Ludomir Różycki - Cello Sonata op. 10 (Krzeszowiec) скачать в хорошем качестве

Ludomir Różycki - Cello Sonata op. 10 (Krzeszowiec)

Ludomir Różycki - Sonata na wiolonczelę i fortepian Composed in 1910 Cellist - Adam Krzeszowiec Pianist - Anna Krzeszowiec Audio Source:    • Ludomir Różycki - Sonata a-moll op.10...   0:00 - I. Allegro molto 6:48 - II. Andante 10:39 - III. Allegro molto 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. After graduating from the Warsaw Conservatory, 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. Cello Sonata Ludomir Różycki's cello sonata is a work of an intimate, personal character. Desolation, loneliness, despondency, and longing all feature in this genuine confession of the heart. I. Allegro molto This is the desert; the first theme already plunges the listener into a desperate atmosphere of dashing about, trying to cobble something together and the second theme looks back at the efforts of the first with a desolate sigh. Nevertheless, the energy of the piano texture drives the subject forward, from a burst of constructive energy (1:03) that carries subject onward. Then frustration and chaos threaten the aspirations of our hero (1:55). The return of the cello restores a sense of calm before a despondent pause (2:32) that looks around and asks 'what is it all for?' The question echoes a bit, carries on, and at the low D in the cello, spirits reach a new low. As the D continues, signaling continued despondency, the piano continues, signaling the continuity of the subject's life work. Following a renewal of spirits toward the longed-for goal (3:36), the spiritual inner life of the subject begins to buckle as the meaning begins to escape (3:42). Różycki teases another renewal, but then the trapdoor falls open, and the dark night of the soul begins as the subject loses sight of everything. Sighs continue with a character suggesting even loneliness, as if in the attempt to cobble together some meaning has left him/her alone against all of the privations of the world. Only the chords at 6:08 resound with any hope; the final chords of the cadence sound in abject hopelessness. II. Andante This is that sweet breeze in the dog days of summer that rejuvenates the whole of one's being. Fortunately, music has such an abstract character that the emotion communicated by this movement could find its source in any number of concrete experiences - the presence of a loved one, a hike along a mountain stream, a confession, or a spiritual experience all imbibe the consolation that the gentle, rocking piano and the passionately singing cello reflect in the subject. But because Różycki often favors stark contrasts when he cannot fully immerse the listener in misery, the cello briefly sings its pathos even in this radiant, warm movement (9:38). III. Allegro molto Finally, this is the spiritual transfiguration, the daybreak. Bursting with energy, the cello promises renewal to the listener before the hurried desperation returns. The subject's work continues but with more resolution this time. With hope, the longing melody repeats the question 'why?' (11:24). In response, a prayer made from one of Różycki's most beautiful melodies gives an answer (11:47). In the Christian spiritual tradition, it is said that an ascetic has the "gift of tears" when one cries during silent, contemplative prayer; the piano accompaniment gushes with similar hopefulness. As the subject continues his work with renewed vigor, the answer sticks in his mind, and even the continued threats to this meaning, represented by a theme with similarities to the earlier 'prayer' theme which indicate its privative nature (13:12), are, themselves, rendered meaningless by the 'prayer' theme, and his work continues vigorously.