570987bk Lutoslawski US:570034bk Hasse 4/12/08 11:53 AM Page 4

Janácˇek’s Violin Sonata was written in 1914-15 and movement closes in utter resignation; the last statement of given final revision in 1921. The work has some the chorale theme in the violin, accompanied by high characteristics of a traditional sonata but it also brought a tremolos of the piano, represents the Russian invasion into LUTOSŁAWSKI new, unique tone into the repertoire, partly thanks to the Hungary in 1914. Janácˇek’s counterpoint was perhaps dark colours of its tonality, Janácˇek’s favourite key of A conservative but his use of texture and register, the flat minor. The second movement is a poignant ballad; the juxtaposed blocks of material comprised of compelling Complete Music for third movement a scherzo which is desperate rather than melodies and bursts of motion, were unprecedented. playful. Both outer movements of the sonata depict urgency, whereby the first ends with resolution while the final Ariadne Daskalakis Violin and Piano

Ariadne Daskalakis ˇ Ariadne Daskalakis was born in Boston. Her teachers were Eric Rosenblith in Boston, Szymon Goldberg at the Juilliard SZYMANOWSKI JANÁCEK School and Ilan Gronich and Thomas Brandis in Berlin. She holds degrees with honours from Harvard College and the Hochschule der Künste Berlin, and is prizewinner of competitions including the ARD Munich International Competition Myths Violin Sonata 1998 and the St. Louis Symphony Young Artists Competition 2000, the same year she became Professor for Violin at the Cologne Musikhochschule. Her repertoire ranges from Baroque, with her period instrument Ensemble Vintage Ariadne Daskalakis, Violin • Miri Yampolsky, Piano Cologne and the Manon Quartet Berlin, to Modern, with performances at festivals for contemporary music in Boston, Berlin, Munich and Vienna. She collaborates often with her husband, Sebastian Gottschick. She has concertized

Photos by Marte worldwide as chamber musician and soloist, including appearances with the English Chamber Orchestra, the Munich Radio Symphony, the Athens National Symphony, the Ensemble Oriol Berlin and the Cologne Chamber Orchestra. Numerous recordings document her artistic versatility. She plays a violin by Giovanni Baptista Guadagnini from 1769. Miri Yampolsky Miri Yampolsky studied piano with Leon Fleischer at the Peabody Conservatory of Music, with Dmitri Baschkirov in Madrid and with Michael Boguslavski and Hannah Shalghi in Tel Aviv. She also worked with Alfred Brendel, Radu Lupu, Gilbert Kalish and Christoph Eschenbach. She won the José Iturbi International Piano Competition in Valencia C and the International Music Competition of the ARD Munich in 1998, and was a Scholarship Recipient of the America Israel Culture Foundation from 1985 to 1995. She has concertized in Israel, Europe, the United States, Japan, Russia and M South Africa, and has participated in many festivals, including the Ravinia Festival, the Berlin Festwochen, the Schwetzingen Festspiele, the Jerusalem Festival and the ARD Chamber Music Festival. She has appeared as soloist with the Israel Philharmonic under Zubin Mehta, the Israel Chamber Orchestra, the Orquestra Sinfonica de Valencia, the Chicago Y Chamber Orchestra and the National Symphony of Johannesburg. She teaches chamber music at Cornell University in Ithaca, where she is also a co-founder and artistic director of Mayfest, the Cornell International Chamber Music Festival. K 8.570987 4 570987bk Lutoslawski US:570034bk Hasse 4/12/08 11:53 AM Page 2

