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Henryk Wienlawski (1835-1880) seinem Lehrer Massart gewidmet und eine glänzende nieder. Er schickte ein Telegramm an Isobels Mutter, in Kompositionen für Violine und Klavier Studie über den berühmten italienischen Tanz. dem er sie für das nächste Konzert einlud, das am Henryk Die Polonaisen, die Mazurka und der Kujawiak nächsten Tag stattfinden sollte. Auch Vater Hampton Henryk Wieniawski wurde am 10. Juni 1835 als Sohn befremdenden Streichquartette von Ludwig van zeigen Wieniawski als Meister im Umgang mit den kam, und nachdem er die Legende gehört und die des Militärarztes Tadeusz Wieniawski in Lublin Beethoven. polnischen Nationaltänzen, wohingegen die “Legende“ Reaktion seiner Tochter darauf beobachtet hatte, gab er WIENIAWSKI geboren. Seine Mutter Regina war die Tochter des Der Komponist Wieniawski hat naheliegenderweise in eine ganz andere Richtung weist. Sie ist das Zeugnis dem Paar seinen Segen. Henryk und Isobel heirateten angesehenen polnischen Pianisten Edward Wolff. wie viele seiner Kollegen sein eigenes Instrument in den seiner Liebe zu Isobel Hampton, die er zunächst nach und hatten fünf Kinder. Offenbar erkannten die Eltern früh die musikalische Mittelpunkt seiner Arbeit gestellt. Die beiden dem Willen ihres Vaters nicht heiraten sollte. Nachdem Begabung ihres Sohnes, und sie konnten es sich leisten, Violinkonzerte bilden einen Höhepunkt seines der Familienvorstand ihn in London hatte “abblitzen“ Keith Anderson Violin Showpieces ihn in die besten pädagogischen Hände zu geben: Sein Werkkatalogs; dazu kommen kammermusikalische lassen, zog sich Wieniawski zurück, um einige Stunden erster Lehrer war ein Schüler von Louis Spohr gewesen, Stücke für Violine und Klavier sowie Unterrichts- und Geige zu spielen - danach schrieb er die “Legende“ Deutsche Fassung: Cris Posslac der zweite unterrichtete unter anderem auch Joseph Anschauungsmaterial. Joachim. Am 11. November 1878 spielte Henryk Wieniawski Marat Bisengaliev, Violin Henryk wurde schon 1843 vom Pariser in Berlin sein zweites Violinkonzert. Wenige Takte Konservatorium angenommen, wo er solche Fortschritte nach seinem Soloeinsatz brach er ab und verließ die machte, dass ihm der russische Zar eine prächtige Bühne. Nach einer kurzen Pause kam er zurück mit der John Lenehan, Piano Guarneri-Violine schenkte. Bitte, sich beim Spiel setzen zu dürfen. Wieder begann 1848 begann der Siegeszug des Virtuosen er, doch ein zweiter Herzkrampf zwang ihn zur Wieniawski, der innerhalb kürzester Zeit alle Aufgabe. Nach allen Strapazen der früheren Jahre europäischen Metropolen für sich einnehmen konnte - deutete sich an, dass der bewunderte Geiger nicht mehr und das nicht nur dank seiner außerordentlichen lange leben würde. Nachdem er durch den geigerischen Begabungen, sondern auch, weil er über Zusammenbruch seiner Bank sein Vermögen verloren eine erstaunliche physische Kondition verfügte: So gab hatte, verfiel er in einen Zustand tiefster Depression, er er bei einer zweijährigen Konzerttournee in Russland kehrte nach Russland zurück, wo Tschaikowskys sage und schreibe 195 Konzerte. Mäzenin Nadeshda von Meck die besten Ärzte um ihn 1872 besuchte er gemeinsam mit dem Komponisten versammelte. Doch Wieniawski hatte offenbar und Pianisten Anton Rubinstein die USA. Man erzählt aufgegeben. Am 2. April 1880, ganze 45 Jahre alt, starb sich, dass die beiden Künstler zwar mehr als siebzig Mal er in Moskau. Beethovens Kreutzer-Sonate aufgeführt, während der Die Kompositionen auf der vorliegenden CD Reise aber kein Wort miteinander gewechselt hätten – gehören im wesentlichen zu Wieniawskis typischen Wieniawski sei empört gewesen, dass der Name seines Virtuosenstücken, die er schrieb, um dem Publikum Klavierpartners auf den Plakaten größer gedruckt war seine Fähigkeiten vorzuführen. Das frühe, ursprünglich als sein eigener. vom Orchester begleitete “Souvenir de Moscou“ variiert Der musikalische Triumph des Henryk Wieniawski zwei russische Volkslieder und kombiniert die ließ nichts zu wünschen übrig. Schon 1860 wurde er von schlichten Melodien mit ungeheuren technischen Zar Alexander II. zum Hof-Violinisten ernannt, Eskapaden – wie auch die “Variationen über ein außerdem erhielt er eine Professur am Moskauer “Originalthema“, in denen er eine selbsterfundene Konservatorium, wo Eugène Ysaye sein Schüler wurde. Melodie bravourös verändert. Doch er beschränkte sich nicht auf solistische Die “Valse-Caprice“ ist eine schwierige Übung für Darbietungen. Als Bratscher spielte er mit Joseph die Bogenhand, die der Komponist voller Ironie in der Joachim, Heinrich Wilhelm Ernst und Alfredo Carlo Partitur als “einfach“ bezeichnete. “Scherzo-Tarantella“ Piatti Kammermusik, darunter die damals noch recht gehört zu Wieniawskis bekanntesten Werken. Es ist
