Okres życia trzech wschodnioeuropejskich kompozytorów obecnych na tym krążku trwał łącznie 150 lat (1854-1994). Był to okres dramatycznych zmian historycznych, politycznych zawirowań i radykalnych zmian w zachodniej muzyce. Janacek, Lutosławski i Szymanowski pozostawili po sobie znaczące i bardzo osobiste spuścizny muzyczne, bogate w inspirujące melodie, harmonie i rytmy.
Stanisław Moryto | Henryk Mikołaj GóreckiRomuald Twardowski | Witold Lutosławski | Wojciech KilarSinfonia Academica Chamber Orchestra Stanisław Moryto (*1947): Cztery utwory w polskim stylu (2011) WORLD PREMIERE RECORDING1 I Moderato affettuoso [2:08]2 II Andante mesto [3:03]3 III Larghetto drammatico [3:36]4 IV Presto, veloce [2:21] Henryk Mikołaj Górecki (1933-2010): Trzy utwory w dawnym stylu (1963)5 I = 40 [3:06]6 II = 160 [2:01]7 III = 40-42 [4:30] Romuald Twardowski (*1930): Tryptyk mariacki (1973)8 I Stajenka betlejemska [2:04]9 II Taniec I [1:55]10 III Złożenie do grobu [2:07]11 IV Taniec II [1:34]12 V Zmartwychwstanie [2:35] Witold Lutosławski (1913-1994): Pięć melodii ludowych (1952)13 I Ach, mój Jasieńko (Oh, my Johny) [0:51]14 II Hej, od Krakowa jadę (Hey, I come from Kraków) [0:37]15 III Gaik (The Grove) [0:35]16 IV Gąsior (The Gander) [1:32]17 V Rektor (The Schoolmaster) [1:12]18 Wojciech Kilar (*1932): Orawa (1986) [8:40] total time: [44:31]Sinfonia Academica Chamber OrchestraWłodzimierz Promiński – prowadzenie od pulpitu | leaderLeszek Sokołowski – kierownik orkiestry | orchestra directorDUX0939Sinfonia Academica to orkiestra kameralna białostockiej fili Uniwersytetu MuzycznegoFryderyka Chopina. Zespól założony przez Leszka Sokołowskiego od 2003 rokuwspółprowadzi także Włodzimierz Promiński, prymariusz Kwartetu CAMERATA.Wydawnictwo DUX poleca najnowszą płytę w dorobku orkiestry.Znalazły się na niej utwory polskich kompozytorów, których łączywyrazista osobowość i umiejętność czerpania ze źródeł tradycji.Obok pozycji dobrze znanych, jak "Orawa" Wojciecha Kilara czyfantastycznie zniuansowanych "Pięciu melodii ludowych" WitoldaLutosławskiego, na uwagę zasługuje pierwsze nagranie "Czterech utworóww polskim stylu" Stanisława Moryto.Zaletą płyty jest nie tylko ciekawy, polski repertuar, ale takżeświeże, momentami porywające wykonanie. Nagranie czterechcyklów złożonych z części zwięzłych i krótkich sprawia, że płytysłucha się z zainteresowaniem, a poszczególne fragmenty ujmująlekkością.Kolejna doskonała płyta młodych polskich wykonawców!
This is the third volume in the Chandos series devoted to the music of the Polish composer Witold Lutosławski. It brings together his first surviving orchestral piece (The Symphonic Variations) and his last symphony, as well as two works for piano and orchestra – an early work originally written for two pianos (The ‘Paganini’ Variations), and his very last concerto. The works are performed by the BBC Symphony Orchestra under Edward Gardner, described by Gramophone as a veritable ‘Dream Team’ in Vol. 1. They are joined in this recording by Louis Lortie, the awardwinning pianist and exclusive Chandos artist. Lutosławski composed his Symphonic Variations while he was studying with Witold Maliszewski at the Warsaw Conservatory. When he showed the work to his teacher, he was told in no uncertain terms: ‘For me your work is ugly.’ A rather disheartening response to be sure, but perhaps also proof that here was a work that was well ahead of its time. Today it fits in easily with the European tradition of variation form, and is considered a prime example of the lush, but edgy harmonies of the composer, and of his vivid ear for instrumental colour and virtuosity. Less than three years later, Poland was invaded by Germany, and normal music life disappeared. In its place, musical cafés emerged as places where light music as well as mainstream repertoire was performed. Lutosławski made his living in these cafés by playing a repertoire of light music, arranged by himself and his piano-duet partner, Andrzej Panufnik. All but one of these works were destroyed during the Warsaw Uprising in 1944. The sole survivor was the Variations on a Theme of Paganini. The version recorded here is Lutosławski’s orchestration for piano and orchestra, of the original version for two pianos. Also on this disc is the Piano Concerto, the last of Lutosławski’s concertante works, as well as Symphony No. 4, which Lutosławski composed over four years (1988 – 92), conducting its premiere in Los Angeles, with the Los Angeles Philharmonic, in 1993, just a year before his death. The Polish series is supported by the Adam Mickiewicz Institute.
Tracklista:1. Concert Overture, Op. 12 Lutosławski, Witold 2. Cello Concerto 3. Symphony No. 4
Wolumin pierwszy z kompletu nagrań kwartetów smyczkowych Grażyny Bacewicz polskiej kompozytorki tworzącej w II połowie XX wieku. Wykonawcy to polski kwartet Lutosławski Quartet.