Witold Lutosławski (1913–1994) Recitativo e Arioso • Subito • Partita Lutosławski was recognised during his lifetime as one of has seen her bathing and fallen in love with her. Protected Karol Szymanowski (1882–1937) Myths, Op. 30 the great composers of the twentieth century. Looking back, by Artemis, Arethusa turns into a fountain. The handsome he credited Szymanowski with bringing modern western Narcissus, having rejected the love of the nymph Echo, is Leosˇ Janácˇek (1854–1928) Violin Sonata European music into Poland. Karol Szymanowski was born punished by Aphrodite, falls in love with his own reflection Witold Lutosławski’s Complete Works for Violin and to emulate him, but this inspiration was the catalyst which in 1882 in Tymoszówka (Ukraine), formerly a part of in water and pines for it, transfixed, until he withers away Piano are flanked in this programme by masterpieces of helped him to redefine his own style. He gave Cage credit Poland which had been annexed by Russia. His highly and is transformed into a flower. Pan is the god of the forest, fellow Eastern European composers Leoš Janácˇek and for bringing the element of chance back into music, and cultivated and musical family was proud of its noble Polish half man half goat, son of Hermes and a nymph. He cavorts Karol Szymanowski. The lives of these three composers from that point Lutosławski introduced a new technique heritage. Szymanowski began his musical studies as a with the Dryads and chases the nymph Syrinx, who assumes spanned the years 1854–1994, a period of dramatic into his music, called “controlled aleatoric”. It releases the pianist with his father. In 1901 he went to Warsaw to study, the shape of river reeds. Pan cuts these and makes the first historical change, political turmoil and radical develop- musical voices from a common rhythm and gives each voice and founded the Young Polish Composer’s Publishing reed flute. As with all great programme music, knowledge ments in Western music. Each of these artists had a an independent set of instructions. Thus there is an Company in 1905 with young fellow musicians in order to of the stories is not essential to appreciation. distinctly original voice and left behind a very personal and improvisatory element but the parameters are clearly foster communication with the European music world and Like Szymanowski, the Czech composer Leoš Janácˇek significant musical legacy. defined. to stimulate opportunities at home and abroad. The did great service to the development of musical education Witold Lutosławski was born and died in Warsaw. He Recitativo e Arioso was written for Tadeusz Ochlew- company, based in Berlin, was very active for six years. In in his homeland. He had achieved great fame by the time of started playing the piano and violin as a child and began skeimu in 1951, before Lutosławski’s use of controlled his youth Szymanowski had been strongly influenced by is death in 1928 but came from humble circumstances. Born composing at the age of nine. His family supported his aleatoric. It is a melancholic, masterful miniature. In a the music of Wagner, yet as he matured he distanced himself in Hukwaldy, Moravia, in 1854 to a family of teachers and musical development even though he had lost his father and chromatic context D and F major triads vie with an E pedal- increasingly from German Romanticism. Important church musicians, he was sent at the age of eleven to the uncle in 1918, both shot in Moscow by Bolsheviks. point until the the final B major triad offers resolution. The influences came from Debussy, Stravinsky and Scriabin, as choir school of the Augustinian Monastery of Old Brno. Lutosławski studied composition with Witold Maliszewski, intervals in the violin line are very expressive, with uplifting well as a reverence for his great Polish predecessor, Chopin. His subsequent education spanned many years and places, a student of Rimsky-Korsakov, and later spoke very fourths and “crying” major and minor seconds. Before the outbreak of World War I Szymanowski travelled including Prague, Leipzig and Vienna. He worked during respectfully about his teacher even though they had Subito, written in 1992, is one of Lutosławski’s last widely. He spent several years in Vienna; and he derived most of his student years as a teacher and choir director, considerable aesthetic differences. Lutosławski’s plan to works. In its form a Rondo, it is short and compact, with particular inspiration from trips to Italy (1909), Sicily and he taught his ensembles important new repertoire, study further in Paris was thwarted by the outbreak of World expressive interludes between the recurring fast and (1910) and North Africa (1914) where he visited including Mozart, Beethoven and Dvorˇák. His own early War II, during which he supported himself in Warsaw by explosive (“sudden”) main motive. The rhythmic intensity Constantine, Tunis and Algiers. Upon his return he wrote compositions were influenced in part by Dvorˇák and playing piano duets in bars, the only legal performance leads to a climactic end. Here Lutosławski has refined his the Three Myths for his friend and colleague violinist, Wagner, as well as by modal church and folk music. In 1881 venues at the time. Constrained for years by the threat of aleatoric technique by embedding it in traditional notation. Pawel Kochánski. The new stimuli, particularly the he founded the Brno Organ School, which remained under censorship, he composed works commissioned for particular In both of these works he chooses clearly to separate the encounters with Arab and early Christian cultures, had his direction until 1919, when it became the Brno Con- occasions or young audiences. He said of that time, “I could material given to the violin and the piano: the instruments helped him to mature stylistically during a creative period servatory. Janácˇek reached maturity as a composer around not compose as I wished, so I composed as I was able”. do not “share” motives. Both works show his care for form which continued although the war hindered his mobility. 1897, when he distilled his ideas regarding “speech Two particular musical experiences were pivotal in his and attention to detail. The Szymanowskis’ house was destroyed in 1917, and in melody”. Using the natural intonation, colour and timbre musical development. At the age of eleven he heard Partita was commissioned by Pinchas Zuckerman and late 1919 the family emigrated to the newly independent of the spoken voice, he imitated the sound of the Czech Szymanowski’s Third Symphony “… and the richness of Mark Neikrug in 1984; later Anne-Sophie Mutter commis- Poland. Meanwhile, Szymanowski’s fame as a composer language in his music in order to depict the feelings and modern music, the world of the twentieth century opened sioned a version with orchestra. Here Lutosławski combines began to spread. He championed not only his own music emotions behind the speech, the meaning of the expression. before me”. Later he drew on the influences of Debussy, Neoclassical elements – the form and structure of the piece, but Polish musical culture altogether. As the Director of “I don’t need to understand the words”, he said to his student Stravinsky and Bartók, and he revered Webern. Lutosławski’s the relationship of the instruments – with his personal the Warsaw Conservatory from 1927 to 1932 he made Vilem Tausky. “I can tell by the tempo and modulation of harmonic language is dissonant yet structured, favouring harmonic style: dissonant, rhythmically powerful and clearly significant reforms in Polish music education. Over time his speech how a man feels; if he lies, or if it is just a certain intervals (seconds, tritones and perfect fourths) as structured. Controlled aleatoric writing makes up the second diverse activities, including extensive performing, took conventional conversation. I have been collecting these well as clusters and implied tonalities in a polyphonic and fourth movements, which are actually just bridges their toll on his health, and he died in 1937. speech rhythms for years, and I have an immense dictionary. setting. The second pivotal experience in his development between the three main movements. Here the violin and Szymanowski’s style incorporates a great range of These are my windows into the soul of man …” This occurred in 1960: already a mature composer, Lutosławski piano play independently of each other: the notes and values colours, nuances and dynamic contrasts, as well as special breakthrough marked a significant development in the heard for the first time an excerpt from John Cage’s Piano are written clearly in each part but the players should not try effects which augment the spectrum. In Myths he uses quality of Janácˇek’s compositions, starting with the opera Concerto: “As I heard it, I suddenly realised that I could to coordinate them. Lutosławski thus gives his interpreters glissandi, harmonics and pizzicato – as Lutosławski did in Jenu˚fa, which had its première in 1904. His music had compose music that was completely different from what I a certain independence without compromising his own his Partita. The sensual myth motives are recognisable: The attained a dramatic immediacy, with soaring narratives had previously written”. He did not copy Cage or even try responsibility as the composer. nymph Arethusa flees from the river god Alpheus after he embedded in textures of unparalleled energy and expression. 8.570987 2 3 8.570987 570987bk Lutoslawski US:570034bk Hasse 4/12/08 11:53 AM Page 2

