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Karolina Piątkowska-Nowicka|Penderecki, Bacewicz & Tansman: Works for Violin & Piano

Penderecki, Bacewicz & Tansman: Works for Violin & Piano

Karolina Piątkowska-Nowicka, Bogna Czerwińska-Szymula

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Idioma disponível: inglês

All three works for violin and piano on this album grow from the same root – they were written by three of the most outstanding 20th Century Polish composers: Grażyna Bacewicz, Alexandre Tansman and Krzysztof Penderecki. They also share the cyclical construction pattern stemming from Franck, even though the attitude to the form differs from one composer to another, and the relationship between violin and piano is also shaped differently. Perhaps the common denominator is the transcendent musical content permeating these three artists hailing from a common musical, cultural and national environment. Bacewicz’ Sonata No. 4, written in 1949, reveals certain neoromantic features despite the fact that it was created in the composer’s neoclassical and folkloric period. In terms of pure emotions, this sonata is an extremely varied work, sometimes highly energetic, sometimes dreamy and lyrical, and at times even humoristic. Tansman’s Fantasy, written 1963, remains in the neoclassical style, with forms such as Divertimento in the first movement, Fugue in the third, Canon in the fifth and Scherzo in the last. However the music flows with innovative content. The predominant factor is the composer’s concern for sound colour, which contributes to the unique atmosphere of the work. Penderecki’s Second Sonata which closes the album was composed in 1999. The extended five-movement cycle is built like an arch form, in which the central place is occupied by the contemplative Notturno. Its musical language constitutes a synthesis of the composer’s ideas at that time. Despite the fact that the work uses the whole twelve-tone scale, he clearly treats it in a melodic and harmonic way. © SM/Qobuz

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Penderecki, Bacewicz & Tansman: Works for Violin & Piano

Karolina Piątkowska-Nowicka

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Violin Sonata No. 4 (Grazyna Bacewicz)

1
I. Moderato
00:05:07

Grazyna Bacewicz, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

2
II. Andante ma non troppo
00:04:45

Grazyna Bacewicz, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

3
III. Scherzo: Molto vivace
00:03:19

Grazyna Bacewicz, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

4
IV. Finale: Con passione
00:05:20

Grazyna Bacewicz, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

Fantaisie for Violin & Piano (Alexandre Tansman)

5
I. Divertimento
00:03:10

Alexandre Tansman, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

6
II. Elegie
00:04:17

Alexandre Tansman, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

7
III. Fuga
00:02:17

Alexandre Tansman, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

8
IV. Improvisazione
00:02:50

Alexandre Tansman, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

9
V. Canon
00:01:23

Alexandre Tansman, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

10
VI. Finale: Scherzo
00:03:04

Alexandre Tansman, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

Violin Sonata No. 2 (Krzysztof Penderecki)

11
I. Larghetto
00:04:23

Krzysztof PENDERECKI, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

12
II. Allegretto scherzando
00:04:15

Krzysztof PENDERECKI, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

13
III. Adagio
00:12:08

Krzysztof PENDERECKI, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

14
IV. Allegro
00:09:25

Krzysztof PENDERECKI, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

15
V. Andante
00:04:01

Krzysztof PENDERECKI, Composer - Karolina Piątkowska-Nowicka, Artist, MainArtist - Bogna Czerwińska-Szymula, Artist

(C) 2018 DUX (P) 2018 DUX

Resenha do Álbum

All three works for violin and piano on this album grow from the same root – they were written by three of the most outstanding 20th Century Polish composers: Grażyna Bacewicz, Alexandre Tansman and Krzysztof Penderecki. They also share the cyclical construction pattern stemming from Franck, even though the attitude to the form differs from one composer to another, and the relationship between violin and piano is also shaped differently. Perhaps the common denominator is the transcendent musical content permeating these three artists hailing from a common musical, cultural and national environment. Bacewicz’ Sonata No. 4, written in 1949, reveals certain neoromantic features despite the fact that it was created in the composer’s neoclassical and folkloric period. In terms of pure emotions, this sonata is an extremely varied work, sometimes highly energetic, sometimes dreamy and lyrical, and at times even humoristic. Tansman’s Fantasy, written 1963, remains in the neoclassical style, with forms such as Divertimento in the first movement, Fugue in the third, Canon in the fifth and Scherzo in the last. However the music flows with innovative content. The predominant factor is the composer’s concern for sound colour, which contributes to the unique atmosphere of the work. Penderecki’s Second Sonata which closes the album was composed in 1999. The extended five-movement cycle is built like an arch form, in which the central place is occupied by the contemplative Notturno. Its musical language constitutes a synthesis of the composer’s ideas at that time. Despite the fact that the work uses the whole twelve-tone scale, he clearly treats it in a melodic and harmonic way. © SM/Qobuz

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