Tomasz Biernacki Vidéos
chef ou cheffe d'orchestre
Anniversaires 1974 Anniversaires (Naissance: Tomasz Biernacki)
- opéra
- Pologne
Dernière mise à jour
2024-05-03
Actualiser
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•••)
Georges Bizet Tomasz Biernacki Biernacki Małgorzata Walewska Ireneusz Miczka 2006
Georges Bizet - CARMEN Tomasz Biernacki - conductor Carmen - Małgorzata Walewska Don José - Marcello Bedoni Micaëla - Małgorzata Długosz Escamillo - Rafał Songan Frasquita - Anita Maszczyk Mercédès - Małgorzata Wilczyńska-Goś Remendado - Witold Wrona Dancaïre - Ireneusz Miczka Zuniga - Bogdan Kurowski Gliwice Musical Theatre Orchestra & Chorus Katowice Academy of Music Chorus June 2nd, 2006, Old Theatre, Gliwice
Georges Bizet Tomasz Biernacki Biernacki Małgorzata Walewska Ireneusz Miczka 2006
Georges Bizet - CARMEN conductor - Tomasz Biernacki Carmen - Małgorzata Walewska Don José - Marcello Bedoni Micaëla - Małgorzata Długosz Escamillo - Rafał Songan Frasquita - Anita Maszczyk Mercédès - Małgorzata Wilczyńska-Goś Remendado - Witold Wrona Dancaïre - Ireneusz Miczka Zuniga - Bogdan Kurowski Gliwice Musical Theatre Orchestra & Chorus Katowice Academy of Music Chorus June 2nd, 2006, Old Theatre, Gliwice
Georges Bizet Tomasz Biernacki Biernacki Małgorzata Walewska Ireneusz Miczka 2006
Georges Bizet - CARMEN conductor - Tomasz Biernacki Carmen - Małgorzata Walewska Don José - Marcello Bedoni Micaëla - Małgorzata Długosz Escamillo - Rafał Songan Frasquita - Anita Maszczyk Mercédès - Małgorzata Wilczyńska-Goś Remendado - Witold Wrona Dancaïre - Ireneusz Miczka Zuniga - Bogdan Kurowski Gliwice Musical Theatre Orchestra & Chorus Katowice Academy of Music Chorus June 2nd, 2006, Old Theatre, Gliwice
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