Henryk Wieniawski - Chamber Works (Mikołaj Zgółka; Piotr Pawlak)

Information

Composer: Henryk Wieniawski

1. Obertas. Mazurka, Op. 19 No. 1
2. Allegro de Sonate (Presto), Op. 2
3. Kuiawiak. 2de Mazurka
4. Fantaisie Orientale, Op. 24 (oeuvre posth.)
5. Souvenir de Posen. Mazurka – Caractéristique, Op. 3
6. Légende, Op. 17
7. Gigue, Op. 23
8. Fantaisie brillante sur des motifs de l'opéra "Faust" de Gounod, Op. 20

Mikołaj Zgółka, violin

Piotr Pawlak, piano

Date: 2026

Label: CD Accord

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Description

The persona of Henryk Wieniawski has always — and still does — evoke countless emotions. The last “violin virtuoso,” as he referred to himself, was undoubtedly a central figure of the Polish violin school and one of the most influential musicians in the history of violin playing in general. Existing musical literature contains a number of biographical publications, especially in Polish and Russian, as well as some collaborative works published in German and English. Yet, none of these sources seem to cover his life exhaustively, particularly his performance technique—knowledge that would be invaluable in realizing this recording in the spirit of historical performance.

An attempt to capture the historical aspects of Wieniawski’s performance relies on examining various elements of the playing styles of his contemporaries, as well as both the preceding and following generations. Collecting performance facts, analyzing treatises, reading various accounts, critics’ commentaries, press articles, and even discordant opinions allows one to sketch the main artistic, stylistic, and technical tendencies. Yet, the absolute uniqueness of his playing — as noted from virtually all contemporary observers — remains the most elusive element to capture. This way, Henryk Wieniawski escapes any canon or standardization described in treatises from Louis Spohr’s to Carl Flesch’s, rising to the rank of a natural genius, but also a consciously shaped artist, supported by titanic effort.

Special focus must be given to elements of playing that can be reliably connected with principles of historical performance practice. The violin genius, who died prematurely in 1880, nearly lived to see the phonograph era. One can but deeply regret that the sound of his violin was never immortalized. Nevertheless, the recordings of Paul Viardot, Eugène Ysaÿe, and Hugo Heermann — who were in more or less direct contact with Wieniawski, or who were greatly influenced by him — serve as invaluable references. Characteristic elements such as rubato, vibrato, legato, and portamento techniques were carefully analyzed during preparations for this recording.

A wealth of examples of connecting notes by means of portamento and glissando techniques can be found in early vocal recordings, as opera and vocal practice have long inspired instrumentalists, particularly string players. It was no different in the 19th century, when opera experienced successive periods of vigorous growth across Europe. Consequently, numerous vocal motifs appear in Wieniawski’s works — from the use of folk songs in Souvenir de Moscou and variations based on the Russian and Austrian anthems, to the Fantaisie brillante sur des motifs de l'opéra “Faust” de Gounod, which concludes this album. Thus, the recordings of Lilli Lehmann, muse of Richard Wagner (with whom Wieniawski collaborated before the premiere of his D minor Concerto in St Petersburg), provided an obvious reference. It is astonishing to compare Lehmann’s vocal mastery with the performance aesthetics of the aforementioned violinists and to note the similarities in phrasing, vibrato, and portamento.

Vibrato and portamento techniques are exhaustively described in the 19th century literature, and their artistic employment often gave rise to controversy. Tracing the evolution of these techniques, it appears that vibrato transitioned from being perceived as an ornament — an occasional expressive gesture according to Louis Spohr — to creating a refined sound quality as cultivated by Wieniawski’s most important teacher, Lambert Massart, and finally to the ecstatic effect for which Wieniawski’s playing was renowned. The use of vibrato as a general, permanent effect became widely accepted only in the 20th century, during the era of Fritz Kreisler, who himself described Wieniawski’s vibrato as “an effect attaining previously unseen heights.” Contemporary descriptions of Wieniawski’s playing as remarkably emotional and uniquely expressive suggest that he employed vibrato extensively. Evidence of deliberate and intense vibrato can also be found in the performance markings of the first editions of Wieniawski’s works, published in Kistner’s annex in Leipzig. These meticulously annotated editions frequently indicate vibrato, sometimes even on individual notes, often combined with accentuation — a practice reminiscent of Louis Spohr’s recommendations. Of particular interest is the edition of the Faust Fantaisie edited by August Wilhelmj, used during preparation for this recording, which contains many vibrato markings in cantilena passages.