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Henryk Wienlawski (1835-1880): Violin Showpieces A brilliant cadenza links this to the cheerful following The Gigue in E minor was published posthumously and Marat Bisengaliev Souvenir de Moscou, Op. 6 • Capriccio-Valse, Op. 7 • Variations on an original theme variation, and a further quicker cross-string version of follows a theme of Baroque contour if not Baroque the theme. The next variation, unaccompanied, makes rhythm with an embellished version of the material. The Marat Bisengaliev was born in Alma-Ata in Kazakhstan in 1962 and began to learn the violin at the age of six, (Thème original varié), Op. 15 • Polonaise brillante No. 1, Op. 4 • Russian Carnival use of left-hand pizzicato, before, with added Saltarello, the rapid Neapolitan dance, originally for graduating from the Alma-Ata Conservatory in 1984 with a first prize. He went on to study at the Tchaikovsky (Le carnaval russe), Op. 11 • Gigue, Op. 23 • Saltarello (arr. Lenehan) • Mazurka, Op. 19, No. 2 accompaniment, using the lower register of the violin. two violins, offers an opportunity for feats of agility and Conservatory in Moscow with Boris Belinky and Valerie Klimov. Having made his concerto début at the age of ‘Village Fiddler’ (‘Le ménétrier’) • Mazurka, Op. 19, No. 1 ‘Obertass’ • Mazurka, Op. 12, No. 2 ‘Polish Double-stopping marks the next treatment of the perpetual motion. To this the four Mazurkas, written in nine in Alma-Ata, Bisengaliev continued to perform as a soloist throughout Eastern Europe and also served as Song’ (‘Chanson polonaise’) • Mazurka, Kujawlak • Légende, Op. 17 • Scherzo-tarantelle, Op. 16 material, with passages of artificial harmonics. A gentle 1853 and 1860, provide a contrast. The first of the group Artistic Director of the Kazakhstan Chamber Orchestra, before settling in 1989 in England. In 1991 Bisengaliev return to the earlier version of the theme leads to further allows the Polish village fiddler a moment of won first prize in the international Nicanor Zabaleta Competition, also receiving the special virtuoso prize for the The Polish violinist Henryk Wieniawski was born in direction that Wieniawski gave the first performance of lyrical exploration of the material and a dance-like preparation before he launches into the dance. The most outstanding performance of the competition. Earlier he was a prize-winner in 1988 at the Leipzig International Lublin in 1835 and had his early training in his native his Second Violin Concerto in St Petersburg in 1862. variation, played largely off the string and culminating mazurka encompasses certain varieties of rhythm, Bach Competition. He made his concerto début in England playing the Beethoven concerto with the Royal country, before his admission at the age of eight to the In 1872 Wieniawski left Russia, resuming his career in a brilliant conclusion. within the general form of the dance. These rhythms Philharmonic Orchestra, followed by a London performance of the Tchaikovsky concerto. He has appeared as a Paris Conservatoire, where he entered the class of as a virtuoso, initially in partnership with Rubinstein. The Polonaise, the Polish dance that had made its include that of the obertass and the kujawiak, reflected soloist with major orchestras in Russia, England, Germany, Poland and the former Republic of Czechoslovakia. His Massart, with whom he continued to study after From 1875 to 1877 he taught at the Brussels way from village to ballroom and thence, with the help in two of the four Wieniawski Mazurkas, while the recordings include concertos issued by Melodiya, Naxos and Marco Polo, and he has been three times the subject of completing his course. In 1848 he travelled to Conservatory, where he succeeded Vieuxtemps, and of composers like Chopin, to the fashionable salon and Polish Song has a more obviously vocal element about a Central Soviet Television documentary. St Petersburg, where his performances made an during this period and thereafter continued his to the concert-hall, provides an opportunity for virtuoso it, a reminder that the mazurka was in origin a dance- excellent impression on Vieuxtemps, the court violinist. performing career, now with deteriorating health. In violin treatment, evidence, if any were needed, of song. The following year he returned to the Paris Russia again he set out on a concert-tour with Wieniawski’s native origins. Le carnaval russe evokes Wieniawski dedicated his Légende, written in 1860, John Lenehan Conservatoire to acquire the necessary skills for Tchaikovsky’s one-time innamorata Desirée Artôt, but the spirit of Russia, where he achieved his first and the year of his marriage, to his wife Isabella Hampton. composition. By the age of fifteen he was able to this was