Witold Lutosławski (1913–1994) Recitativo e Arioso • Subito • Partita Lutosławski was recognised during his lifetime as one of has seen her bathing and fallen in love with her. Protected Karol Szymanowski (1882–1937) Myths, Op. 30 the great composers of the twentieth century. Looking back, by Artemis, Arethusa turns into a fountain. The handsome he credited Szymanowski with bringing modern western Narcissus, having rejected the love of the nymph Echo, is Leosˇ Janácˇek (1854–1928) Violin Sonata European music into Poland. Karol Szymanowski was born punished by Aphrodite, falls in love with his own reflection Witold Lutosławski’s Complete Works for Violin and to emulate him, but this inspiration was the catalyst which in 1882 in Tymoszówka (Ukraine), formerly a part of in water and pines for it, transfixed, until he withers away Piano are flanked in this programme by masterpieces of helped him to redefine his own style. He gave Cage credit Poland which had been annexed by Russia. His highly and is transformed into a flower. Pan is the god of the forest, fellow Eastern European composers Leoš Janácˇek and for bringing the element of chance back into music, and cultivated and musical family was proud of its noble Polish half man half goat, son of Hermes and a nymph. He cavorts Karol Szymanowski. The lives of these three composers from that point Lutosławski introduced a new technique heritage. Szymanowski began his musical studies as a with the Dryads and chases the nymph Syrinx, who assumes spanned the years 1854–1994, a period of dramatic into his music, called “controlled aleatoric”. It releases the pianist with his father. In 1901 he went to Warsaw to study, the shape of river reeds. Pan cuts these and makes the first historical change, political turmoil and radical develop- musical voices from a common rhythm and gives each voice and founded the Young Polish Composer’s Publishing reed flute. As with all great programme music, knowledge ments in Western music. Each of these artists had a an independent set of instructions. Thus there is an Company in 1905 with young fellow musicians in order to of the stories is not essential to appreciation. distinctly original voice and left behind a very personal and improvisatory element but the parameters are clearly foster communication with the European music world and Like Szymanowski, the Czech composer Leoš Janácˇek significant musical legacy. defined. to stimulate opportunities at home and abroad. The did great service to the development of musical education Witold Lutosławski was born and died in Warsaw. He Recitativo e Arioso was written for Tadeusz Ochlew- company, based in Berlin, was very active for six years. In in his homeland. He had achieved great fame by the time of started playing the piano and violin as a child and began skeimu in 1951, before Lutosławski’s use of controlled his youth Szymanowski had been strongly influenced by is death in 1928 but came from humble circumstances. Born composing at the age of nine. His family supported his aleatoric. It is a melancholic, masterful miniature. In a the music of Wagner, yet as he matured he distanced himself in Hukwaldy, Moravia, in 1854 to a family of teachers and musical development even though he had lost his father and chromatic context D and F major triads vie with an E pedal- increasingly from German Romanticism. Important church musicians, he was sent at the age of eleven to the uncle in 1918, both shot in Moscow by Bolsheviks. point until the the final B major triad offers resolution. The influences came from Debussy, Stravinsky and Scriabin, as choir school of the Augustinian Monastery of Old Brno. Lutosławski studied composition with Witold Maliszewski, intervals in the violin line are very expressive, with uplifting well as a reverence for his great Polish predecessor, Chopin. His subsequent education spanned many years and places, a student of Rimsky-Korsakov, and later spoke very fourths and “crying” major and minor seconds. Before the outbreak of World War I Szymanowski travelled including Prague, Leipzig and Vienna. He worked during respectfully about his teacher even though they had Subito, written in 1992, is one of Lutosławski’s last widely. He spent several years in Vienna; and he derived most of his student years as a teacher and choir director, considerable aesthetic differences. Lutosławski’s plan to works. In its form a Rondo, it is short and compact, with particular inspiration from trips to Italy (1909), Sicily and he taught his ensembles important new repertoire, study further in Paris was thwarted by the outbreak of World expressive interludes between the recurring fast and (1910) and North Africa (1914) where he visited including Mozart, Beethoven and Dvorˇák. His own