Wojciech Gawroński - Sonata for Viola and Piano Op. 22 (Murawski, Starzec-Makandasis) скачать в хорошем качестве

Wojciech Gawroński - Sonata for Viola and Piano Op. 22 (Murawski, Starzec-Makandasis)

Wojciech Gawroński - Sonata na altówkę i fortepian Marcin Murawski - Viola Pianist: Anna Starzec-Makandasis 0:00 - I. Allegro moderato 8:06 - II. Adagio sostenuto (con molto sentimento) 14:38 - III. Allegro risoluto Wojciech Gawroński (1868-1910) was another member of that Polish class of composers that was trained by Zygmunt Noskowski. Gawroński showed tremendous pianistic ability and possessed a glittering treasury of creative compositional thinking in the context of the Romantic Era, but he died a year before Mahler, keeping him from seeing the great transformation that music would undergo in the decades to come. While he didn't write with the color of Karłowicz or the pioneering spirit of Szymanowski, his works display a creativity that finds a unique voice within the framework of the romantics whose poetry he recited at the keyboard and emulated with the stroke of his pen. In Gawroński's day, his compositions, mostly comprised of chamber and solo piano pieces, garnered praise and won litanies of awards, but now, his work is near totally forgotten. Composers like Gawroński who peek into the future are seldom remembered as well as those who leap headlong into it. Qualifications must always flow whenever a talent like Gawroński's is juxtaposed with the musical revolution that broke so many barriers. Gawroński was an adept pianist from an early age, and he went on to study with Noskowski, Strobel, Leszetycki, Müncheimer, and Moszkowski. He always kept Schumann, Liszt, Bach, and Chopin in his repertoire, all of whom projected an evolution into the future. A sensitive student of Chopin and Liszt will inevitably see connections to neoclassicism, impressionism, and, of course, little glimpses of the total break in tonality found in the 2nd Viennese School. Gawroński and composers like him floated gently down the currents started by the great romantics while others amplified them. In music, there really is no correct approach to progress, but history better remembers those who build new things out of the old. Gawroński built more of the old with somewhat novel approaches, but it will always be fit to dwell upon the immortal ideas that undergird the grand old romantic tradition.