Mathias Radziwill Vidéos
librettiste et compositeur d'origine polono-lituanienne
- opéra
- grand-duché de Lituanie
- compositeur ou compositrice, librettiste
Dernière mise à jour
2024-05-08
Actualiser
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
François Couperin Gervais Louis Couperin Michel Richard Delalande Thomelin Guérin Jean Henri Anglebert Radziwill 1679 1685 1689 1713 1715 1716 1717 1723 1724 1728 1730 1733 1741
???? SUBSCRIBE FOR MORE ETERNAL CLASSICS! ???? PRESS ???? IF YOU LIKE THIS VIDEO François Couperin - "La lugubre" (Sarabande) from "Pièces de clavecin" (Troisième ordre) Couperin was born into a prominent musical family. His father Charles was organist at the Church of Saint-Gervais in Paris, a position previously held by Charles's brother Louis Couperin, the esteemed keyboard virtuoso and composer whose career was cut short by an early death. As a boy François must have received his first music lessons from his father, but Charles died in 1679. The church council at Saint-Gervais hired Michel Richard Delalande to serve as new organist on the understanding that François would replace him at age 18. The 11-year-old was taken care of and taught, meanwhile, by organist Jacques-Denis Thomelin, who served both at court and at the church of St Jacques-de-la-Boucherie. Biographer Évrard Titon du Tillet wrote that Thomelin treated the boy extremely well, becoming a second father to him. François' talent must have shown itself early on because by 1685 the church council began providing him a salary, although he had no contract. At twenty-one Couperin also lost his mother, Marie (née Guérin), but otherwise his life and career were accompanied by good fortune. In 1689 he married one Marie-Anne Ansault, daughter of a prosperous family. The next year saw the publication of his Pièces d'orgue, a collection of organ masses praised by Delalande, who may have assisted with the project. In three more years Couperin succeeded Thomelin at Louis XIV's court. The appointment brought him in touch with some of the finest composers of the day as well as the aristocracy. His earliest chamber music dates from this time. Couperin met his court duties in tandem with those he now had as organist at Saint-Gervais, while also composing. He obtained a 20-year royal privilege to publish in 1713 and used it immediately to issue the first volume (out of four) of his harpsichord works, Pieces de clavecin. A harpsichord playing manual followed in 1716, as well as other collections of keyboard and chamber music. In 1717 Couperin succeeded one of his most eminent colleagues, Jean-Henri d'Anglebert, as ordinaire de la musique de la chambre du roi pour le clavecin, one of the highest possible appointments for a court musician. However, his involvement in the musical activities at the court may have lessened after Louis XIV's death in 1715. Couperin's health declined steadily throughout the 1720s. The services of a cousin were required by 1723 at Saint Gervais, and in 1730 Couperin's position as court harpsichordist was taken up by his daughter Marguerite-Antoinette. Couperin's final publications were Pièces de violes (1728) and the fourth volume of harpsichord pieces (1730). The composer died in 1733. The building where Couperin and his family lived since 1724 still stands and is located at the corner of the rue Radziwill and the rue des Petits Champs. The composer was survived by at least three of his children: Marguerite-Antoinette, who continued working as court harpsichordist until 1741, Marie-Madeleine (Marie-Cécile), who became a nun and may have worked as organist at the Maubuisson Abbey, and François-Laurent, who according to contemporary sources left the family after François died. #Couperin #lugubre #Pièces_de_clavecin #classical #classicalmusic #classicalpiano #piano #eternal #classics #baroque #romantic #tutorial
Frédéric Chopin Antoni Radziwiłł 1829
Frédéric Chopin by opus number: (http•••) Op. 8, Piano Trio in G minor is s a composition in G minor for piano, violin and cello written in 1829 by Frédéric Chopin, dedicated to Antoni Radziwiłł 00:00 Allegro con fuoco 07:45 Scherzo: Con moto, ma non troppo 15:06 Adagio sostenuto 21:08 Finale: Allegretto
Arrau Chopin Elsner Radziwill Krakauer Franciszek Mirecki Zygmunt Noskowski Ignacy Jan Paderewski Roman Statkowski Mozart Demar 1816 1828 1829 1831 1834 1848
Krakowiak, Concert rondo in F, op.14; composed in 1828 (1829?) while Chopin was still studying with Elsner (on page 28 of the manuscript there is a correction in the horn part with a comment of Elsner); published in 1834; dedicated to Marcellina Czartoryska-Radziwill. PART II : (http•••) ~~~ Krakowiak is a Polish dance from the region of Kraków, the old capital of Poland (used by the Piast and the Jagiełło dynasties) and the center of southern part of the country, called Małopolska. The common name used in English is Cracovienne (from the French); in German the dance is known as Krakauer Tanz. The term refers to a group of dances from southern and central Małopolska, which are known by their places of origin (proszowiak from Proszów), or by the particular figures used in their choreography. The dance dates back to the 16th and 17th centuries when it was included in organ and lute tablatures, as well as songbooks, under such titles as Chorea polnica or Polnish Tanz. However, the first time that the name itself appeared in print was in Franciszek Mirecki's 1816 piano album, Krakowiaks Offered to the Women of Poland (Warsaw, 1816). In the mid-19th century, the krakowiak became a popular ballroom dance in Austria and France and grew to be regarded as a "national dance" of Poland, competing with the polonaise. For Poland, this was the time of partitions and the unsuccessful uprisings +••.••(...)) which sought to regain the country's independence. The krakowiak, polonaise and even mazurka, appeared in the Parisian salons as symbols of solidarity with the oppressed nation. At the same time, the krakowiak became a choice of composers who transformed it into an extensive and even virtuosic form, beginning from Chopin's Krakowiak op. 14, 1828; and including pieces by Zygmunt Noskowski, Ignacy Jan Paderewski, and Roman Statkowski. As the result of this increased artistic stature, even the ballroom form of the dance grew in scope and the dance was transformed into a three-part form, with the music featuring a contrasting central section, and modulations to other keys. ~~~ Chopins letter to his friend Titus Woyciechowski from Vienna, September 12, 1829, explaining the premiere of the piece made together with his Mozart Variations : "The members of the orchestra showed me sour faces at the rehearsal; what vexed them most was that I wished to make my debut with a new composition. I began with the Variations which are dedicated to you; they were to be followed by the Rondo Krakowiak. We got through the Variations well, the Rondo, on the other hand, went so badly that we had to begin twice from the beginning; the cause of this was said to be the bad writing. I ought to have placed the figures above and not below the rests (that being the way to which the Viennese musicians are accustomed). Enough, these gentlemen made such faces that I already felt inclined to send word in the evening that I was ill. Demar, the manager, noticed the bad disposition of the members of the orchestra, who also don't like Wurfel. The latter wished to conduct himself, but the orchestra refused (I don't know for what reason) to play under his direction. Mr. Demar advised me to improvise, at which proposal the orchestra looked surprised. I was so irritated by what had happened that in my desperation I agreed to it; and who knows if my bad humour and strange mood were not the causes of the great success which my playing obtained. The orchestra cursed my badly-written music, and was not at all favourably inclined towards me until I began the improvisation; but then it joined in the applause of the public. From this I saw that it had a good opinion of me. Whether the other artists had so too I did not know as yet; but why should they be against me? They must see that I do not play for the sake of material advantages. " ~~~
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