Juliusz Zarebski: Grande Polonaise in F sharp major, Op. 6
1. Grande Polonaise in F sharp major, Op. 6

Juliusz Zarebski: Les roses et les epines, Op. 13
2. I. Andante con moto
3. II. Presto con fuoco
4. III. Andante con moto
5. IV. Allegro molto (quasi Presto)
6. V. Allegro moderato

Juliusz Zarebski: Berceuse, Op. 22
7. Berceuse, Op. 22

Juliusz Zarebski: Tarantelle, Op. 25
8. Tarantelle, Op. 25

Juliusz Zarebski: Etrennes, Op. 27 (excerpts)
9. No. 2. Valse
10. No. 5. Melodia
11. No. 6. Valse in A major

Juliusz Zarebski: Mazurka
12. Mazurka

Marian Mika - Piano

The CPO label continues its campaign to resurrect forgotten music of the nineteenth century with this disc, and it's come up with at least one winner. Juliusz Zarebski (1854-1885) was a student of Liszt and the recipient of uncharacteristically generous praise from the rather self-centered master. This seems odd at first, for Zarebski's music, though it contains its share of technical difficulties, sounds very little like Liszt, or like Chopin, or the music of other Eastern European virtuosi. The centerpiece here is the five-movement Les roses et les épines (The Roses and the Thorns), and the Liszt connection comes clear when you think about the chronology: Zarebski was working with the aging Liszt, the Liszt who experimented in the fringe areas of tonality and affected (or, who knows, maybe even accepted) a monastic lifestyle. The five movements of Les roses et les épines have free forms and a tendency toward wandering melodies that thicken at times into a quite unexpected exultation. They are quite unusual, and the booklet's claim that they anticipated the coming of Impressionism can't be discounted. (It would be interesting to know how widely diffused Zarebski's music was; he moved on to Belgium from Paris before his untimely death from tuberculosis.) The rest of the music isn't quite so successful; the early Grand Polonaise in F sharp major, Op. 6, suffers from comparison with Chopin's polonaises, and the short pieces of Op. 27, written for student pianists, seem odd choices for a disc intended to introduce a forgotten composer to the world. The booklet is sparse, not giving dates for any works, and not mentioning the mazurka that concludes the disc at all. It might have been nice to know the significance of the title of Les roses et les épines, whose individual movement titles consist simply of Italian tempo indications. Still, Zarebski would seem to be a composer worth getting to know, and Polish pianist Marian Mika's laid-back, dreamy performances are perfectly in tune with the music. ---James Manheim, Rovi

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Kwintet fortepianowy (Piano Quintet) op.34
1.I - Allegro
2.II- Adagio
3.III- Scherzo. Presto
4.IV - Finale. Presto

Róże i ciernie (Les roses et les épines) op.13
5.I - Andante con moto
6.II - Presto con fuoco
7.III - Andante con moto
8.IV - Allegro molto
9.V - Allegro moderato

10. Grande Polonaise op. 6

Wojciech Świtała - piano
Royal String Quartet:
Izabella Szałaj-Zimak I violin
Elwira Przybyłowska II violin
Marek Czech – viola
Michal Pepol – cello

In any talk about 19th-century Polish music two names inevitably crop up: Fryderyk Chopin and Stanisław Moniuszko. Adding a third name into the picture, that of Juliusz Zarębski, all too often provokes astonishment and sometimes even consternation. The fact that Poland boasted such an outstanding composer and pianist, a cosmopolitan artist who studied with Liszt and a citizen of Europe, who followed, in a certain sense, the path of Chopin is not present in the public consciousness. This despite the fact that the high artistic merit of his musical output earned him the top place among Polish composers of the post-Chopin period. Zarębski indeed represented innovative concepts of European calibre which appeared in Polish music in the second half of the 19th century.

Muzyka polska XIX wieku wywołuje bezpośrednie skojarzenia z twórczością dwóch kompozytorów, Chopina i Moniuszki. Poszerzenie tych skojarzeń o nazwisko Zarębskiego zbyt jeszcze często wywołuje zdumienie, a niekiedy konsternację. Fakt istnienia tego wybitnego kompozytora i pianisty, artysty-kosmopolity, ucznia Liszta i obywatela XIX-wiecznej Europy, który powielił w pewnym sensie drogę, jaka była udziałem Chopina, w świadomości ogółu jeszcze nie funkcjonuje. Mimo, że wysoki poziom dzieł zapewnia autorowi Kwintetu fortepianowego g-moll pozycję najwybitniejszego twórcy doby pochopinowskiej, reprezentanta nowatorskich i prekursorskich trendów na poziomie europejskim, które to właśnie dzięki niemu pojawiły się równocześnie w muzyce polskiej II połowy XIX w..... --- Marek Wieroński, bearton.pl

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