Henryk Wieniawski (1835-1880)

1. Polonaise brillante A-dur op. 21
2. Legenda op. 17

    Józef Wieniawski (1837-1912)

    Sonata d-moll op. 24
3. I. Allegro moderato
4. II. Andante religioso
5. III. Scherzo. Allegro appasionato ma non troppo presto
6. IV. Finale. Allegro appassionato ma non troppo presto

Patrycja Piekutowska – violin
Edward Wolanin – piano

The renown of Polish composer Henryk Wieniawski is typically confined to his very popular, sweepingly Romantic violin concerto, the rest of his compositions having generally fallen from the concert stage. On this album, violinist Patrycja Piekutowska and violinist Edward Wolanin revive not only two Henryk Wieniawski's works, but also introduce the works of Henryk's brother, Józef Wieniawski. For only being two years apart in age, the music of the two brothers could not be more different. Henryk's works, particularly the A major Polonaise, are extremely ostentatious and overtly virtuosic, while Józef's D minor Violin Sonata is much more introspective, melancholy, and melodious. Piekutowska's playing in Henryk's pieces is generally strong, although in the more technically demanding sections it sounds as if she's working very hard to get the job done. Rapid arpeggios, up-bow staccatos, and rapid ornamentation are too often met with a forced, shrill sound. Her playing is much more successful in Józef's Sonata, where long lines, lush melodies on the lower strings, and sweeping arches dominate over demonstrations of technical mastery. Either way, the introduction to Józef's music and the revival of some of Henryk's music alone make this album worthwhile to collectors and especially for violinists seeking to discover additional repertoire. --- Mike D. Brownell, Rovi

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Violin Concerto No. 1 in F sharp minor, Op. 14
1.   I. Allegro moderato  	16:08
2.   II. Preghiera: Larghetto  	04:56
3.   III. Rondo: Allegro giocoso  	07:23
Violin Concerto No. 2 in D minor, Op. 22
4.   I. Allegro moderato  	12:01
5.   II. Romance: Andante non troppo  	04:44
6.   III. Allegro con fuoco: Allegro moderato  	06:15

7.   Fantaisie brillante on themes from Gounod's Faust, Op. 20  	18:41

Marat Bisengaliev – violin
Polish National Radio Symphony Orchestra
Antoni Wit - conductor

Henryk Wieniawski was born in Poland in 1835 and became one of the great prodigies making his concerto debut in St Petersburg at the age of thirteen. He subsequently lived in France before taking up the appointment as solo violinist to the Czar of Russia and teacher at the St Petersburg Conservatoire.

He was to write just two violin concertos, both of which are included in this stunning new recording with the virtuoso Kazakhstan violinist, Marat Bisengaliev, as soloist.

The disc is completed by one of the great showpieces for violin, the Fantaisie brillante on themes from Gounod's 'Faust', a work which only the very greatest virtuoso players would even begin to attempt. Here it is given a performance of the utmost brilliance and panache with the Polish National Radio Symphony Orchestra in fine form as his 'backing group'. --- naxosdirect.com

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01. Souvenir de Moscou Op.6 [7:07] 
02. Capriccio-valse in E major Op.7 [6:32] 
03. Variations on an original theme Op.15 [11:53] 
04. Polonaise brillante Op.4 [5:37] 
05. Le carnaval russe Op.11 [7:10] 
06. Gigue in E minor Op.23 [2:37] 
07. Saltarello (arr. Lenehan) [1:42] 
08. Mazurka Op.19 no.2 - Village Fiddler [3:35] 
09. Mazurka Op.19 no.1 - Obertass [2:09] 
10. Mazurka Op.12 no.2 - Polish Song [3:47] 
11. Mazurka, Kujawiak [2:43] 
12. Légende Op.17 [7:47] 
13. Scherzo-tarantelle Op.16 [4:35] 

Marat Bisengaliev, violin
John Lenehan, piano

The Polish violinist Henryk Wieniawski began his career as a virtuoso in earnest in 1851. His compositions were principally for his own use and include two important violin concertos as well as a number of virtuoso pieces designed to display his technical and lyrical musical accomplishments. Starting with a flourish, the Souvenir de Moscou allows the violin an exhibition of virtuosity, before the lyrical melody at the heart of the piece is heard. Le carnaval russe allows the violinist-composer to exploit relatively simple thematic material with all the technical virtuosity at his command, including astonishing feats of left-hand pizzicato and the favourite contemporary virtuoso device of accompanying a melody on one string with a tremolo on the string below. --- naxos.com

