Grażyna Bacewicz’s popular three-movement ”Concertino” is intended to be performed by young violin students. The piece does not impose high technical. Grażyna Bacewicz: Concertino in G, for violin and piano – Play streams in full or download MP3 from Classical Archives (), the largest and. Grazyna Bacewicz: Concertino For Violin And Piano (Violin, Piano Accompaniment, Grazyna Bacewicz, PWM, Books, PWM) en-GB.
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Preis der Deutchen Schallplaten Kritiknomination.
Fryderyk Awardnomination. The orchestral heart of her output as a composer is the seven concertos she wrote for her own instrument, the violin, and as this superbly played selection from them shows, they are wonderfully idiomatic works, colourfully scored and always interesting formally.
The sequence runs in reverse chronological order on the disc; it begins with the seventh and last of the concertos, completed infour years before her death. By then Bacewicz had absorbed what she required from all the trends of postwar European music and synthesised it into an attractive idiom of her own, supple and keenly expressive. I sincerely hope that this magnificent recording of three of her violin concertos will put her on the map among orchestral concert programmers.
I really do think that Chandos has performed a huge service to a great composer byrecording these works, and the joyous performances of Kurkowicz, who is clearly enraptured by the music, are matched by the brilliant Polish Radio Symphony Orchestra under Lukasz Borowicz.
May we now have No. The soloist was evidently very much engaged in this project also clear from her very interesting notes in the bookletand the fact that Chandos took nine!
The Polish engineers made a beautiful, clear and transparent recording. I would very much like to hear Joanna Kurkowicz in the already mentioned Szymanowski concerts: And that is an extraordinary achievement in these very difficult works.
This CD is a winner in all respects: Just go and buy it! Not only that, but she is a first-class virtuoso with technique to spare, and an obvious love and exceptional feel for this music. Under conductor Lukasz Borowicz, the Polish Radio Symphony Orchestra join her in making a strong case for everything here, and prove what an accomplished group of musicians they are with their deft handling of these challenging scores. The balance between the soloist and numerous highlighted instrumental groups, including the full orchestra, is immaculate.
It is just this rich but focused tone that humanizes what it can in the Seventh Concerto, while Kurkowicz easily finds the edge necessary to deal with the finale to the First Concerto. There are no other easily available choices in any of these works, however, and Kurkowicz sets a standard for committed playing that will be difficult to match, let alone beat. This wider recognition has largely come about as a result of an increasing stream of recordings, none more so than in this, the one hundredth anniversary year of her birth.
Earlier in it was Chandos that celebrated the centenary. Kurkowicz, recognized virtuoso … navigates this material with astounding ease. Das Ergebnis der Aufnahmen ist beeindruckend und sicher ganz im Sinne der Komponistin. Olympia release Lasocki however, in terms of sound quality cannot compete with the new Chandos CD, which is superbly clean and clear, and Kurkowicz brings many unique qualities of her own her thoughtful, probing account of the first movement cadenza is entirely representative of her committedexploratory approach.
Indeed, in all three concertos, she is brilliant and engaging soloist, with warm and intelligent playing, alert to every nuance of the often quirky and demanding solo parts.
This disc is strongly recommended. Polish composer Grazyna Bacewicz is considered by some to be one of the foremost female composers ever, and this recording on Chandos proves this point. Her lush writing for both the Violin and Orchestra are seen here in full force.
Joanna Kurkowicz plays exquisitely througout the disc, and the Polish Radio Symphony supports her wonderfully. This was nice surprise and is a must have item for violin fans! Despite her premature death at the age of fifty-nine, she produced more than two hundred compositions, including four symphonies, seven violin concertos, seven string quartets, five sonatas for violin and piano, concertos for piano, two pianos, and viola, and numerous works for chamber orchestra and full orchestra.
The idea of the present recording, of bringing together Violin Concertos Nos 1, 3 and 7, came to me after the simple realisation that these fabulous works for violin belong among the masterpieces of the violin repertoire and should be known worldwide.
Yet, they are virtually unknown, especially outside Poland. The Overture, suggested for this project by conductor Lukasz Borowicz, seemed a perfect companion for the violin concertos. It is a beautiful display of orchestral virtuosity and powerful rhythmic driving force.
Written by a violinist who knew the technical challenges of the instrument, these works are indeed difficult. But at the same time they seem natural and convey musical ideas with absolute clarity. It is obvious that Bacewicz herself studied each passage from the kinaesthetic point of view to provide the best solution for achieving the desired sound.
Grazyna Bacewicz – MUGI
Her choices of sonorities, articulations, tempos — even fingerings — in the musical text suggest a deep understanding of the instrument, which draws me even closer to her music.
Indeed, her musical style grew from the nature of her personality. Bacewicz wrote about herself: Nature bestowed on me a certain talent and also a little something that enables me to use this talent. Deep inside I possess a minuscule, invisible motor that allows me to accomplish a task in ten minutes, that would take others an hour or more.
Thanks to it, I run, not walk. I speak fast, even my pulse beats faster than normal, and I was born two months premature…. As a musician and as a person, I identify myself with this statement. I love the lightness and excitement of the oberek, rondo and Vivace movements of these concertos. That energy resurfaces in the ferocious virtuosity of the Vivo of Violin Concerto No.
Their lyricism and melodic identity are precious for me, an American artist though a native of Poland, longing for familiar musical syntax.
Bacewicz does not limit her exploration of folk sources to slow movements; in the third movement of Concerto No. The most complex and sophisticated work on this recording — and my personal favourite — is Violin Concerto No.
Here, Bacewicz shows a unique colouristic imagination, and the effect is stunning. The second movement in particular transports me to a world of surreal narrative, articulated by her resourceful orchestral instrumentation and, in solo passages, her brilliant use of dynamics, harmonics, sul ponticello technique, and combinations of trills and glissandos.
The inventiveness of Concerto No. For me personally, this recording project is a celebration of a supremely talented composer and her fascinating, captivating works for the violin.
I speak fast, even my pulse beats faster than normal, and I was born two months premature… As a musician and as a person, I identify bavewicz with this statement.