Ludomir Różycki - Violin Concerto op. 70 (Nowicka, Rychert) скачать в хорошем качестве

Ludomir Różycki - Violin Concerto op. 70 (Nowicka, Rychert)

Ludomir Różycki - Koncert na skrzypce i orkiestrę Composed in 1944 Violin: Ewelina Nowicka Orchestra: Polish National Radio Symphony Orchestra Conductor: Zygmunt Rychert. 0:00 - I. Andante 7:55 - II. Allegro deciso Biography Ludomir Różycki (1883 - 1953) was born to a musical family. His father was a professor at the Warsaw Conservatory, and his mother was musically talented. Naturally, Różycki would study at the Warsaw Conservatory with Aleksander Michałowski who taught piano technique, Gustaw Rogulski and Michał Biernacki who taught theory, and with Zygmunt Noskowski who taught composition. He graduated the conservatory in 1904 with high honors. He later went on to study with Engelbert Humperdinck at the Academy of Arts in Berlin. After graduating from the Warsaw Conservatory, Różycki's compositional career took off. His symphonic scherzo "Stańczyk" premiered in 1904 at the Warsaw Philharmonic, conducted at the time by Emil Młynarski. In 1905, he, along with Karol Szymanowski, Grzegorz Fitelberg, and Apolinary Szeluto, founded the "Publishing Company of Young Polish Composers" (Spółkę Nakładową Młodych Kompozytorów Polskich). The group was primarily concerned with composing and promoting new Polish music abroad. In 1918, he settled in Warsaw where he would remain for most of his life. For ten years after his return, he focused on composition and then became a professor at what is now the Frederic Chopin University of Music. At the same time, he led a renewal of organizational and publishing activity for the publishing company. During the Nazi occupation, the cultural life of Poland was carried out in underground movements. The musical life was no different. Różycki contributed as a pianist and accompanist in this underground movement. After the Warsaw Uprising, most of Warsaw was reduced to ashes, along with many of Różycki's works. After the destruction of Warsaw, he took shelter in Kraków and settled in Katowice. He spent the rest of his life reconstructing the pieces that had been destroyed. The Violin Concerto Janusz Wawrowski's reconstruction of this concerto garnered quite a bit of press two years ago once it was completed. The story surrounding this concerto is really quite compelling. As it goes, Różycki was working in occupied Warsaw and engaging in forbidden cultural activities in the Polish Underground as the Warsaw Uprising broke out. Różycki fled and threw the manuscripts to this violin concerto into a suitcase which he buried. After the war, construction workers found the suitcase and rescued the manuscripts, making this piece a kind of war survivor. So the concerto has a kind of miraculous backstory connected to one of Poland's most desperate historical events, but what of the music? Wawrowski in an interview mentioned two important elements: 1) The emotional departure from the environment in which the work was conceived and 2) the feel of the concerto and its place in its time. As far as the first point goes, one need only look to Różycki's Pieta on the Ashes of Warsaw to feel the depth of horror and sadness Różycki felt at the capture of his city by the Nazis. Despite the occupation, as Wawrowski indicated in his interview, the concerto is uncharacteristically bright for a Różycki piece. Wawrowski later pointed out that despite the overall brightness of the concerto, the environment peeks its head into the work. According to Wawrowski, "...there are also sounds of fighting, of artillery; perhaps they are the sounds of the Uprising." As a cultural artifact to be placed in its epoch, Wawrowski remarked decisively that the concerto "sound like Korngold." Indeed, with lyrical, soaring lines, dramatic and unorthodox harmonies, and emotional climaxes (17:25!), the concerto fits in well with the kind of music that was being written in early Hollywood. However, Wawrowski tied the style of the concerto to Tchaikovsky because of its neo-romantic flavor and the "military character" of the second movement. Combined with the Pieta (which would serve as a very fitting "third movement" for this concerto given the historical context), this work helps to reflect one of the deepest antinomies of human history that is most effectively concretized by the Warsaw Uprising - On the one hand: the knowledge of the price of human life in the context of loving something so meaningful that one's life is drawn up into that meaning and becomes an offering to it, and on the other hand: the cold, gory, and vengeful reality of having to pay that price and the destructive, retributive effect that it can have on the surrounding innocents. It is the love that sacrifices itself for the beloved and threatens to destroy it in the process. In contemplating it, one can only sigh with relief that Warsaw rose from the ashes in the end. Link to the interview: https://stringsmagazine.com/like-korngold-...