A fascinating source regarding Wieniawski’s vibrato comes from his conversation in Ostend with the aging Charles de Bériot. The Belgian violinist, with whom Wieniawski was once supposed to study, became famous for a concert during which the sound of his violin seemed to resemble the voice of his late wife, Maria Malibran. The audience would leave the hall, moved to tears but also terrified by this otherworldly effect. Bériot passed the skill of evoking such an extraordinary sound while describing the technique of achieving the bow vibrato with the right hand. Characteristic of the 17th century violin repertoire, somehow, this effect appeared again in the palette of violinistic technical means many years later.

Portamento and glissando techniques are also indicated in Wieniawski’s scores, with detailed remarks found — among others — in the treatise by François-Antoine Habeneck, professor at the Paris Conservatoire, who likely met Wieniawski. Drawing on Giovanni Battista Viotti’s comments, Habeneck presents a meticulous analysis of portamento, emphasizing its aesthetic merit: The fundamental nature of portamento lies in covering the distance between the starting (the bottom) and the destination point (top note) with the finger indicating the point of the starting note. The change of the finger on the destination note should occur at the very last moment. Of course, it is impossible to tell how strictly Wieniawski adhered to those principles, but tracing the development of violinistic technique from the Italian to the French tradition — and Wieniawski’s own innovations — remains fascinating.

One of the primary elements that had to be considered in the preparation for the recording was the question of equipment used by Wieniawski — the instrumentarium, bow type and the thickness of strings. Unfortunately, the available literature is incoherent, and some conclusions and consequences could only be inferred. Records from Wieniawski’s early concerts in Russia mention a beautiful violin with a golden inscription, described as a masterwork of Italian makers. However, these accounts are questionable as Wieniawski did receive a Charles Gand violin with a visible gold inscription upon graduation in Paris, but it was definitely not Italian. It can now be admired in the Museum of Musical Instruments in Poznań. A Russian account mentions an Italian instrument gifted by the Tsar, but Wieniawski, dissatisfied with its condition, turned the offer down.

Other sources report a Stradivarius given by a Petersburgian aristocrat in April 1864, and Wieniawski’s fascination with Charles de Bériot’s Maggini in Ostend reportedly involving a proposed purchase for 20,000 francs — though there is no evidence that it was completed.

Wieniawski spoke fondly of the old Italian masters — Guarneri and Stradivari — valuing them above other European luthiers. For this recording, a Raffaele & Antonio Gagliano violin, built around 1839 in Naples when Wieniawski was four, was chosen. Its unchanged state since the 19th century (aside from obvious elements like pegs, strings, fingerboard, and tailpiece) corresponds well with historical authenticity. Most importantly, the scroll and bass bar remain original.

Regarding strings, research into late 19th-century virtuoso string gauges and Carl Flesch’s suggestions informed the choice: unwound Damian Dlugolecki strings of e=0.65 mm, a=0.85 mm, d=1.11 mm, accompanied by a silver-wound Toro g string of g=1.55 mm were used. While thicker than modern strings, they are thinner than Louis Spohr’s recommendations (e=0.72 mm, a=0.92 mm, d=1.24 mm) and slightly thinner than gauges attributed to Paganini (e≈0.71–0.72 mm, a≈0.87–0.89 mm, d≈1.15–1.16 mm). Flesch prescribes slightly thicker gauges, emphasizing the demands of virtuosity. These string choices support both a rich, deep sound and technical agility.

The regard of Wieniawski’s sound is contrary to the comments about his ‘imperfect’ tone filled with grinding, especially when the bow was abruptly thrown on the strings enhanced by the violinist’s life and artistic motto — il faut risquer! — one must take risks!, which appears in his handwritten notes. This underscores his untamed virtuosity and high artistic standards.

The bow used for this recording is likely a German, anonymous example, made in the 1870s and modelled on a mature Tourte design.

