Józef Wieniawski - Piano Concerto in G-Minor Op. 20 (Setrak) Full Orchestral Score

Józef Wieniawski - Koncert Fortepianowy G-moll 0:00 - I. Allegro Moderato 14:53 - II. Andante 23:05 - III. Allegro Molto Vivace Pianist: Setrak Yavruyan Conductor: Wojciech Rajski Orchestra: Orkiestra Symfoniczna Filharmonii Bałtyckiej Józef Wieniawski (1837-1912) was a virtuoso pianist and the brother of the better-known Henryk Wieniawski. Józef's career diverged from that of his brother when he decided to tour Europe as a pianist. This life, of course, bled into his compositional style. Anna G. Piotrowska notes: "He belonged to a group of pianists who composed for their own needs, normally their concerts" [1]. Piotrowska adds that his compositions are homogenous and there is a single style that can be traced through all of his compositions. Despite this, he tried to incorporate any new pianistic idea that he could for the purpose of "showing off" to the audience [1]. The ultimate goal for Wieniawski was concert attendance, so he focused on virtuosity and technique. Piotrowska intimates that many of these concert pianists' work was well regarded for their time but that their design for a concert audience left them destined for obscurity [1]. It may be the case that pieces designed for the romantic era audience, if they are not great works of art in themselves, could not be successful in any other context. The Piano Concerto Far from the violin concerti of his brother Henryk, this piano concerto is barely played today and is virtually unknown. Józef played it on several occasions in his own concerts both in and outside of Poland [2], and Karol Rzepecki goes as far as saying that it served as a "pillar of development of the form in Polish music in the latter half of the 19th century" [3]. Rzepecki compares this concerto with that of Władysław Żeleński, which he wrote as an old man. Seeming to result from youthful aspirations [3] this concerto is a whirlwind of virtuosity, whereas Żeleński's is much more calm and stately, carrying a classical dignity but igniting with romantic passion in its middle movement. Despite the inherent character of the concerto, it easily stands shoulder to shoulder with other works (eg. Saint-Saëns' first, Rubinstein's first few, Liszt's second, Zarzycki's, etc.) of the time. In terms of reception, the piano concerto was well-received by both critics and audiences [2][3]. Fortunately for Józef, it combined with his other successes to open up a whole new world of contacts as his reputation grew. However, it appeared to some that his ambitions surpassed his skills; a certain critic wrote of him "He lacks strength as a virtuoso and also as a composer. [But] [h]e has his own individuality, melancholy, and befitting fire" [4]. However, after Wieniawski had played three concertos including his own, a review wrote that the audiences listened with "religious suspense" [5]. Another reviewer wrote: "Nevertheless, we owe it to say that as in the development there is always sublimity, dignity, and a sometimes rising strength and also dignity and firmness of character. Most considerable is the the third movement and it is from here that the finale of highest originality comes. Swiftly and vigorously brings to an end what the Allegro movement wonderfully began, and the Andante told with feeling" [6]. Critics praise the concerto for its vigor and the originality of its themes [2][3], but what of Pietrowska's intimations? Is this a concerto destined to obscurity because of Józef's desire to please his audiences or in this case even King Leopold II of Belgium (Important note: this concerto was written and dedicated before the atrocities in the Congo took place, so Józef should not be seen as sympathetic toward the worst of colonization - he simply had a special attachment to Brussels)? In spite of its artistic merit relative to other concertos of the time, we can look toward the other composers mentioned earlier to discover why this concerto is forgotten now. Something Saint-Saëns, Rubinstein, and Liszt had in common were their ability to consistently generate works that achieved the absolute high of artistic merit for their times. On top of that, they were each so prolific that it was virtually guaranteed that something of theirs would stick out in memory to ensure that their outputs would be explored in the future. Wieniawski, who largely imitated Chopin [1], could not boast of such an output. He lacked the equivalent of a Symphony no. 3 for Organ and Orchestra, a Hungarian Rhapsody, or a Piano Concerto no. 4 that would find advocates in every era. Bibliography Pinned