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Penderecki: Concertos for Viola & Violin

Penderecki: Concertos for Viola & Violin


Penderecki:

Viola Concerto

version for saxophone

Pawel Gusnar (saxophone)

Violin Concerto No. 2 'Metamorphosen'

Sergej Krylov (violin)


Polish Sinfonia Iuventus Orchestra, Krzysztof Penderecki & Maciej Tworek

The challenge constituted by composing concertos in the 20th and 21st centuries seems to suit the temperament of Krzysztof Penderecki, who is a worldwide renowned master of musical drama. On this CD, the variety of approaches to the solo part (in the concerto role we can hear the saxophone and the violin) and its meaning to the creation of form meets with the composer’s characteristic inclination to compose – as he said it himself – “yet […] for a particular instrument, but at the same time «beyond it».” This is the case of the Viola Concerto composed in 1983, which on this present CD, you can hear in the saxophone version transcribed by Paweł Gusnar.

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Penderecki: Concertos for Violin & Cello, Piano & Trumpet

Penderecki: Concertos for Violin & Cello, Piano & Trumpet


Penderecki:

Concertino for Trumpet and Orchestra

Aleksander Kobus (trumpet)

Double Concerto for violin, viola (cello) and orchestra

Jakub Haufa (violin) & Marcel Markowski (cello)

Piano Concerto 'Resurrection'

Szymon Nehring (piano)


Polish Sinfonia Iuventus Orchestra, Krzysztof Penderecki & Maciej Tworek

The original version of Penderecki’s Double Concerto (2012) was composed in order to meet Julian Rachlin’s requirements, a violinist and violist who dreamt of a piece in which he could record both solo parts by himself. “A double concerto is a kind of great music and Penderecki referred in his work to truly unique compositions for such a line-up that are still performed on stage, i.e., the Sinfonia Concertante by Mozart and the Concerto for Violin and Viola by Britten” – said Rachlin in one of his interviews. The violin and cello version of the piece presented on the CD, in turn, directs us towards, for example, the Concerto for Violin and Cello by Johannes Brahms or – from the closest perspective – to the Double Concerto by Philip Glass. Therefore, one could say that the historic tradition of the both considered versions of the double concerto’s line-ups was enriched with one “supra-instrumental” Penderecki work.

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Bottigliero: Cancion (Song)

Bottigliero: Cancion (Song)


Bottigliero, F:

Das Spanische Mädchen

Suite Del Regreso

Ewa Majcherczyk (soprano)

Canción


Francesco Bottigliero (piano). Daniela Cammarano (violin), Adam Krzeszowiec (cello)

"I would like to say thank you very much to all my fantastic friends engaged in the preparation of this album, all these outstanding artists who patiently supported me, accompanying me during rehearsals and recordings: thank you Daniela, Ewa , Adam! A warm and passionate voice of Ewa, poetry of Adam's sound, and Daniela's artistic interpretation of colors and Latino rubato completely fulfilled all my expectations. The decision to compose tonal music in our times entails a risk - one could be considered an unoriginal and anachronic artist. Each time it i sa matter of choice; in my case the need to communicate with the recipient of the work is perfectly realized within the harmonic tonal system. Sometimes there arise some doubts, whether I do not repeat something that had already been done, or do not reiterate the things that had already been said long time ago. Such uncertainty destroys the creative process and is an obstacle that one has to overcome on his artistic way. Despite that I hope that I succeeded at creating something new and that hte hearers of my music will also find in it, apart from emotions, new and fresh characteristics of my musical language. Being "recognizable" is one of the msot beautiful aims of a composer! (Francesco Bottigliero)

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Dux - DUX1252

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Camerata Silesia sings Szymanski

Camerata Silesia sings Szymanski


Camerata Silesia

Music can, perhaps more than the other arts, capture something of the mystery described with the term sacrum; this topic has been discussed for ages and some have tended at times to adopt this hypothesis. This other dimension permeates the universe of the human with his mortality and probably also the one of nature with its cyclical self renewal: untouchable, crumbling into nothingness when no one tries to reach it, explored yet impenetrable, it constitutes a sphere towards which spells, prayers, and pleas have perpetually been directed. The creative tension between ritual and its cultural sublimination, art, has resulted in masterworks created by the force of the human imagination: masses by Guillaume de Machaut and Bach, the Requiems of Johannes Ockegham, Morales, Mozart, and others. Pawel Szymanski has referred to this tradition in his works for voices and instruments almost from the very beginning.This new release focuses on the music of Szymanski, and features his works Lux aeterna (1984), Miserere (1993), In paradisum deducant te Angeli (1995) and Phylakterion (2011). Pawel Szymanski currently lives and works as a freelance artist in Warsaw.

