Kazimierz Lubomirski Vídeos
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Witold Maliszewski Neumann Rimsky Korsakov Alexander Glazunov Lubomirski Szymanowski Karłowicz Witold Lutosławski 1859 1873 1891 1897 1898 1905 1921 1939
Witold Maliszewski - Symfonia A-Dur Composed as early as 1905 Performance: Conductor: Przemysław Neumann Orchestra: Opole Philharmonic 0:00 - Moderato 9:38 - Andante espressivo 18:59 - Scherzo: Allegro vivo 26:50 - Finale: Allegro con fuoco Biography Witold Maliszewski +••.••(...)) was born in Mohyliv-Podilskyi in what is now Ukraine. His music education began early. His mother was an exceptional pianist and taught Maliszewski until he was six years old [1]. Unfortunately, after Witold turned six, his father died, depriving his family of a breadwinner forcing his mother to turn her attention to giving lessons to earn enough money to live [2]. Maliszewski's mother sent him to a philological school in Tbilisi [1]. There he attended a musical school run by the Imperial Music Society. He studied piano, the violin, and the viola, playing in small local chamber groups and in the orchestral school. Upon graduating in 1891, he moved to St. Petersburg where he began studying Mathematics at the Military Academy of Medicine. He graduated in 1897, but he was still passionate about music. At a crossroads, he decided to change course and pursue music exclusively. He enrolled in the St. Petersburg Conservatory in 1898 where he studied with Rimsky-Korsakov and Alexander Glazunov. At that time, he had absolutely no plans for the future [3], so it was incredibly fortunate that Rimsky-Korsakov recognized his talent and took a personal interest in directing his development as a composer [1]. Maliszewski's composing career would be well recognized. His first triumph as a composer was his Sonata for Violin and Piano which would be his first published work [2]. The symphony in G-minor, however, would take him much further. He premiered it at the Tsar's residence in Pavlovsk and later in Warsaw [1]. At the same time, he won the Lubomirski Competition in Warsaw for his piano pieces in Op.4 and 5. His other (particularly chamber) works would win plenty of awards. Staying in St. Petersburg for his early career would form Maliszewski in the mold of the Russian cosmopolitan artistic community [1]. In particular, it convinced him of the artistic mission given to all musicians and a responsibility to the society they wrote for [1]. Later on, however, he would shuffle around from post to post, teaching at conservatories throughout the Russian Empire. While teaching, he did not compose as much, but he still kept up with musical events in Poland. He was particularly interested in Szymanowski and Karłowicz [1]. He returned to Poland in 1921 and became a professor of the Warsaw Conservatory where he would teach titans like Witold Lutosławski. The 2nd Symphony The most I could find of this symphony was a brief note: "it doesn't take as much as the 1st symphony" and a scribble of praise for the finale movement. [2] Either way, these notes amount to practically nothing, which is astounding. Maliszewski's 2nd symphony, while not particularly innovative, is a product of Rimsky-Korsakov's brilliant orchestration and Glazunov's conservative, melodic style. With all of the heartfelt melody, the symphony stops just short of Rachmaninovian pathos. Moderato - The 1st theme of the 1st mvt is incredibly catchy and departs from the serious tone of the 1st symphony. The 2nd theme is a typical slow theme, but the cello and viola texture really sells it. The brilliance here is that the two themes were clearly written for each other. The synthesis of the themes produce seamless phrases (see 6:44). There are moments like at 9:04 that bring a smile to one's face. Andante espressivo - At first glance, this seems like another standard andante. Sometimes it is hard to parse all of the beautiful slow mvts of the era, but this one begs for a second look. The mvt is remarkably restrained. The themes are perfect, the orchestration is perfect, but Maliszewski always injects a dissonance here or a chromatic scale there. Only the final recitations of the theme are perfectly satisfying, and they present themselves so softly that you *really* have to be listening in order to feel their full effect. Scherzo: Allegro vivo - The pulsating staccato strings and blood pumping brass set the stage for a dramatic, Wagnerian adventure. The middle section introduced by the woodwinds (with some astounding counterpoint) lets the work catch it's breath before the strings and the brass bellow forth once again. With some lyricism thrown in, this mvt has everything. Finale: Allegro con fuoco - The synthesis of all of the earlier material. There is the adventure from the Scherzo, the lyricism and sensitivity of the 2nd mvt, and the balance of the 1st mvt. The constant shifts in mood suggest a competition between the different attitudes. The shift at 32:06 gives birth to the darkest moment of the symphony while also being the most out-of-place. The woodwinds lead the charge in pulling the symphony back up to a joyful conclusion in a whirlwind of all of these elements.