The violin showpieces of Wieniawski still turn up sometimes as encores, but there are few discs devoted entirely to them. They're fun. Wieniawski (1835-1880) must have been a brilliant violinist to write so well for the instrument, and he came up with some very catchy tunes and never pushed them too far. Marat Bisengaliev, who comes from Kazakhstan, is a very elegant violinist with a seamless technique. He plays these pieces for their musical value instead of showing off his zippy fingers. Since some of these works were meant for showing off, though, this lovely disc isn't the ultimate Wieniawski collection, but it will do until that is recorded. --Leslie Gerber, amazon.com

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1	Scherzo-Tarantelle g-moll op. 16 	4:07			
2	Polonaise No. 1 In D Major, Op. 4 D-dur op. 4 	5:12			
3	Legende op. 17 	7:49			
4	Capriccio-Valse E-dur op. 7 	5:21			
5	Theme Original Varie op. 15 	11:39			
6	Polonaise brillante A-dur op. 21 	8:16			
7	Fantaisie Brillante On Themes From Gounod's Faust, Op. 20	16:43			

Bartłomiej Nizioł – violin
Waldemar Malicki – piano

Henryk Wieniawski was considered a violinist of genius and wrote some of the most important works in the violin repertoire, including two extremely difficult violin concertos, the second of which (in D minor, 1862) is more often performed than the first (in F♯ minor, 1853). His L'École moderne: 10 Études-caprices is a very well known and essential work for aspiring violinists. His Scherzo-Tarantelle, Op. 16 and Légende, Op. 17 are also frequently performed works. He also wrote two popular mazurkas for solo violin and piano accompaniment (the second one, Obertas, in G major), using techniques such as left-hand pizzicato, harmonics, large leaps, and many double stops. ---answers.com

Violinist Bartek Niziol was born in Stettin, Poland, in 1974 and studied under the supervision of Jadwiga Kliszewska in Poznan and Pierre Amoyal in Lausanne. He attended Master Class courses led by Zachar Bron, Ruggiero Ricci, Mauricio Fuks and Michael Frischenschlager.

Whilst still studying in Poznań in 1991 he won first prize at the International Henryk Wieniawski Violin Competition, as well as first prize at the International Violin Competition in Adelaide. In the following year he also won first prize at the International Violin Competition in Pretoria, Eurovision in Brussels, and the Marguerite Long-Jacques Thibaud Competition in Paris.

,P> These awards enabled him to debut as soloist with orchestras such as English Chamber Orchestra, Orchestre Philharmonique de Radio France, NDR Hamburg, New Japan Philharmonic, Sinfonia Varsovia and Tonhalle-Orchester Zürich. Conductors with whom he has worked as soloist include Yehudi Menuhin, David Zinman, Marek Janowski, Heinrich Schiff and Krzysztof Penderecki.

Concert tours have taken Bartek Niziol to Asia, Africa, South America and throughout Europe. The New York Times has described his playing as having masterful control and a beautifully singing tone. As a passionate chamber musician he has appeared alongside such Musicians as Pinchas Zuckermann, Elisabeth Leonskaja and Sol Gabetta, and in August 2011 he was invited to perform with Martha Argerich at the famous “Chopin and his Europe” festival in Warsaw.

Bartek Niziol is the leader of the Valentin Berlinsky Quartet (founded in Zürich in 2010) Bartek Niziolʼs CD recordings of Wieniawski, Bacewicz and the 6 Ysaye Solo Sonatas have won him the prestigious “Fryderyk Prize” at Polandʼs recording industry awards. Since September 2008 Bartek Niziol has been a professor of violin at the Bern Hochschule der Künste. He also sits on the Jury for the International Henryk Wieniawski Competition in Poznan as well the Instrumental Competition of Migros Culture in Zürich.