early War II, during which he supported himself in Warsaw by explosive (“sudden”) main motive. The rhythmic intensity Constantine, Tunis and Algiers. Upon his return he wrote compositions were influenced in part by Dvorˇák and playing piano duets in bars, the only legal performance leads to a climactic end. Here Lutosławski has refined his the Three Myths for his friend and colleague violinist, Wagner, as well as by modal church and folk music. In 1881 venues at the time. Constrained for years by the threat of aleatoric technique by embedding it in traditional notation. Pawel Kochánski. The new stimuli, particularly the he founded the Brno Organ School, which remained under censorship, he composed works commissioned for particular In both of these works he chooses clearly to separate the encounters with Arab and early Christian cultures, had his direction until 1919, when it became the Brno Con- occasions or young audiences. He said of that time, “I could material given to the violin and the piano: the instruments helped him to mature stylistically during a creative period servatory. Janácˇek reached maturity as a composer around not compose as I wished, so I composed as I was able”. do not “share” motives. Both works show his care for form which continued although the war hindered his mobility. 1897, when he distilled his ideas regarding “speech Two particular musical experiences were pivotal in his and attention to detail. The Szymanowskis’ house was destroyed in 1917, and in melody”. Using the natural intonation, colour and timbre musical development. At the age of eleven he heard Partita was commissioned by Pinchas Zuckerman and late 1919 the family emigrated to the newly independent of the spoken voice, he imitated the sound of the Czech Szymanowski’s Third Symphony “… and the richness of Mark Neikrug in 1984; later Anne-Sophie Mutter commis- Poland. Meanwhile, Szymanowski’s fame as a composer language in his music in order to depict the feelings and modern music, the world of the twentieth century opened sioned a version with orchestra. Here Lutosławski combines began to spread. He championed not only his own music emotions behind the speech, the meaning of the expression. before me”. Later he drew on the influences of Debussy, Neoclassical elements – the form and structure of the piece, but Polish musical culture altogether. As the Director of “I don’t need to understand the words”, he said to his student Stravinsky and Bartók, and he revered Webern. Lutosławski’s the relationship of the instruments – with his personal the Warsaw Conservatory from 1927 to 1932 he made Vilem Tausky. “I can tell by the tempo and modulation of harmonic language is dissonant yet structured, favouring harmonic style: dissonant, rhythmically powerful and clearly significant reforms in Polish music education. Over time his speech how a man feels; if he lies, or if it is just a certain intervals (seconds, tritones and perfect fourths) as structured. Controlled aleatoric writing makes up the second diverse activities, including extensive performing, took conventional conversation. I have been collecting these well as clusters and implied tonalities in a polyphonic and fourth movements, which are actually just bridges their toll on his health, and he died in 1937. speech rhythms for years, and I have an immense dictionary. setting. The second pivotal experience in his development between the three main movements. Here the violin and Szymanowski’s style incorporates a great range of These are my windows into the soul of man …” This occurred in 1960: already a mature composer, Lutosławski piano play independently of each other: the notes and values colours, nuances and dynamic contrasts, as well as special breakthrough marked a significant development in the heard for the first time an excerpt from John Cage’s Piano are written clearly in each part but the players should not try effects which augment the spectrum. In Myths he uses quality of Janácˇek’s compositions, starting with the opera Concerto: “As I heard it, I suddenly realised that I could to coordinate them. Lutosławski thus gives his interpreters glissandi, harmonics and pizzicato – as Lutosławski did in Jenu˚fa, which had its première in 1904. His music had compose music that was completely different from what I a certain independence without compromising his own his Partita. The sensual myth motives are recognisable: The attained a dramatic immediacy, with soaring narratives had previously written”. He did not copy Cage or even try responsibility as the composer. nymph Arethusa flees from the river god Alpheus after he embedded in textures of unparalleled energy and expression. 8.570987 2 3 8.570987 570987bk Lutoslawski US:570034bk Hasse 4/12/08 11:53 AM Page 4