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Dux - DUX1223

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Pawel Szymanski: Dissociative Counterport Disorder

Pawel Szymanski: Dissociative Counterport Disorder


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John Tilbury & Zygmunt Krauze: Grand Tour

John Tilbury & Zygmunt Krauze: Grand Tour


Cardew:

Solo with Acompaniment

Krauze:

One Piano Eight Hands

Riley:

Keyboard Study, No. 2

Sikorski:

Echoes II

Wolff, C:

Tilbury 3


John Tilbury (piano/upright piano), Zygmunt Krauze (piano/upright piano), Szabolcs Esztenyi (piano/upright piano), Hubert Zemler (percussion/upright piano)

The Musical Workshop started in Warsaw in 1963. At first the band closely cooperated with Polish Radio Experimental Studio, where it gave concerts. During this time there was no set members list – players changed, as did the repertoire. Four permanent members emerged in 1967 and from then on, the Musical Workshop was made up of a clarinetist, a trombonist, a pianist and a cellist. This album is not trying to reconstruct a forgotten phenomenon but these performances are what could have happened had these musicians met in the 70’s. This serves to reaffirm the album’s main message – that the Musical Workshop’s ‘prehistory’ was an absolutely key period in its life.

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Dux - DUX1288

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Music for Clarinet by 20th-Century Polish Composers

Music for Clarinet by 20th-Century Polish Composers


Bauer, J:

Toccatina

Dobrowolski:

Music for magnetic tape and solo bass clarinet

Kisielewski:

Intermezzo

Knittel:

Punkty/Linie

Krzanowski:

Trifle for accordion and bass clarinet

Lutosławski:

Dance Preludes for Clarinet and Piano

Perkowski:

Sonata

Przybylski, B:

Saggio di sounare

Serocki:

Taniec (Dance)

Swider:

Capriccio


Mariusz Barszcz (clarinet), Piotr Saciuk (piano), Jacek Michalak (accordion)

Mariusz Barszcz, clarinettist and teacher, was born in Kielce in 1971. He studied with Piotr Niećko at the State Music School in his native town and with Ryszard Ryczel at the Music Academy in Łódź, from which he graduated with distinction in 1996. In 1994-2000 he developed his skills with Alojzy Szulc in Warsaw. This new CD opens with Serocki’s little masterpiece, the composer’s last work directly inspired by Polish folklore and leads into works by some of Polands most distinguished modern composers, including Penderecki and Lutosławski.

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Dux - DUX1258

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French Fascinations - Music for Violin & Piano

French Fascinations - Music for Violin & Piano


Bauer, J:

Invocazioni

Borkowski:

Images II for any solo string instrument

Franck, C:

Violin Sonata in A major

Rudzińsky:

Sonata pastorale

Twardowski:

Niggunim - Chasidic Melodies


Roman Lasocki (violin), Urszula Bozek-Musialka (piano)

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Piazzolla & Szmerek

Piazzolla & Szmerek


Piazzólla:

Concerto for Bandoneon, Guitar & Orchestra 'Hommage à Liege'

Jakub Niedoborek (guitar), Elwira Śliwkiewicz-Cisak (accordion)

Escualo

Tanguedia

Szmerek:

Fantazja for accordion and chamber orchestra

Elwira Śliwkiewicz-Cisak (accordion)

Concerto for accordion and chamber orchestra

Elwira Śliwkiewicz-Cisak (accordion)

Lubelska Orkiestra Kameralna


Kwintet Tanguillo

Astor Piazzolla (1921-1992) changed the face of music, being an influential composer, bandoneon virtuoso, and the creator of tango Nuevo. His pieces exude the rhythm of tango, the flourishing virtuosity of French romanticism, and elements of jazz and Baroque. + Composer and teacher Adam Szmerek (b. 1948) began by composing literary song, and has received multiple awards for his settings of poetic texts. + Accordionist Elwira Sliwkiwiecz-Cisak leads this group of musicians. A graduate of the Fryderyk Chopin Academy of Music in Warsaw, she is a winner of the fourth prize at the All-Polish Accordion Competition 1985.

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Dux - DUX1278

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Marian Borkowski: Solo Works

Marian Borkowski: Solo Works


Borkowski:

Toccata for piano

Marcin Tadeusz Lukaszewski (piano)

Images II for any solo string instrument

Patrycja Piekutowska (violin)

Psalmus per organo

Andrzej Chorosinski (organ)

Interludes Romantiques for piano

Marian Borkowski (piano)

Vox for any solo wind instrument

Zdzislaw Piernik (tuba)

Visions I for cello

Tomasz Strahl (cello)

Fragmenti for piano

Andrzej Dutkiewicz (violin)

Spectra for solo percussion

Stanislaw Skoczynski (percussion)


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Dux - DUX1279

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