interrupted by a breakdown in health and a greatest successes and where he ended his career. The musical contents of the work match its John Lenehan has earned an international reputation both for his work as solo pianist and with leading chamber embark on a full career as a virtuoso, accompanied by brief attempt at convalescence at the house of Dating from the early 1850s and published in Leipzig in characteristically romantic title, as the tale unfolds. To music groups of his generation. Together with such well-known musicians as Nigel Kennedy and Julian Lloyd his younger brother Józef, two years his junior, who, Tchaikovsky’s patroness Nadezhda von Meck. He died 1854, it allows the violinist-composer to exploit this the Tarantelle makes a lively and brilliant contrast, Webber he has appeared in major concert venues around the world and has been a frequent broadcaster and like his mother and his maternal uncle, had become a in Moscow on the last day of March, 1880, at the age of relatively simple thematic material with all the technical a version of an ltalian dance, the rapidity of which has recording artist. John Lenehan’s solo performances have received an extremely enthusiastic response from the very considerable pianist. forty-four. virtuosity at his command, including astonishing feats been suggested either as the result of or remedy for the critics and, reviewing his London recital of works by the French virtuoso composer Charles Valentin Alkan, The Between 1851 and 1853 the Wieniawskis were in Wieniawski’s Souvenir de Moscou, originally of left-hand pizzicato and the favourite contemporary bite of the tarantula spider, although a purely Times remarked “John Lenehan’s masterly recital rightly drew gasps and cheers”. Among his recent recordings has Russia, giving concert after concert. Henryk written for violin and orchestra, was composed in 1853. virtuoso device of accompanying a melody on one geographical derivation might seem more probable. been a disc of music by Erik Satie and his recitals show a refreshingly wide range of repertoire often including Wieniawski had already turned his attention to Starting with a flourish, the work allows the violin an string with a tremolo on the string below. music in a lighter vein. composition, with a Grand caprice fantastique in 1847 exhibition of virtuosity, before the lyrical melody at the Keith Anderson and an Allegro de sonate the following year in heart of the piece is heard. The violinist then provides an collaboration with his brother. By 1853 he had written ornamented running accompaniment to the theme, in some fourteen compositions for violin and piano and which harmonics are intermingled. This leads to a rapid violin and orchestra. Of these the first Violin Concerto and very Russian dance, the melody in artificial won particular favour and secured his welcome in harmonics and a brilliant conclusion. Germany, after he had played the concerto with the The E major Capriccio-Valse was written in 1852 Gewandhaus Orchestra in Leipzig. In London he played and is introduced by the piano, which the violin with the Beethoven Quartet Society, together with the interrupts with interjected recitative, before the waltz cellist Piatti, Joachim and Ernst, and in 1860 married the sequence starts. Again considerable use is made of niece of the Irish pianist and composer George Osborne. harmonics, double-stopping and other technical devices, Performance in Paris with Anton Rubinstein led to an although the lyricism of the work prevails throughout invitation to move to Russia, where he served as court and is never sacrificed to mere technical display. violinist and for some years as professor of the violin at The theme of the Theme and Variations is first the Conservatory that Rubinstein had established in St. stated in multiple stops by the violinist and then, with Petersburg. It was with the orchestra under the latter’s accompaniment, in the higher register of the instrument.
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Henryk Wienlawski (1835-1880): Violin Showpieces A brilliant cadenza links this to the cheerful following The Gigue in E minor was published posthumously and Marat Bisengaliev Souvenir de Moscou, Op. 6 • Capriccio-Valse, Op. 7 • Variations on an original theme variation, and a further quicker cross-string version of follows a theme of Baroque contour if not Baroque the theme. The next variation, unaccompanied, makes rhythm with an embellished version of the material. The Marat Bisengaliev was born in Alma-Ata in Kazakhstan in 1962 and began to learn the violin at the age of six, (Thème original varié), Op. 15 • Polonaise brillante No. 1, Op. 4 • Russian Carnival use of left-hand pizzicato, before, with added Saltarello, the rapid Neapolitan dance, originally