Janácˇek’s Violin Sonata was written in 1914-15 and movement closes in utter resignation; the last statement of given final revision in 1921. The work has some the chorale theme in the violin, accompanied by high characteristics of a traditional sonata but it also brought a tremolos of the piano, represents the Russian invasion into LUTOSŁAWSKI new, unique tone into the repertoire, partly thanks to the Hungary in 1914. Janácˇek’s counterpoint was perhaps dark colours of its tonality, Janácˇek’s favourite key of A conservative but his use of texture and register, the flat minor. The second movement is a poignant ballad; the juxtaposed blocks of material comprised of compelling Complete Music for third movement a scherzo which is desperate rather than melodies and bursts of motion, were unprecedented. playful. Both outer movements of the sonata depict urgency, whereby the first ends with resolution while the final Ariadne Daskalakis Violin and Piano

Ariadne Daskalakis ˇ Ariadne Daskalakis was born in Boston. Her teachers were Eric Rosenblith in Boston, Szymon Goldberg at the Juilliard SZYMANOWSKI JANÁCEK School and Ilan Gronich and Thomas Brandis in Berlin. She holds degrees with honours from Harvard College and the Hochschule der Künste Berlin, and is prizewinner of competitions including the ARD Munich International Competition Myths Violin Sonata 1998 and the St. Louis Symphony Young Artists Competition 2000, the same year she became Professor for Violin at the Cologne Musikhochschule. Her repertoire ranges from Baroque, with her period instrument Ensemble Vintage Ariadne Daskalakis, Violin • Miri Yampolsky, Piano Cologne and the Manon Quartet Berlin, to Modern, with performances at festivals for contemporary music in Boston, Berlin, Munich and Vienna. She collaborates often with her husband, Sebastian Gottschick. She has concertized