He has a special interest in the development of young talent, and to this effect in 2009 he founded the “International Master Class” festival in Piła, Poland, whose artistic director he has been ever since . Bartek Niziol plays a 1727 violin by Giuseppe Guarneri del Gesu. ---bartekniziol.com

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  Violin Concerto No.1 in F sharp minor Op. 14
1.    I   Allegro moderato
2.    II  Preghiera. Larghetto
3.    III Rondo. Allegro giocoso

4.    Fantaisie brillante sur "Faust" opéra de Charles Gounod

  Violin Concerto No. 2 in D minor Op. 22
5.    I   Allegro moderato
6.    II  Roams. Andante ma non troppo
7.    III Finale. Allegro moderato (à la zingara)

8.    Kujawiak in A minor
9.    Obertas No. 1 Op. 19

    Vadim Brodsky - violin
    Wielka Orkiestra Symfonicxna Polskiego Radia i Telewizji w Katowicach
    Antoni Wit - conductor (1-4, 8, 9)
    Tomasz Michalak - conductor (5-7)

Henryk Wieniawski was one of the most remarkable violin players of the 19th century. He graduated in Paris Conservatory at the age of 11(!) as the youngest graduate in the school's history. He performed in nearly every European country and in the U.S.A. with great success and achieving great fame. He sacrificed his last years to pedagogics teaching at the Brussels Conservatory. He also, starting at a very young age, found time to compose. Among the approximately 50 pieces he wrote the most important works are the two violin concertos - I Koncert fis-moll / CONCERTO NO. 1 IN F SHARP MAJOR and the II Koncert d-moll / CONCERTO NO. 2 IN D MINOR. Both have a strongly virtuosic character, yet they also contain many beautiful melodical themes. The bravado and very popular Fantazja na motywach z opery 'Faust' Charlesa Gounoda / FANTASIE BRILLANTE SUR "FAUST" OPERA BY CHARLES GOUNOD was reinstrumented for the orchestra by Vadim Brodsky, the performer of the solo parts on all pieces featured on this disc.

Vadim Brodsky is a very interesting character - a Russian with Polish citizenship, living in Italy, a very talented violin player, the winner of the prestigious HENRYK WIENIAWSKI COMPETITION in Poznan in 1977, the author of arrangements of "The Beatles" for violin and orchestra. Wieniawski's works are an important part of his rich concert repertoire, including the smaller compositions like the dances featured on this disc - the famous KUJAWIAK IN A MINOR and the lively OBERTAS, where many references to the Polish folk music can be found. The soloist is accompanied by one of the best Polish orchestras - POLISH RADIO NATIONAL SYMPHONY ORCHESTRA directed by Antoni Wit and Tomasz Michalak (on the II Koncert skrzypcowy d-moll op. 22 / VIOLIN CONCERTO NO. 2 IN D MINOR OP. 22). --- culture.pl

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1. 8 Etudes-Caprices Op. 18 : A Minor (arr. Kreisler)	Itzhak Perlman/Samuel Sanders	1:33
2. 2 Mazurkas Op. 19 : No.1 Obertass	Itzhak Perlman/Samuel Sanders	2:06
3. Polonaise No. 2, Op.21 	Itzhak Perlman/Samuel Sanders	8:40
4. Polonaise No. 1 in D Op. 4 	Itzhak Perlman/Samuel Sanders	4:41
5. Scherzo-tarantelle in G Minor, Op.16 	Itzhak Perlman/Samuel Sanders	4:32
6. Violin Concerto No. 1 in F Sharp Minor, Op.14 : I. Allegro moderato	Itzhak Perlman/London Philharmonic Orchestra/Seiji Ozawa	15:21
7. Violin Concerto No. 1 in F Sharp Minor, Op.14 : II. Preghiera (Larghetto)	Itzhak Perlman/London Philharmonic Orchestra/Seiji Ozawa	5:20	
8. Violin Concerto No. 1 in F Sharp Minor, Op.14 : III. Rondo (Allegro giocoso)	Itzhak Perlman/London Philharmonic Orchestra/Seiji Ozawa	7:09
9. Violin Concerto No. 2 in D minor Op. 22 : I. Allegro moderato	Itzhak Perlman/London Philharmonic Orchestra/Seiji Ozawa	11:19	
10. Violin Concerto No. 2 in D minor Op. 22 : II. Romance (Allegro non troppo)	Itzhak Perlman/London Philharmonic Orchestra/Seiji Ozawa	5:05	
11. Violin Concerto No. 2 in D minor Op. 22 : III. Allegro con fuoco - Allegro moderato (à la Zingara)	Itzhak Perlman/London Philharmonic Orchestra/Seiji Ozawa	5:52

Itzhak Perlman (Violin)
Samuel Sanders (Piano)
London Philharmonic Orchestra
Seiji Ozawa – conductor

