Classical

Karol Kurpinski – Concerto for Clarinet and Orchestra

2010-01-01T15:04:49Z

Karol Kurpinski – Concerto for Clarinet and Orchestra


1. Clarinet Concerto B-dur

Ludwik Kurkiewicz – clarinet
Bydgoszcz Philharmonic Orchestra
Zbigniew Chwedczuk – conductor

Kurpinski, whose first teacher was his father, showed early promise and became an organist at Sarnow at the age of 12. In 1800 he joined the private orchestra of F. Polanowski as a second violinist. Around this time he composed his first opera, =Pygmalion=, which is now lost. He enjoyed many musical distinctions throughout his career, including a position as principal conductor of the Warsaw Opera and service as Kappelmeister of the Polish Royal Chapel in 1819. His compositions consist mostly of operas and polonaises and some of his operas are still performed today. He was an important musical figure in Warsaw and helped to form the basis for the development of Polish Romantic music. His contributions include the introduction of new musical devices and the use of more intense dramatic expression. His work combines the innovations of European music of the period with the folklore of his native Poland. ---Lynn Vought, Rovi

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Kurpinski - Clarinet Concerto · Lessel - Piano Concerto (1999)

2012-08-22T16:49:17Z

Kurpinski - Clarinet Concerto · Lessel - Piano Concerto (1999)


1. Kurpinski - Overture Zamek na Czorsztynie
2. Kurpinski - Clarinet Concerto
3. Lessel - St.Cecilia Cantata
4. Lessel - Piano concerto - I. Allegro brillante
5. Lessel - Piano concerto - II. Adagio
6. Lessel - Piano concerto - III. Allegretto

Pawel Stolarczyk – clarinet (2)
Monika Mych – soprano (3)
Michal Zambrzycki – tenor (3)
Krzysztof Szumanski – bass-baritone (3)
Emilian Madey – piano (4 – 6)

Polish Orchestra (1 – 6) and Choir (3) Jeunesses Musicales
Ewa Strusinska – conductor (3)
Lukasz Borowicz – conductor (1,2,4-6)

This is a recording of two prominent Polish composers who worked and lived during the early to mid part of the 19th century. The music can be said to be heavily influenced by that of both Mozart and Haydn. In fact,Lessel was a pupil of Haydn. The music notes are available in both Polish and English. These are both extensive and very well-written. Included are also short biographies of the performers. One nice feature is that it lists all the members of the orchestra and what respectively plays. Especially noteworthy is the performance of the pianist Emilian Madey. He plays very passionately yet with a masculine touch that makes for a great performance. The sound quality is outstanding. Highly recommended indeed. 5 out of 5. --- Bjorn Viberg, amazon.com

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Kurpinski, Lessel – Chamber music (1999)

2013-06-29T15:57:48Z

Kurpiński, Lessel – Chamber music (1999)

Karol (Kazimierz) Kurpiński
1. Fantaisie pour quatuor à cordes in C major
2. "Dumanie nad mogila Wandy" in B minor for violin and piano

Franciszek Lessel
3. Faintaisie en quatuor in C major
4 – 5. Adagio et Polonaise in D major for violin and piano, Op. 9
4. Adagio
5. Polonaise
6. String Quartet No.1 in A major: Allegro moderato
7 – 9. Piano Trio in E major, Op. 5
7. Allegro brillante
8. Rêve. Adagio
9. Rondo: Allegro di molto

Pawel Perliński – piano
Wilanów String Quartet:
Tadeusz Gadzina – 1st violin [tracks 2, 7–9]
Pawel Łosakiewicz – 2nd violin [track 3]
Ryszard Duź – viola
Marian Wasiółka – cello

Acte Préalable continues its exploration of little-known and, up to now, unheard Polish repertoire. Their rapidly-growing catalogue contains some of the better-known Poles - Chopin being an obvious example - as well as a smattering of releases of Bartók and Beethoven. However, with the apparent embarrassment of musical riches to be found in Poland, they have chosen to stick with a continuing string of world-premiere recordings of Polish composers both new and old. Here we have what might be the final instalment of Lessel’s chamber music. Much was considered lost, and his first string quartet — only one complete movement has survived — was a rather recent discovery.

As mentioned in my previous review, Lessel studied with Haydn over the years of 1799-1809 and was considered one of his more talented pupils. Haydn fans will find much to like in this music. Born in Warsaw to a musical family - his father was also a composer - Lessel served as Kapellmeister in Pulawy, but went to Vienna at the age of 19 to study medicine. Little is known about this period of his life, but it is evident that music won out over medicine, in that his studies with Haydn took place very shortly thereafter. According to the liner-notes, the first string quartet was composed soon after beginning his studies with Haydn at the age of twenty. The piece certainly bears the mark of Haydn’s influence; a cheerful allegro moderato with a lovely sense of balance.

The Op. 5 Trio in E also does not stray far in structure and sound from Haydn, beginning with a rollicking upward major scale. The development section moves us into a brief stormy passage before setting us back into the sunny security of the first theme. The slow movement, titled "Rêve," begins with the piano as the violin and cello play quiet pizzicati. The violin soon joins in, but Marian Wasiolka’s cello holds the spotlight best in this movement. The final movement, a rondo, sports some pleasant surprises with its rapid shifts, tinged with Polish folk music elements and occasional strumming.

Opening the disc are two pieces by the little-known Karol Kurpinski. Five years Lessel’s junior, he seems to have more of an eye looking forward to the tension of Beethoven over the balance and poise of Haydn; not to say that these pieces don’t have a sense of balance. It is their somewhat greater focus on rhythmic drive that seems to point to Beethoven. Opening the disc is the C major Fantaisie, which opens rather sternly, in minor mode, and often returning to it. From the outset, the Wilanow quartet give us some beautiful playing — the whole disc is wonderfully performed — and the recording aesthetic is clean and clear. The writing here in this piece, less so in the short piece that follows (translated as Musing Over the Tomb of Wanda), reminds me of the work of Dobrzynski, on an earlier Acte Préalable release I reviewed, which seems yet a further step toward early and middle-period Beethoven.

Overall, for fans of early Beethoven, Haydn, and Hummel, this is certainly a recording worth a listen. Of recent review discs I’ve received, this has spent the most time in my car during commutes, and at home — an eminently enjoyable release. ---David Blomenberg, musicweb-international.com

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