for graduating from the Alma-Ata Conservatory in 1984 with a first prize. He went on to study at the Tchaikovsky (Le carnaval russe), Op. 11 • Gigue, Op. 23 • Saltarello (arr. Lenehan) • Mazurka, Op. 19, No. 2 accompaniment, using the lower register of the violin. two violins, offers an opportunity for feats of agility and Conservatory in Moscow with Boris Belinky and Valerie Klimov. Having made his concerto début at the age of ‘Village Fiddler’ (‘Le ménétrier’) • Mazurka, Op. 19, No. 1 ‘Obertass’ • Mazurka, Op. 12, No. 2 ‘Polish Double-stopping marks the next treatment of the perpetual motion. To this the four Mazurkas, written in nine in Alma-Ata, Bisengaliev continued to perform as a soloist throughout Eastern Europe and also served as Song’ (‘Chanson polonaise’) • Mazurka, Kujawlak • Légende, Op. 17 • Scherzo-tarantelle, Op. 16 material, with passages of artificial harmonics. A gentle 1853 and 1860, provide a contrast. The first of the group Artistic Director of the Kazakhstan Chamber Orchestra, before settling in 1989 in England. In 1991 Bisengaliev return to the earlier version of the theme leads to further allows the Polish village fiddler a moment of won first prize in the international Nicanor Zabaleta Competition, also receiving the special virtuoso prize for the The Polish violinist Henryk Wieniawski was born in direction that Wieniawski gave the first performance of lyrical exploration of the material and a dance-like preparation before he launches into the dance. The most outstanding performance of the competition. Earlier he was a prize-winner in 1988 at the Leipzig International Lublin in 1835 and had his early training in his native his Second Violin Concerto in St Petersburg in 1862. variation, played largely off the string and culminating mazurka encompasses certain varieties of rhythm, Bach Competition. He made his concerto début in England playing the Beethoven concerto with the Royal country, before his admission at the age of eight to the In 1872 Wieniawski left Russia, resuming his career in a brilliant conclusion. within the general form of the dance. These rhythms Philharmonic Orchestra, followed by a London performance of the Tchaikovsky concerto. He has appeared as a Paris Conservatoire, where he entered the class of as a virtuoso, initially in partnership with Rubinstein. The Polonaise, the Polish dance that had made its include that of the obertass and the kujawiak, reflected soloist with major orchestras in Russia, England, Germany, Poland and the former Republic of Czechoslovakia. His Massart, with whom he continued to study after From 1875 to 1877 he taught at the Brussels way from village to ballroom and thence, with the help in two of the four Wieniawski Mazurkas, while the recordings include concertos issued by Melodiya, Naxos and Marco Polo, and he has been three times the subject of completing his course. In 1848 he travelled to Conservatory, where he succeeded Vieuxtemps, and of composers like Chopin, to the fashionable salon and Polish Song has a more obviously vocal element about a Central Soviet Television documentary. St Petersburg, where his performances made an during this period and thereafter continued his to the concert-hall, provides an opportunity for virtuoso it, a reminder that the mazurka was in origin a dance- excellent impression on Vieuxtemps, the court violinist. performing career, now with deteriorating health. In violin treatment, evidence, if any were needed, of song. The following year he returned to the Paris Russia again he set out on a concert-tour with Wieniawski’s native origins. Le carnaval russe evokes Wieniawski dedicated his Légende, written in 1860, John Lenehan Conservatoire to acquire the necessary skills for Tchaikovsky’s one-time innamorata Desirée Artôt, but the spirit of Russia, where he achieved his first and the year of his marriage, to his wife Isabella Hampton. composition. By the age of fifteen he was able to this was interrupted by a breakdown in health and a greatest successes and where he ended his career. The musical contents of the work match its John Lenehan has earned an international reputation both for his work as solo pianist and with leading chamber embark on a full career as a virtuoso, accompanied by brief attempt at convalescence at the house of Dating from the early 1850s and published in Leipzig in characteristically romantic title, as the tale unfolds. To music groups of his generation. Together with such well-known musicians as Nigel Kennedy and Julian Lloyd his younger brother Józef, two years his junior, who, Tchaikovsky’s patroness Nadezhda von Meck. He died 1854, it allows the violinist-composer to exploit this the Tarantelle makes a lively and brilliant contrast, Webber he has appeared in major concert