seamlessly. Allegro - The rhythmic quality makes this piece rather catchy. The left hand has a dance-like pattern. The middle section has some interesting chromatic harmony, and there plenty of modulation throughout the piece. Berceuse - Andante ma non troppo - This is about as close to Liszt and Noskowski as it gets in this set. The Berceuse is a rarity in Różycki's output as it is almost totally devoid of Różycki's characteristic dark chromaticism. Instead, the soaring arpeggios and delicate bass evoke a stillness and calm. The little dark chromaticism that is in the piece rears its head toward the end. Allegro maestoso - Unlike the previous piece, this one features all of the dark harmony and loud groans one expects from Różycki. The large, heavy dotted chords slamming between the lighter 16th notes gives this piece a constant forward momentum, like a death march. Info: (http•••) (http•••) (http•••) Analysis of the pieces is my own No public domain available for sharing the sheet music at this time sorry :(
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): N...