"Poor Wieniawski!", Tchaikovsky wrote to their mutual patroness Nadezhda von Meek. "I reckon him very gifted. . . . His charming Legend and a few parts of the D minor concerto give evidence of a serious creative talent". When he died, in Moscow in 1880, not yet 45, one of the great talents of nineteenth-century violin virtuosity was lost; he is the link between the Franco-Belgian school and the modern Russians, who have always followed Tchaikovsky in holding him in great honour. He was the first violin professor at Anton Rubinstein's new Conservatory in St Petersburg in 1862; his assistant was Leopold Auer, who followed some of his methods and was the teacher of Elrnan, Heifetz and Zimbalist. His work and his music are directly connected to a style of violin playing we may still hear on our concert platforms today.

The music, too, could do with an occasional airing. The Second Concerto has not lacked enthusiasts to echo Tchaikovsky's admiration; and it is, indeed, easy to see how the easy lyrical line and the gipsy exuberance of the finale would appeal to Tchaikovsky. The First Concerto, in F sharp minor, earns a dismissive comment in the current edition of Grove, I see, which seems less than fair: the middle movement, a Preghiera, is a dark, intense and very beautiful movement and the finale has a lively kick to it, a sense of joie de vivre and of joy in mastery of the instrument. It is obviously very much the music of the man of whom the young Hubay could write (in a translation of a notice written for a Budapest paper in 1877), "Wieniawski is equally far removed from German sentimentality and Italian exaggerated sweetness of which Paganini himself was not free. Even in moments of highest emotion and ardour he never transgresses elegance of style and noble taste".

The latter sentence could well describe Perlman's glowing performances. Perlman captures the warmth and fervour and brilliance and the more than slight salting of showmanship which are part of what is also a genuine lyrical gift. This is superb playing of superb virtuoso music, well worth attention from many music-lovers to whom Wieniawski can be hardly more than a name. The recording is suitably warm and vivid. --- Gramophone [5/1973, reviewing the original LP release of the two concertos], arkivmusic.com

Słuchałem juz paru wykonań koncertów Wieniawskiego. Wszystkie są brawurowe i wirtuozowskie (Nizioł, Pławner, Shaham). Ale to wykonanie, zachwyca tą niepowtarzalną barwą skrzypiec Perlmana i ich "mięsistym" brzmieniem. Chciałoby się po prostu zanurzyć w tej muzyce i żeby świat przestał istnieć. Gorąco polecam! ---Mariusz Polomka, merlin.pl

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1. Wieniawski: Concerto for Violin and Orchestra no.1 in F sharp minor op.14 - 1. Allegro moderato	15:15
2. Wieniawski: Concerto for Violin and Orchestra no.1 in F sharp minor op.14 - 2. Preghiera. Larghetto		4:58
3. Wieniawski: Concerto for Violin and Orchestra no.1 in F sharp minor op.14 - 3. Rondo. Allegro giocoso		7:17
4. Wieniawski: Concerto for Violin and Orchestra no.2 in D minor op.22 - 1. Allegro moderato		12:18	
5. Wieniawski: Concerto for Violin and Orchestra no.2 in D minor op.22 - 2. Romance. Andante non troppo		5:05	
6. Wieniawski: Concerto for Violin and Orchestra no.2 in D minor op.22 - 3. Allegro con fuoco-Allegro moderato (à la Zingara)		6:31	
7. Wieniawski: Legende, Op.17 - Andante - Allegro moderato - Tempo I		7:41
8. Sarasate: Zigeunerweisen, Op.20 - Moderato - Lento - Un peu plus lent - Allegro molto vivace 9:02

Gil Shaham – violin
London Symphony Orchestra
Lawrence Foster – conductor

Good violin music and good music are not always the same thing, and Wieniawski's violin works are a case in point. Though extremely effectively written for the soloists, in most other departments--orchestration, melodic interest, formal ingenuity--they remain distinctly second-rate, which may be why they seem to have fallen out of favor recently. Given great fiddling, however, they can be made to sound like great music, and Gil Shaham is unquestionably a great fiddler. He glides through the quick music with the ease of an Olympic bobsled champion, and injects real soul into Wieniawski's meditative moments. Sarasate's works offer many of the same strengths and weaknesses as Wieniawski's, and Shaham dispatches the music's numerous technical challenges with similar boldness and zest. There's always room in the catalog for playing that is this accomplished. ---David Hurwitz, amazon.com

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