Szymanowski - Piano Music

BIS: BISCD1137

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Szymanowski - Piano Music

Label:

BIS

Catalogue No:

BISCD1137
(BIS-CD-1137)

Discs:

1

Release date:

2nd Feb 2009

Barcode:

7318590011379

Length:

77 minutes

Medium:

CD (download also available)
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Szymanowski - Piano Music


Szymanowski:

Piano Sonata No. 3, Op. 36

Masques (3), Op. 34

Métopes Op. 29 (Trois poèmes pour piano)

Mazurkas (2), Op. 62

Mazurka, Op. 50 No. 9

Mazurka, Op. 50 No. 10

Mazurka, Op. 50 No. 11

Mazurka, Op. 50 No. 12


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The impressionistic Métopes was composed in 1915, following a visit to Sicily. The title refers to the spaces on a classical frieze in which a sculptor would add decorative scenes, and each section depicts a character and location from Homer‘s Odyssey. One year later came the trilogy Masques, which portrays the story-telling Shéhérazade, an episode from the legend of Tristan and Isolde and a Sérénade de Don Juan. Soon after these examples of programme music, the composer returned to pure sonata form in the Third Sonata, his last major work for solo piano. This remains based in Impressionism, but also achieves a synthesis between that and the style of earlier works

Karol Szymanowski: Piano Sonata No. 3, Op. 36

Piano Sonata No. 3, Op. 36

Karol Szymanowski: 20 Mazurkas, Op. 50

No. 9. Tempo moderato

No. 10. Allegramente - Vivace - Con brio

No. 11. Allegretto

No. 12. Allegro moderato

Karol Szymanowski: Maski (Masks), Op. 34

No. 1. Szecherezada (Scheherezade)

No. 2. Blazen Tantris (Tantris the Clown)

No. 3. Serenada Don Juana (Don Juan's Serenade)

Karol Szymanowski: Metopy (Metopes), Op. 29

No. 1. Wyspa syren (L'lle des Sirenes)

No. 2. Kalipso (Calypso)

No. 3. Nauzykaa (Nausicaa)

Karol Szymanowski: 2 Mazurkas, Op. 62

No. 1. Allegretto grazioso

No. 2. Moderato

BBC Music Magazine

April 2009

****

“Roland Pöntinen's generously filled and beautifully engineered recital features three of Szymanowski's most exotic and harmonically daring middle-period works together with a handful of Mazurkas that were composed near the end of his life. The Swedish pianist gives very persuasive accounts of these later more emotionally restrained pieces projecting their melodic lines with great sensitivity without disrupting their natural dance-like flow.”

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