N.A.K. trio w składzie Jacek Kochan (perkusja), Dominik Wania (fortepian) i Michał Kapczuk (kontrabas), to nowy projekt trójki wybitnych instrumentalistów zainspirowany muzyką XX wiecznym modernistów jak Witold Lutosławski czy Bela Bartok.
This is the fifth and now final volume in our survey of orchestral works by the Polish composer Witold Lutosławski. Gramophone wrote of a previous volume in the series (CHSA 5106) that it ‘offers a broad view of Lutosławski’s creative profile, which the BBC Symphony Orchestra under Edward Gardner fleshes out with playing that is as polished as it is animated, and alert to the individuality of Lutosławski’s musical vocabulary and mode of expression’.Lutosławski wrote his Symphony No. 1 between 1941 and 1947, but interestingly it does not display any obvious signs of his trying to come to terms with the ordeal that befell his people. Quite the opposite, in fact. Lutosławski himself described the symphony as bright and cheerful, ‘because that was the idea of the composition, which was conceived in the period of independence before the war, but brought into being during the terrible wartime and in far from idyllic post-war years’. At the time, one Polish colleague went so far as to call it ‘fauvist’, so wild and vibrant did it appear to the audiences at its first performance in April 1948.Lutosławski was a meticulous collector of folk materials in the first half of the 1950s, but for him, Dance Preludes was a ‘farewell to folklore’, even though he privately still explored folk tunes for several more years. Here the orchestra and conductor are joined by the clarinettist Michael Collins, an exclusive Chandos artist.As his career developed in the more open environment that emerged after the ‘socialist-realist’ period, Lutosławski began to receive international recognition, and with the Partita (1984, orchestrated 1988), for violin and orchestra, he presented a newly relaxed, more melodic compositional style to the public. The soloist is the exclusive Chandos artist Tasmin Little.Chain 2 (1984 – 85) was premiered by Anne-Sophie Mutter on 31 January 1986 with Collegium Musicum, conducted by Paul Sacher to whom it was dedicated. On this recording Tasmin Little leads the orchestra through a succession of ideas, much as the soloist had done in the ‘Episodes’ movement of the Cello Concerto (recorded on CHSA 5106 with Paul Watkins).
Fryderyk Chopin: życzenie Fryderyk Chopin: Piosenka Litewska Fryderyk Chopin: Melodia (z Gór, Gdzie Dźwigali...) Fryderyk Chopin: śliczny Chłopiec Fryderyk Chopin: Moja Pieszczotka Fryderyk Chopin: Leci Liście Z Drzewa Stanisław Moniuszko: Prządka Stanisław Moniuszko: Powiedzcie Mi Stanisław Moniuszko: Ruta Stanisław Moniuszko: Pieśń Wieczorna Stanisław Moniuszko: Prząśniczka Mieczysław Karłowicz: Zasmuconej Mieczysław Karłowicz: Rdzawe Liście... Mieczysław Karłowicz: Na śniegu Mieczysław Karłowicz: śpi W Blaskach Nocy Mieczysław Karłowicz: Skąd Pierwsze Gwiazdy Mieczysław Karłowicz: I Zamiast Słońc... Mieczysław Karłowicz: Pod Jaworem Mieczysław Karłowicz: Z Nową Wiosną Karol Szymanowski: święty Boże Karol Szymanowski: Jestem I Płaczę Karol Szymanowski: Błogosławioną Niech Będzie Ta Chwila Witold Lutosławski: Morze Witold Lutosławski: Wiatr Witold Lutosławski: Zima Witold Lutosławski: Rycerze Witold Lutosławski: Dzwony Cerkiewne
Witold Lutosławski (1913-1994)
The BBC Symphony Orchestra under Edward Gardner, music director of English National Opera and an exclusive Chandos artist, presents Volume 2 of their Polish Music series; a disc dedicated to vocal works by Witold Lutosławski. They are joined by the soloists Lucy Crowe, Toby Spence, and Christopher Purves in looking at some of the composer’s earlier works for voice and orchestra as well as three major works written after 1960: Paroles tissées, Les Espaces du sommeil and Chantefleurs et Chantefables. Among the earlier pieces, Lacrimosa is the only surviving fragment of an intended Requiem and the only sacred work in Lutosławski’s output. In complete contrast, the Silesian Triptych was written at the height of the post-war Soviet doctrine that called for music that connected with the broad masses. In this folk-based work, Lutosławski takes three Silesian songs about the trials of love, giving them sparkle as well as depth to lift them above the mundanity of everyday life. Both works here feature the soprano soloist Lucy Crowe. When Poland finally emerged from the cultural oppression of the post-war decade, its music scene flourished. For Lutosławski, it was a time for personal development. In the first half of the 1960s his music had a raw energy, but by 1965 it had developed a much more subtle tone. Paroles tissées, in which the tenor soloist here is Toby Spence, simply accompanied by strings, harp, and piano, was the first work really to show this new subtlety in his works. Les Espaces du sommeil, with the baritone soloist Christopher Purves, is another prime example of the new lyrical quality that came to colour many of Lutosławski’s later orchestral works. Chantefleurs et Chantefables is made up of nine charming and humourous songs which, inspired by the collection of childrens’ poems by the surrealist Robert Desnos, explores the vivid imagery and bright colours of the natural world through the innocent eyes of a child.