Michał Józefowicz Emil Młynarski Lubomirski 1860 1891 1895 1902 1941 1966 2015 2021
Michał Józefowicz - Sonata Skrzypcowa D-moll Published in 1902 Violin: Wojciech Szlachcikowski Piano: Bogumiła Weretka-Bajdor 0:00 - I: Con molto passione 9:20 - II: Andante maestoso e molto espressivo 16:22 - III: Allegro (Krakowiak) Biography Michał Józefowicz +••.••(...)) was a Polish pianist, choral director, conductor, pedagogue, and a music critic [1]. He was born in Lithuania to a Polish family. His exact birthplace was the Daugirdavos dvaras manor (pictured in the title cards) in the Daugirdai village, which is about 7 km from Ariogala, Lithuania [2]. Józefowicz studied music at the St. Petersburg conservatory, where he befriended Emil Młynarski [1]. He and Młynarski travelled to Liepāja, Latvia for the first time in 1891. A few years later in 1895, Józefowicz would move there more permanently. Due to his health, he needed to be close to a health resort on the Baltic [1]. While he was there, he introduced the locals to Polish classical music. He gave the local orchestra director sheet music and pointers for understanding the character of Polish music. During World War I, he spent most of his time in Germany [1]. After Poland gained independence, he settled in Vilnius, where he worked as a clerk for the Bank of Cooperative Societies and lectured at the conservatory [3]. He was killed during the 2nd World War by a bomb that exploded where he was living [2]. While he was in Liepāja, he quickly became a valuable member of the musical society there. He taught piano performance and music theory from his apartment. What would bring him fame and recognition, however, were his compositions [1]. This work, the Violin Sonata in D-Minor, won an award at the Konstanty Lubomirski competition. In addition, it received glowing reviews from Latvia and Poland [3]. One reviewer praised the "freshness" of its ideas, its form, and its national character [4]. Józefowicz's achievements won him recognition and respect in Latvia, Poland, and Lithuania as a talented musician who could teach, compose, conduct, and even review music with tremendous fluency. Analysis I: Con molto passione - The first movement is in sonata form. Maryla Renat indicates that the themes in this movement are "symmetrically constructed and undergo evolutionary development" [3]. The first theme is very stately but it conveys a kind of restlessness thanks to the dotted rhythm. The second theme contrasts the first theme's rhythmic motion with a more consistent and elegiac character [3]. Both of these themes are recapitulated later on as is standard in sonata form. The ending gives the impression that the elegiac theme wins out at the movement's close, which transitions smoothly into the second movement. II: Andante maestoso e molto espressivo - The form of this movement is standard ABA, but the treatment of the theme and the texture suggests a continuation of the elegaic atmosphere of the 2nd theme in the 1st movement [3]. Renat adds that the soundscape of this movement has "a wavy character" and points out the melodic focus along with the movement's stateliness and its "gentle chromaticism" [3]. She also points out the textual complexity of the piano part throughout this movement and in the sonata as a whole [3]. The atmosphere is preserved throughout the movement, which ends quietly. III: Allegro (Krakowiak) - This movement is atypical because the Krakowiak