Wieniawski’s concert destinations ranged from California to Siberia, hence he must have performed with countless instruments. Thus establishing a sound determinant was impossible and the piano choice was of great difficulty. Among the ideals set by Érard and Pleyel in Paris, many other firms offering varied sonorities bloomed in a variable fashion with the emerging of new standards set by Steinway. Finally, a 1853 Blüthner model from Leipzig (serial number 924) was chosen for the recording. It was renovated, tuned and maintained during the recordings by Paul McNulty. Again, considering some hypothetical conditions, the instrument was tuned in the Neidhardt temperament of a1=438, reflecting the absence of a standardized equal temperament system in the 19th century and Blüthner’s tuning in the historical context.

The choice of pieces is purely subjective, aiming to showcase different stages of Wieniawski’s compositional development — from the youthful Allegro de Sonate, written with his brother Joseph and dedicated to Stanisław Moniuszko, to the late Fantaisie Orientale and Gigue. These works reflect his evolving style and aesthetic, from technically dazzling early pieces, through nationalistic miniatures (Kujawiak, Obertas, Souvenir de Posen), to operatic grandeur (Faust Fantaisie). The works published postmortem, which contemporary critics also viewed unfavourably, turn out to constitute a bridge to the later epochs. Notably, Fantaisie Orientale reveals Jewish influences observable on this scale only much later in Ernest Bloch’s violin works. On the other hand, Gigue — a modal bourrée rather than a historical dance — likely inspired by Bach’s Sonatas and Partitas for Solo Violin which Wieniawski practiced extensively, but as didactical material rather than concert repertoire, uses Bachian motifs in a way reminiscent of Wieniawski’s student Eugène Ysaÿe’s Obsession Sonata.

Wieniawski inspired his contemporaries and continues to fascinate today; his oeuvre remains a touchstone of violin mastery. With modern advances in technique, equipment, and pedagogy, his works are increasingly accessible. Yet, it is essential to remember the conditions under which Wieniawski functioned: performing on gut strings, constantly traveling, meeting Europe’s most influential figures, admired by some and hated by others, competing with ventriloquists and comedians, and yet encountering legends like Franz Liszt, Charles de Bériot, Richard Wagner, Karol Lipiński, and Stanisław Moniuszko. A father, a man swayed by passions and temptations, afflicted by arthritis before his forties — a genius, virtuoso, and enduring inspiration.

— Mikołaj Zgółka

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Henryk Wieniawski (10 July 1835 – 31 March 1880) was a Polish violinist and composer. A prodigy, he entered the Paris Conservatory at 8 and graduated with the top violin prize by 11. He gained international recognition through extensive concert tours, served as violin soloist to the Russian tsar, and taught at the St. Petersburg and Brussels conservatories. Celebrated for his warm tone, expressive style, and exceptional technique, Wieniawski composed Romantic works that showcased his virtuosity, including two violin concertos, Légende, Scherzo-Tarantelle, Le Carnaval russe and numerous études, mazurkas and polonaises.

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Mikołaj Zgółka is a Polish violinist and scholar. Educated in Poland, Switzerland, and Germany, he has won awards in national and international competitions and performs with leading ensembles, including the Dresdner Festspielorchester, Anima Eterna Brugge and the Wrocław Baroque Orchestra. He is the founder and concertmaster of Pohlnische Capelle, dedicated to reviving the musical heritage of the Saxon courts in Dresden and Warsaw. An acclaimed recording artist and educator, he is Director of the Institute of Instrumental Music at the Academy of Music in Poznań and a recipient of the 2022 Gloria Artis Medal.

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Piotr Pawlak (born 20 February 1998) is a Polish pianist. A graduate of the Academy of Music in Gdańsk and a student at the International Piano Academy Lake Como, he has won major international competitions, including the Maj Lind Competition (2022), and has received prizes at several Chopin competitions. Pawlak has performed at leading concert halls across Europe, Asia and the United States with distinguished orchestras. Alongside his performing career, he is pursuing a PhD in mathematics. In 2025, he released acclaimed chamber and solo recordings featuring works by Józef Elsner and Frédéric Chopin.

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