Franciszek ranciszek Mirecki Video
compositore e insegnante polacco
- pianoforte
- opera
- Impero russo, Confederazione polacco-lituana
- direttore d'orchestra, compositore, pianista, musicista
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2024-05-08
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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. " ~~~
Krakauer Mikhail Glinka Franciszek Mirecki Damas Frédéric Chopin Rondeau 1816 1828 1836
MÚSICA FOLKLÓRICA TRADICIONAL POLACA. ESCUCHE VARAS VERSIONES TODAS DISTINTAS Y UNA PARTITURA QUE ME ESCRIBIÓ MI AMIGO JORGE. ENTRE TODAS ELLAS QUEDO ESTO. PIDO DISCULPAS A LA COLECTIVIDAD POLACA SI NO ES TOTALMENTE IGUAL AL ORIGINAL DADO QUE NO PUDE CONSEGUIR LA PARTITURA ORIGINAL. TIENE ALGUNOS ADORNOS QUE YO LE AGREGUÉ A MI GUSTO. (http•••) El Krakowiak es una danza polaca rápida y asincopada en Cracovia y la Pequeña Polonia. Se hizo popular en los salones de baile de Viena ("Krakauer") y en París("Cracovienne")— donde, junto a la polonesa y la mazurca, señaló la sensibilidad romántica de simpatía hacia la pintoresca, lejana y oprimida nación— y en Rusia a mediados del siglo XIX. Un krakoviak aparece en la ópera Una vida por el Zar de Mikhail Glinka (1836). El primer Krakoviak impreso apareció en el álbum para piano de Franciszek Mirecki, "Krakowiaks ofrecidos a las Damas de Polonia" (Varsovia, 1816). Frédéric Chopin escribió un krakowiak concertante de bravura: Grand Rondeau de Concert para piano y orquesta (op. 14, 1828). (http•••)
Krakauer Mikhail Glinka Franciszek Mirecki Frédéric Chopin Rondeau 1816 1828 1836
The Krakowiak is a fast, syncopated Polish dance in duple time from the region of Krakow and Little Poland. This dance is known to imitate horses, the steps mimic their movement, for horses were well loved in the Krakow region of Poland for their civilian as well as military use. It became a popular ballroom dance in Vienna ("Krakauer") and Paris ("Cracovienne")—where, with the polonaise and the mazurka, it signalled a Romantic sensibility of sympathy towards a picturesque, distant, and oppressed nation—and in Russia, a krakoviak is featured in Mikhail Glinka's A Life for the Tsar (1836). The first printed Krakowiak appeared in Franciszek Mirecki's album for the piano, "Krakowiaks Offered to the Women of Poland" (Warsaw, 1816). Frédéric Chopin produced a bravura concert krakowiak in his Grand Rondeau de Concert Rondo á la Krakowiak in F major for piano and orchestra (Op. 14, 1828). In terms of its choreography, the krakowiak is set for several couples, among whom the leading male dancer sings and indicates the steps. According to the description in the New Grove Dictionary of Music and Musicians, the krakowiak is directed by the leading man from the first pair. As they approach the band, "the man, tapping his heels or dancing a few steps, sings a melody from an established repertory with newly improvised words addressed to his partner. The band follows the melody, and the couples move off in file and form a circle (with the leading couple back at the band). Thereafter verses are sung and played in alternation, the couples circulating during the played verses.
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