plays out in sonata form, which is exceedingly rare [3]. In terms of the soundscape, the krakowiak is an almost jarring departure from the material in the previous movements. The energy that pervades the krakowiak jolts one out of the serious, mournful state left by the previous movement and invites one into a sunlit Cracovian day full of colorful figures and without a care in the world. The second theme, however threatens to break one out of the bliss, but the energetic first theme always interrupts to stop it. Bibliography [1] M. Gluszko. Polacy w życiu artystycznym Lipawy Część I. Polacy w Lipawie. polonika.lv. (http•••) 2015. [2] Anon. Michał Józefowicz h. Leliwa. Geni.com. (http•••) 2021. [3] M. Renat. "Elementy rodzimego folkloru w polskich sonatach skrzypcowych XX wieku", Edukacja Muzyczna, no. 10, p. 59-92. 2015. [4] W. Poźniak, Muzyka kameralna i skrzypcowa, [w:] Z dziejów polskiej kultury muzycznej, t. 2: Od Oświecenia do Młodej Polski, PWM, Kraków 1966, s. 501. Original Video: (http•••) IMSLP: (http•••)
Jan Dismas Zelenka Hana Blažíková Roberta Mameli Kai Wessel Gabriela Eibenová Gentile Stein Lubomirski Pallavicini Hasse Ristori Faustina Bordoni 1534 1628 1685 1737 1742 2009
Conductor/Orchestra: Adam Viktora, Prague Baroque Soloists & Ensemble Inégal. Soloists: Terra/Earth - Hana Blažíková (S); Guinone/Juno - Roberta Mameli (S); Imeneo/Hymen - Kai Wessel (A); Amore/Cupid - Marie Fajtová (S); Venere/Venus - Gabriela Eibenová (S). Year composed: 1737; Year performed: 2009. / 0:00:00 - Sinfonia (allegro - adagio - minuetto) 0:07:09 - Recitativo (Rec) "Questa che il sol produce": S - Terra 0:08:11 - Aria "Alla madre degli amori": S - Terra 0:15:35 - Rec "Del gentile tuo dono": S - Guinone 0:16:24 - Aria "Mira come sue candide piume": S - Guinone 0:29:22 - Rec "Prima di scoglier il volo": S, A, S - Guinone, Imeneo, Amore 0:31:10 - Aria "Coronato di ghirlande": A - Imeneo 0:40:12 - Rec "Abitro del destino": S - Amore 0:40:45 - Aria "Cosi per la foresta": S - Amore 0:50:11 - Rec "Fido Imeneo, non piu dimora": S - Guinone 0:51:03 - Aria "Veder aspetta": S - Guinone 1:00:44 - Rec "Gemma tal che in durezza": A, S - Imeneo, Amore 1:02:02 - Aria "Di quegli occhi": A - Amore 1:11:40 - Rec "Tu che al mondo presiedi": S - Terra 1:12:35 - Aria "Del volto della sposa": S - Terra 1:18:30 - Coro "Godete che liche Il" 1:21:43 - Rec "Dove amore si festiggia": S - Venere 1:23:25 - Aria "Qui piegate": S - Venere 1:33:58 - Coro "Godete che liche Il" (repeated - Finale) Information: This illustrious and unusual (for the Czech master) secular vocal piece was performed as a surprise gift from the Electress Maria Josepha for the wedding feast of the Schwabian, Baroness Joanna von Stein and the Polish magnate, Prince Jerzy Ignacy Lubomirski. Thanks to the discovery of a printed libretto written by Pallavicini in the mid-2000s, we know that this piece was titled 'The Diamond' - in reference to the bride's name, and to the special jewelry that was also given to her as a gift from the Electress. This was Zelenka's chance to shine, as both the usual Dresden operatic composers, Hasse and Ristori, were busy with their own projects. It is the crowning jewel of his own Italianate operatic style, having developed it over the course of the decade with 3 oratorios and a set of arias. The plot revolves around the gemstone which is offered by Terra to Juno who wants to use it as a guarantee of a marriage happening on