Being lame in one knee made him unsuitable for military service in World War I, and consequently, between 1914 and 1917, he composed many works and devoted himself to studying , drama as well as. He became seriously ill in 1928 and temporarily lost his post. He was specifically influenced by the folk music of the Polish Highlanders, which he discovered in in the southern highlands. In 1918, Szymanowski completed the manuscript of a two-volume novel, Efebos, which took as its subject. It was the third of his Four Études, Op 4, that brought Szymanowski his first taste of popular success. The fourth volume of Martin Roscoe's traversal of Szymanowski's piano works for Naxos came almost as an afterthought several years after volume three, and it does perhaps contain less striking and less familiar music overall than the two previous volumes in this invaluable series. Musically valid budget releases like this one can only help in that effort.
In 2015 opera was staged in 's and was produced by. Listeners who've experienced the broad tempos, wide dynamic contrasts, and refined polyphonic control distinguishing Piotr Anderszewski's recording of the Third Sonata may find that Roscoe's mastery of this difficult score makes a less individual impression. His third period was influenced by the of the Polish people, including the ballet , the Fourth Symphony, and his sets of for piano. While Anderszewski remains the obvious benchmark for the middle-period works and Marc-André Hamelin delivers irresistibly alluring accounts of the Mazurkas on Hyperion, making a clear choice among the complete sets is by no means so straightforward. He told me all this with burning eyes. He studied music privately with his father before enrolling at the Gustav Neuhaus Elisavetgrad School of Music in 1892.
In 1936 Szymanowski received more treatment at a in , but it no was longer effective. The final volume of Martin Roscoe's Szymanowski cycle matches the excellence of its predecessors. January 21, 2019 by David Vernier Imagine the modern performer. R E V I E W S Sinae Lee chooses as her recording debut a performance of the complete piano music by Szymanowski. His other significant works include opera , , , and. Karol Szymanowski Karol Maciej Szymanowski Polish pronunciation: ; 3 October 1882 — 29 March 1937 was a and pianist, the most celebrated Polish composer of the early 20th century.
He was diagnosed with an acute form of , and in 1929 traveled to , Switzerland, for medical treatment. Likewise, in the early Preludes and the First Sonata, she projects the music with a real sense of forward momentum and intensity, at the same time managing to bring welcome transparency of texture to the involved contrapuntal layering of works such as the Second Piano Sonata. Bruno Monteiro can only offer his broader, hazier but more mysterious tone as an alternative. For the longest time, if one were curious about his piano music, one had recourse to the recordings of his compatriots, Rubinstein and Małcużyński, and little else. Even seasoned listeners and I do not claim to be one. In 1994, a renowned director recorded both of his Violin Concertos with. All the hallmarks are there for capturing the public's lasting attention, as was evident in his smashing debut album of the Chopin Preludes.
Blechacz's playing is pretty consistent, then. In 1926 he accepted the position of Director of the Warsaw Conservatory though he had little administrative experience. According to Jim Samson 1977, p. The in as well as the have been both named in remembrance of the composer. Gradually others came aboard, Richter in the 1950s, then more recently, a veritable groundswell including Anderszewski, Hamelin, Pöntinen, Tiberghien, Jones, Roscoe, Fialkowska, Blechacz, Lortie and many others both inside and outside Poland.
Henrike Brüggen plays absolutely marvelously in the Nocturne; as adroit and soothingly as can be; similarly Radauer-Plank displays a beauty and purity in her tone. I say this as a layman may find this album a little jarring. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. I have no doubts bout Blechacz's immense gifts, but since his debut album I've been waiting for him to break out with major repertoire that will galvanize his reputation. However, in the already hyper-contrapuntal and orchestral Second Sonata, the same strategy makes the music feel like a claustrophobic steam-room. Recommended, along with the earlier issues in the series. Vehviläinen copes resourcefully with its thicket of over-written textures, replete with double glissandos and multi-voiced trills.
She is also persuasive in the two early sets of Variations, Opp 3 and 10, in which the original voice of the composer is fleetingly heard amid allusions to Chopin and Scriabin. Overall, however, this is not the place to start one's exploration of Szymanowski's variegated piano output, even though it is a must for followers of the series. Two fine recordings that collect this music have recently popped up: One by Marie Radauer-Plank violin and Henrike Brüggen piano on the fine local German Genuin label and another by Bruno Monteiro violin and João Paulo Santos piano on the cheap international Dutch Brilliant label the one that was the first to successfully merge the super-budget approach with quality. I occasionally work with musicians, orchestras, and record labels on questions of repertoire and I am particularly interested in how to retain classical music as a living art form, not mere museum art. Some are better than others, true, but her accomplished. Still, I found the reading rewarding enough to be highly recommendable.
Roscoe proves equally at home in the idiosyncratic Mazurkas, bringing out all their earthy lilt, sultry nuance, and harmonic mystery. The composer's works were performed throughout the world by celebrated soloists such as , , , , , , and and by orchestras led by famous conductors including , , , , ,. Throughout his life, his music was written at the piano, and it was playing the piano that fed him in a particularly difficult period of his career, in 1932—35; indeed, the Sinfonia Concertante, his Fourth Symphony, written in 1932, became a vehicle for his own performance—he was a highly capable pianist, though no virtuoso. In the 1920s and the 1930s, his music proved immensely popular. A Polish recording of his Symphony No.
Informative, well-researched booklet notes, plus warm, vivid and clear engineering provide all the more reason to consider this unusual and most rewarding program. It hasn't happened yet, but there's every reason to keep hoping. This isn't music to get general listeners to cheer. From 1901 he attended the State Conservatory in , of which he was later director from 1926 until retiring in 1930. Re Ruggero tra luce ed ombra.
The Sonata is a marvel of construction. Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. Of course they're common because it's very easy to program a concert consisting of all German, or Celtic, or A. As for Szymanowski, which I submit is harder to communicate to listeners, Blechacz does his best and succeeds fairly admirably, in my view. Another friend of the composer, violinist Grazyna Bacewicz, sensitively and idiomatically adapted the Op. My bent is libertarian, my background European, my passion classical music and its economics. I contribute to Listen Magazine and Auditorium and mostly live in Vienna, Austria.