Grzegorz Fitelberg - Violin Sonata No. 1 in A-Minor Op. 2 (Gębski, Lim) скачать в хорошем качестве

Grzegorz Fitelberg - Violin Sonata No. 1 in A-Minor Op. 2 (Gębski, Lim)

Grzegorz Fitelberg - I Sonata a-moll na skrzypce i fortepian Andrzej Gębski - Violin/Skrzypce Soyeon Lim - Piano/Fortepian Published in 1894 0:00 - I. Allegro assai 7:34 - II. Andante cantabile 13:42 - III. Allegretto Grzegorz Fitelberg (1879-1953) was born into a Polish-Jewish family in Latvia but would soon move to Warsaw. From 1891--1896, he would study violin with Stanisław Barcewicz and composition with Zygmunt Noskowski. Fitelberg jump-started his musical career very early on. In 1896, at around age 17, he became a violinist at the Warsaw Philharmonic, and he spent his youthful years composing. Most of his youthful works were violin-oriented, and they were very successful. For example, Fitelberg's first violin sonata won an award at the Paderewski competition in Leipzig in 1898 when the composer was only 19 years old. However, when Fitelberg's conducting career took off, his career as a composer took a back seat. Fitelberg would enjoy an active conducting career that would take him across Europe, South America, and North America. He conducted Strauss, Borodin and other works popular in the repertoire at the time, but he made friends with Szymanowski and helped found the "Publishing Company of Young Polish Composers" (Spółka Nakładowa Młodych Kompozytorów Polskich). His membership in the initiative would encourage him to perform his own works along with the works of Szeluto, Szymanowski, Karłowicz, and Różycki. At the outbreak of WW2, Fitelberg fled Warsaw, reaching Paris and eventually finding his way to North America, where he gave fewer concerts than usual, occupying himself with other musical enterprises. He returned to Poland where he taught at the Warsaw Conservatory and later at what is now the Karol Szymanowski Academy of Music in Katowice. He died only a few years later. Of Fitelberg, Witold Lutosławski wrote: "Without exaggeration, one could ascertain that Fitelberg had his own colossal part to play in the Polish musical output at that time. One must realize that it is only thanks to Fitelberg that Polish music is coming to be known around the world" [From culture.pl]. Violin Sonata No. 1 Fitelberg's first sonata was a youthful award-winner. Built on classical models, it contains a sonata form first movement, a slow middle movement, and a finale all with the standard harmonic relationships between themes [2]. After the standard exposition of its two themes - one more pastoral and one quite dramatic - the first movement motivically develops these themes throughout [2]. Piano and violin trade themes across the temporal canvas of the first movement as the listener aches for recapitulation. Finally, something curious happens: the recapitulation is divided in two. The first recapitulation observes the first theme make a chromatic return on its own before the second presents the opening material once again with no change [2]. After the first movement's grappling with its two essential poles ceases, the second movement presents a new conflict. A dreamy, lyrical nocturne takes center stage, but something isn't quite right. Far from a calm, peaceful evening, the A-section of the second movement reveals fragments of nightmares between starlit contemplation. Contrasting the relatively calm A-section, a stormy B-section introduces a new theme amid total chaos (9:50). The uneasiness reaches a frantic peak which is followed by another innovative idea - a recitative highlighting the B-section's theme in the coda which leads to a peaceful cadence [2]. A rondo takes the center stage after dawn pierces through the end of the second movement. Maryla Renat assures us that the finale doubtlessly has folk influences as the standard rondo form of three couplets permeate the construction of the whole movement [2]. Thus, after the doubtful night, a new celebration of life erupts. As with all of the Young Poland composers, nothing can be relentlessly joyful, so Fitelberg writes in some moments of nebulous emotional ambiguity before ending the piece in a sinister A-minor chord. [1] M.Trochimczyk. Review of: Correspondence of Grzegorz Fitelberg from the Years 1941-1953 by L. Markiewicz, A. Labus, S. Polek. The Polish Review, Vol. 50, No. 2, pp. 232-237. 2005. [2] M. Renat. "Twórczość skrzypcowa Grzegorza Fitelberga". Edukacja Muzyczna, no. 12, p. 53-82. 2017.