the Elbe (Dresden). She calls upon Hymen, God of marriage to find the bridegroom, Prince Lubomirski, and Cupid to find a suitable bride, who is later named and praised for her beauty. The glorious union of Poland and Germany is emphasised. The Serenata finishes with Terra asking for Juno's blessing on the couple, and a rousing chorus which invites everyone to celebrate and praise the union. A surprise addition is the sudden arrival of Venus, sung by the famous Soprano, Faustina Bordoni, wife of Hasse. The subsequent aria is a wonderfully magical image of the tenderness of love - Venus reminds the listener that only she can perfect their love. Jan Dismas Zelenka, largely known for his prayerful, powerful and pious sacred music, truly surprises with this work. It puts to rest the depiction in some musicological literature of his character as being grim, reclusive and heavy-hearted - the nature and history of this piece begs to differ! / Background images: 1. 0:00 - The Dresden Green Diamond. One of the greatest diamonds ever known; bought in 1742 by Zelenka's employer, the Saxon King of Poland, Augustus III - (http•••) [This is of course *not* the same jewel as the wedding gift given to Joanna von Stein by Maria Josepha, but close enough! Splendorous image of the late Baroque, all the same.] 2. 15:37 - 'Juno and Argus' by Gregorio de Ferrari +••.••(...)). 3. 29:24 - 'The Contest between Cupid and Hymen' an engraving for a poem given for the marriage of Odoardo Farnese and Margarita Medici (1628). 4. 40:14 - 'Cupid sharpening his bow' by Parmagianino (1534). 5. 50:13 - Portraits of the bride, Joanna von Stein zu Jettingen and bridegroom, Jerzy Ignacy (Georg Ignatius) Lubomirski. 6. 1:00:51 - Their corresponding heraldic coats of arms. 7. 1:11:45 - 'Allegory of Earth' by Jan Brueghel the Younger and Hendrik van Balen (1630s). 8. 1:18:33 - Combination of No. 5 and No.1 9. 1:21:45 - A portrait of Faustina Bordoni, by Rosalba Carriera - [looking rather Venus-like and clasping some pages of notes!] 10. 1:34:00 - No. 8 repeated.
Lublina Beethoven Szostak Schulz Kazimierz Lubomirski Stanisław Lipski Lublin 2020
Wykonawcy: Iwona Sawulska – sopran Dorota Szostak-Gąska – mezzosopran Jakub Gąska – tenor Lech Gąsior – skrzypce Żaneta Magryta-Sidoruk – wiolonczela Agnieszka Schulz-Brzyska – fortepian słowo o muzyce – Kinga Krzymowska-Szacoń program: Ludwig van Beethoven: 25 Pieśni szkockich op. 108 (wybór: Music, love and wine; Sunset; Sympathy; Oh! Thou art the lad of my heart, Willy; O, how can I be blithe; Come fill, fill, my good fellow) Pieśni irlandzkie WoO 152 (wybór: Sweet power of song; The bid me slight; In vain to this desert) Pieśni irlandzkie WoO 154 (wybór: Oh! Would I were but that sweet linnet; He promised me at parting) Kazimierz Lubomirski: Marzenie op. 55 Niepewność op. 18 La Consolazione op. 49 Stanisław Lipski W strugach deszczu Łzy op. 9 nr 8 Partnerzy: Fundacja PZU, Stowarzyszenie Autorów ZAIKS, STOART- Związek Artystów Wykonawców, Towarzystwo Muzyczne im. H. Wieniawskiego w Lublinie Patroni medialni: TVP Kultura, TVP3 Lublin, Radio Lublin, Kurier Lubelski, Dziennik Wschodni, Gość Niedzielny. Projekt Fonie Lublina realizowany jest dzięki wsparciu Miasta Lublin. Dofinansowano ze środków Narodowego Centrum Kultury w ramach programu Kultura w sieci.
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- cronología: Compositores (Europa).
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