Photos by Marte worldwide as chamber musician and soloist, including appearances with the English Chamber Orchestra, the Munich Radio Symphony, the Athens National Symphony, the Ensemble Oriol Berlin and the Cologne Chamber Orchestra. Numerous recordings document her artistic versatility. She plays a violin by Giovanni Baptista Guadagnini from 1769. Miri Yampolsky Miri Yampolsky studied piano with Leon Fleischer at the Peabody Conservatory of Music, with Dmitri Baschkirov in Madrid and with Michael Boguslavski and Hannah Shalghi in Tel Aviv. She also worked with Alfred Brendel, Radu Lupu, Gilbert Kalish and Christoph Eschenbach. She won the José Iturbi International Piano Competition in Valencia C and the International Music Competition of the ARD Munich in 1998, and was a Scholarship Recipient of the America Israel Culture Foundation from 1985 to 1995. She has concertized in Israel, Europe, the United States, Japan, Russia and M South Africa, and has participated in many festivals, including the Ravinia Festival, the Berlin Festwochen, the Schwetzingen Festspiele, the Jerusalem Festival and the ARD Chamber Music Festival. She has appeared as soloist with the Israel Philharmonic under Zubin Mehta, the Israel Chamber Orchestra, the Orquestra Sinfonica de Valencia, the Chicago Y Chamber Orchestra and the National Symphony of Johannesburg. She teaches chamber music at Cornell University in Ithaca, where she is also a co-founder and artistic director of Mayfest, the Cornell International Chamber Music Festival. K 8.570987 4 Also available:

8.554460 8.555904

8.557676 8.557722 NAXOS NAXOS The lives of the three Eastern European composers on this disc spanned almost 150 years (1854–1994), a period of dramatic historical change, political turmoil and radical developments in Western music. Janácˇek, Lutosławski and Szymanowski each left significant and very personal musical legacies, rich with inspiring melodies, harmonies and rhythms. Praised by The Strad for the “striking athleticism, musical insight, expressive embellishment and elegiac 8.570987 LUTOSŁAWSKI: lyricism” of her playing, Boston-born violinist Ariadne Daskalakis is sensitively accompanied by LUTOSŁAWSKI: the equally renowned Russian-born Israeli pianist Miri Yampolsky, her frequent recital partner. DDD Witold Playing Time LUTOSŁAWSKI 57:36 (1913–1994) Complete Music for Violin and Piano WITOLD LUTOSŁAWSKI WITOLD LUTOSŁAWSKI Music for Violin and Piano Music for Violin and Piano 1 Recitativo e arioso 3:16 6 Partita: Allegro giusto – Ad libitum – 2 Subito 4:44 Largo – Ad libitum – Presto 15:22 KAROL SZYMANOWSKI LEOŠ JANÁCˇEK www.naxos.com Printed & Assembled in USA Disc Made in Canada Booklet notes in English • Kommentar auf Deutsch ൿ (1882–1937) (1854–1928) Ltd. Naxos Rights International

Myths, Op. 30 18:36 Violin Sonata, JW VII/7 15:01 &

3 No. 1 The Fountains of Arethusa 5:06 7 I. Con moto 4:13 Ꭿ 4 No. 2 Narcissus 6:09 8 II. Ballada: Con moto 4:28 2009 5 No. 3 Dryads and Pan 7:13 9 III. Allegretto 2:10 0 IV. Adagio 4:04 Ariadne Daskalakis, Violin Miri Yampolsky, Piano C M Recorded in Studio 10, Deutschlandradio, Berlin, Studio 10, Germany, 12–15 May 2003 8.570987 A co-production of Deutschlandradio Kultur and Görne Akustik 8.570987 Producers: Jean Cuillerier, Thomas Görne • Recording Producer & Editor: Karola Parry Y Engineer: Geert Puhlmann • Technicians: Annerose Unger, Thomas Mai • Booklet notes: Ariadne Daskalakis Publishers: Chester (Lutosławski), Universal Edition (Szymanowski), Hudební Matice, Prague (Janácˇek) K Cover image © Leonid Dorfman / Dreamstime.com • Artist photos by Marte