Ludomir Różycki - Piano Quintet Op. 35 {Studio} (Plowright, Szymanowski SQ) скачать в хорошем качестве

Ludomir Różycki - Piano Quintet Op. 35 {Studio} (Plowright, Szymanowski SQ)

Ludomir Różycki - Kwintet fortepianowy Composed in 1913 0:00 - I. Lento - Allegro moderato 13:54 - II. Adagio - Andante 28:04 - III. Allegro giocoso 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. 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. The Quintet Różycki's style in composing is quite characteristic, and almost all of the features of this quintet can be found across Różycki's other chamber and piano works. Arpeggios within the frame of quarter notes, arpeggios that divide the beat differently from one beat to the other, polyrhythms, chromatic harmonies, bouncing melodies between instruments, unison, slow melodies that accelerate quickly toward the end, etc. all serve as the technical framework for Różycki's pieces. Looking at the score with his other works in mind yields plentiful comparisons. After a brief motific introduction, Różycki begins his quintet with a unison Gregorian theme serving as a frame for arpeggios in the piano, which is characteristic of Różycki's music. After the first exposition, he adds counterpoint in the cello and viola and alternates the direction of the arpeggios. Stormy octaves in the piano interrupt the calm of the 1st theme, and more and more alterations intensify the now hectic and frenzied first theme until the unison returns (1:56). Even the courageous unison soon breaks into chromaticism (2:06), and a variation on the opening motif follows, transitioning to the gentle 2nd theme which echoes the first exposition of the unison theme (3:01). After the chaos of the 1st theme's development, the 2nd's development establishes a prayerful, contemplative mood, but Różycki warps it into something serious and grief-ridden (5:31). With more and more violence and sinisterisms, the 2nd theme's development continues to intensify until a brief fragment of the 1st theme dispels the brooding (8:45) and takes over again beginning bravely but dissolving quickly into tragedy. From the slowing of the tragedy of the 1st theme group, the 2nd is reborn in prayerful contemplation. The opening motif reappears (13:01), transformed to fit the 2nd theme, to usher in the coda where the 2nd theme dominates, but a few sinister tremolos (13:19) foreshadow the 2nd movement. Pensive laments in the strings and heavy chords in the piano open the solemn, tortured 2nd movement, which seems to indicate that the thoughts that drew out the intense worries and earnest prayers in the 1st movement manifested. The first few minutes of the movement are steeped in abject misery, and the initial laments that follow after the cello's cry in the first few bars only intensify until the tremolos return in grinding, heartbroken grief (18:23). In spite of the gravity of emotion the subject is experiencing, peace returns like the stillness after a total, cathartic breakdown (20:05). Miraculously, the melody in the climax of this prayerful section which gives way to glittering beauty shares some characteristics with the lament (21:14). Of course, the pain returns (22:58) and the sinister tremolos die away before the coda's funeral march begins (26:31). The coda features one of the many peaks of negative emotion, but it coldly resolves into something downcast yet even. Like in the later piano concerto in g-minor, the third movement features some of the most joyful and playful music of the piece, but the emotion of the past is not forgotten. While dance rhythms and resolute melodies ring out, the music recollects the violence and heartache in new ways (30:04, 31:09, and perhaps most gravely at 32:45 which evokes the 1st theme through its use of unison). After the core-shaking intrusion of the memories finds its peak (35:13), the light, gleeful moment at hand breaks in once again (36:17), but the cycle of recollection happens again with a tone hinting toward final resolution. Unison pierces the fog as the recollections crumble and the old themes are wrapped into new joy (39:51).