Henryk Pachulski - 3 Pieces For Cello and Piano Op. 4 (Sawicka, Mikolon) скачать в хорошем качестве

Henryk Pachulski - 3 Pieces For Cello and Piano Op. 4 (Sawicka, Mikolon)

Henryk Pachulski - Trzy utwory na wiolonczelę i fortepian Cello: Anna Sawicka Pianist: Anna Mikolon 0:00 - I. A Melody: Andantino 3:12 - II. Fantasy Piece: Non troppo lento 5:31 - III. A Sad Song (Chanson triste): Con moto Henryk Pachulski was a Polish composer, pedagogue, and pianist who is known more for his friendship and correspondence with Tchaikovsky than for his own merits. Today, he is briefly mentioned in Tchaikovsky biographies for two reasons: for his transcriptions of Tchaikovsky's work [1][2] and, more famously, as a brief accompaniment to a description of his brother Władysław. Tchaikovsky praised Henryk for his work transcribing his symphonies [1][2], but Władysław, who acted as a go-between between Tchaikovsky and his patroness, Nadezhda von Meck, is suspected of having played a significant role in severing the relationship between the two [3]. In contrast to his brother whose musical talent Tchaikovsky dismissed [3], Henryk Pachulski was a skilled and well-respected member of Moscow's musical community [4]. He, along with many other Poles who had taken up long-term residence in Russia, had a significant impact on the evolution of Russian pianism [5]. Henryk, in particular, was able to integrate himself with the musical elites of Russian society, securing a teaching position at the Moscow Conservatory while performing in concerts both in and out of von Meck's estate [5]. Of course, one must ask why a Pole ended up having such a prominent position in Russian music. Pachulski, who had built his musical base studying at the Warsaw Conservatory under Stanislaw Moniuszko, Rudolf Strobl, and Władysław Żeleński, graduated in 1876 and went on performing as a pianist and teaching in Warsaw until he heard a concert by Nikolai Rubinstein [5]. The performance stunned Pachulski, who left for Moscow to study with him at the Moscow Conservatory in 1880. Unfortunately, Nikolai, who took Pachulski under his wing and highly esteemed him as a pupil, died the following year, devastating Pachulski and causing him to quit [5]. He gained employment as a music tutor for Von Meck's family but wasn't satisfied with the post. He soon rejoined the Moscow Conservatory where he studied under Anton Arensky, Pavel Pabst, and Eduard Langer - this time getting accepted thanks to Tchaikovsky's recommendation. After graduating, he was hired by the conservatory as an instructor of pianism [5]. Despite Pachulski's position in Russian music, he remained a Pole. In his personal life, he married a Roman Catholic noblewoman, with whom he corresponded in Polish [5]. In his professional life, he worked to propagate Polish music in Russia by organizing concerts that would perform Polish composers, and he often visited Warsaw where he partook in musical activities. As a composer, he wrote a "Solemn March" to mark the 100th birthday of Adam Mickiewicz. In light of his activity in Russia, it is safe to say that Pachulski, while he did move to Russia, did not leave Poland behind. Stylistically, Pachulski was a student of the Romantics. He shows a Schumannesque predilection for the fantastical in his writing along with the gentle poetry of Chopin. Pachulski's unique synthesis, however, comes with his combining of his Polish foundation with his dedication to the Romantics and the new, innovative music coming out of the cosmopolitan musical circles in Russia. In his output, we can hear the influences of Chopin, Schumann, Żeleński, Tchaikovsky, Rubinstein, and Scriabin whose ideas collide and diffuse within each other creating a new sound world. [1] P. I. Tchaikovsky, “Letter 4263,” St. Petersburg, Russia, St. Petersburg, Russia, Nov. 30, 1890. [2] P. I. Tchaikovsky, “Letter 4765,” St. Petersburg, Russia, St. Petersburg, Russia, Sept. 3, 1892. [3] A. Poznansky. Tchaikovsky: The Quest for the Inner Man. Lime Tree. 1991. [4] R. Suchowiejko. Polsko-Rosyjskie Spotkania w Przestrzeni Kultury Muzycznej: XIX Wiek i Początek XX Stulecia. Studia Szkice i Materiały. Wydawnictwo Księgarnia Akademicka. Kraków. 2022. [5] J. Domaga. Wartości Dydaktyczne Utworów Fortepianowych Henryka Pachulskiego w Kontekście Rozwoju Techniki Pianistycznej Dzieci i Młodzieży. Część I. Szkoła Muzyczna im. Stanisława Moniuszki w Gąbinie. Notes Muzyczny. pp 59-86. 2022.