Henryk Wieniawski - Violin & Piano Works (Bartłomiej Nizioł; Waldemar Malicki)

Information

Composer: Henryk Wieniawski

1. Scherzo-Tarantelle in G minor, Op. 16
2. Polonaise de concert in D major, Op. 4
3. Legende, Op. 17
4. Capriccio-Valse in E major, Op. 7
5. Theme original varié, Op. 15
6. Polonaise brillante in A major, Op. 21
7. Fantasie brillante sur "Faust" opéra de Charles Gounod, Op. 20

Bartłomiej Nizioł, violin

Waldemar Malicki, piano

Date: 2003

Label: DUX

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Description

Henryk Wieniawski’s entire life was interwoven with the rich culture of the 19th century. Described as "the most ideal representative of the Belgian-French school" (review by Jenö Hubay, Budapest 1877), Wieniawski exchanged his talent for large sums of money, travelled without rest, befriended artists and kings and evoked whole-hearted admiration. He was treated on a par with Paganini and Joachim.

Wieniawski was born in 1835 in Lublin. His father was a surgeon; his mother was extremely musical and could play the piano quite well. After some lessons at home and with the best teachers in Lublin, the eight-year-old Wieniawski was admitted to the Paris Conservatoire to the class of Lambert Massart. This was possible solely on account of his formidable talent as the rules did not provide for the admission of students of that age. At the age of eleven he completed the course, winning the grand gold medal of distinction. Upon graduation, Wieniawski continued his studies under Massart for two years, until 1848, when he began his career as a virtuoso with a concert in St. Petersburg as a mark of gratitude for a Tsarist grant.

In the years 1850-1855, Wieniawski performed extensively in Poland, the Russian empire and throughout Europe with his brother Józef, the talented pianist. Their successes were the result of not only the inevitable attraction of the child prodigy on the concert platform but of the genuine and noble musical sensitivity of the two boys, supported by their high-calibre performance skills. This was stressed in the reviews of the time. In later years Henryk Wieniawski performed with other pianists of whom Anton Rubinstein and Anton Door became his greatest friends. For twelve years Wieniawski held the post of court violinist to Tsar Alexander II in St. Petersburg. He performed in salons and the emperor’s theatres, played at concerts of the Russian Musical Society, taught at St. Petersburg’s Conservatoire and devoted his annual holidays to concert tours across Europe.

Wieniawski resigned his post following an unpleasant incident after which he fell foul of the Tsarist authorities and was banned from visiting Warsaw. He spent the next two years touring the United States. Having returned to Europe, he performed in some of the continent's most prestigious concert halls. The tough concert schedule and strenuous social life, including a passionate addiction to gambling, were hardly beneficial for Wieniawski's frail health. He suffered from arthritis and asthma. Invited by Nikolay Rubinstein to perform in Moscow, he developed a heart condition. After several months in a hospital, he died there on March 31, 1880. He is buried at the Powązki Cemetery in Warsaw.

A great virtuoso, Henryk Wieniawski composed from an early age. Even though the principal purpose of his compositions was the display of his own dazzling brilliance, they are by far superior to most of the music that was mass produced in his lifetime. This was acknowledged by the composer Stanisław Moniuszko and the majority of competent critics of the time who highly appreciated the pensive mood, subtle lyricism and the loving exposure of the Polish national spirit in Wieniawski’s music.

Première polonaise de concert in D major Op. 4, dedicated to the violin virtuoso and composer Karol Lipiński (1790-1861), dates back to around 1852. Even though the piece belongs to Wieniawski’s early period, it is an exquisitely-crafted composition. Its slow movement (in B minor) and the Più lento (in B flat major) are vivid proofs that already early in his life Wieniawski was equally keen to develop an ability to write gentle, graceful and somewhat affectionate music as he was eager to polish his virtuoso skills.

Thème original varié Op. 15, written in 1854, was dedicated to Raymond Dreyschock. The piece is a good example of a melancholy, romantic style popular in the middle of the century. A simple theme in the rhythm of a gavotte, preceded by extended cadenzas and introductions, is then subjected to transformation no more than three times, before giving way to a waltz in the fast finale. The charming character of the piano accompaniment in the first variation is evidence of Wieniawski’s interest in the sound structure of the entire piece and not only in his own violin part.

Polonaise brillante in A major Op. 21, dedicated to Carl XV, the King of Sweden and Norway, was composed around 1870. It is an example of Wieniawski’s fully mature style, characterised by a clarity and coherence of musical ideas. In the vigorous outer sections, the composer proves to be a true master in employing the vast possibilities of the violin. Wieniawski’s ability to produce a truly powerful sound out of this delicate instrument was highly appreciated by the musicians and critics of his time.

Capriccio-Valse in E major Op. 7, dedicated to Teresa Milanollo, dates back to 1852. Listening to this salon piece, whose form fits neither the variation nor rondo pattern, is like having a personal encounter with the composer, whose personal charm was fondly recalled by all who had a chance to know him.

Légende pour violon avec accompagnement d’orchestre ou de piano composée et dédiée à sa femme née Isabelle Hampton par Henri Wieniawski Op. 17 was written around 1860 and dedicated to the composer’s wife. Legend about the Légende has it that Wieniawski composed it to convince his future father-in-law that with his talent and skills he was able to ensure his family a prosperous and interesting life.

Fantasie brillante sur "Faust" opéra de Charles Gounod Op. 20, dedicated to the King of Denmark, was written in 1865. All the greatest 19th-century virtuosos were keen to write paraphrases and fantasies on themes from works by their masters and contemporaries. In this piece, the fans of the Gounod masterpiece will recognize the aria of Valentine, the monologue of Faust and Siebel's aria, the song of Mephistopheles, and the aria of Faust with his duet with Marguerite – all this beautifully blended together and subjected to variation.

Scherzo-Tarantelle in G minor Op. 16, dedicated to Lambert Massart, Wieniawski’s teacher at the Paris Conservatoire, dates from 1855. No great virtuoso can do without a pinch (or more) of madness. This is what the Scherzo-Tarantelle is all about. The racing passages in the outer sections of the Tarantelle which are bound to evoke the admiration of the more fiery ladies are brought to a brief halt in the central section in order to move to tears the more tender listeners. Over a hundred years after the extravagances of the steam age, this composition by the 20-year-old Wieniawski continues to make a profound impression on listeners with its simplicity and perfection of the violin texture.

— Kacper Miklaszewski, translated by Michał Kubicki

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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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Bartłomiej (Bartek) Nizioł (born 1974 in Szczecin) is a Polish violinist. He studied in Poznań and Lausanne, then gained international recognition after winning several prestigious violin competitions, including the Henryk Wieniawski, Adelaide, Pretoria, Eurovision and Marguerite Long–Jacques Thibaud competitions. Nizioł has performed with leading orchestras worldwide under renowned conductors and has toured extensively across Europe, Asia, Africa and South America. He is also an accomplished chamber musician, received the Echo Klassik Award in 2015. He performs on a 1727 Giuseppe Guarneri del Gesù violin.

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Waldemar Malicki (born 1958) is a Polish pianist, educator and television presenter. A graduate of the Academy of Music in Gdańsk, he has performed with leading orchestras and renowned artists across Europe, the Americas and Japan. His extensive discography includes around 40 recordings, earning multiple FRYDERYK Awards. Malicki has taught masterclasses internationally is founder of the Society of Ignacy Jan Paderewski. He is also widely recognized for creating innovative television and concert productions that blend classical music, improvisation and humour, making classical music accessible to broad audiences.

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