venues around the world and has been a frequent broadcaster and like his mother and his maternal uncle, had become a in Moscow on the last day of March, 1880, at the age of relatively simple thematic material with all the technical a version of an ltalian dance, the rapidity of which has recording artist. John Lenehan’s solo performances have received an extremely enthusiastic response from the very considerable pianist. forty-four. virtuosity at his command, including astonishing feats been suggested either as the result of or remedy for the critics and, reviewing his London recital of works by the French virtuoso composer Charles Valentin Alkan, The Between 1851 and 1853 the Wieniawskis were in Wieniawski’s Souvenir de Moscou, originally of left-hand pizzicato and the favourite contemporary bite of the tarantula spider, although a purely Times remarked “John Lenehan’s masterly recital rightly drew gasps and cheers”. Among his recent recordings has Russia, giving concert after concert. Henryk written for violin and orchestra, was composed in 1853. virtuoso device of accompanying a melody on one geographical derivation might seem more probable. been a disc of music by Erik Satie and his recitals show a refreshingly wide range of repertoire often including Wieniawski had already turned his attention to Starting with a flourish, the work allows the violin an string with a tremolo on the string below. music in a lighter vein. composition, with a Grand caprice fantastique in 1847 exhibition of virtuosity, before the lyrical melody at the Keith Anderson and an Allegro de sonate the following year in heart of the piece is heard. The violinist then provides an collaboration with his brother. By 1853 he had written ornamented running accompaniment to the theme, in some fourteen compositions for violin and piano and which harmonics are intermingled. This leads to a rapid violin and orchestra. Of these the first Violin Concerto and very Russian dance, the melody in artificial won particular favour and secured his welcome in harmonics and a brilliant conclusion. Germany, after he had played the concerto with the The E major Capriccio-Valse was written in 1852 Gewandhaus Orchestra in Leipzig. In London he played and is introduced by the piano, which the violin with the Beethoven Quartet Society, together with the interrupts with interjected recitative, before the waltz cellist Piatti, Joachim and Ernst, and in 1860 married the sequence starts. Again considerable use is made of niece of the Irish pianist and composer George Osborne. harmonics, double-stopping and other technical devices, Performance in Paris with Anton Rubinstein led to an although the lyricism of the work prevails throughout invitation to move to Russia, where he served as court and is never sacrificed to mere technical display. violinist and for some years as professor of the violin at The theme of the Theme and Variations is first the Conservatory that Rubinstein had established in St. stated in multiple stops by the violinist and then, with Petersburg. It was with the orchestra under the latter’s accompaniment, in the higher register of the instrument.
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Henryk Wienlawski (1835-1880): Violin Showpieces A brilliant cadenza links this to the cheerful following The Gigue in E minor was published posthumously and Marat Bisengaliev Souvenir de Moscou, Op. 6 • Capriccio-Valse, Op. 7 • Variations on an original theme variation, and a further quicker cross-string version of follows a theme of Baroque contour if not Baroque the theme. The next variation, unaccompanied, makes rhythm with an embellished version of the material. The Marat Bisengaliev was born in Alma-Ata in Kazakhstan in 1962 and began to learn the violin at the age of six, (Thème original varié), Op. 15 • Polonaise brillante No. 1, Op. 4 • Russian Carnival use of left-hand pizzicato, before, with added Saltarello, the rapid Neapolitan dance, originally for graduating from the Alma-Ata Conservatory in 1984 with a first prize. He went on to study at the Tchaikovsky (Le carnaval russe), Op. 11 • Gigue, Op. 23 • Saltarello (arr. Lenehan) • Mazurka, Op. 19, No. 2 accompaniment, using the lower register of the violin. two violins, offers an opportunity for feats of agility and Conservatory in Moscow with Boris Belinky and Valerie Klimov. Having made his concerto début at the age of ‘Village Fiddler’ (‘Le ménétrier’) • Mazurka, Op. 19, No. 1 ‘Obertass’ • Mazurka, Op. 12, No. 2 ‘Polish Double-stopping marks the next treatment of the perpetual motion. To this the four Mazurkas, written in nine in Alma-Ata, Bisengaliev continued to perform as a soloist throughout Eastern Europe and also served as Song’ (‘Chanson polonaise’) • Mazurka, Kujawlak • Légende, Op. 17 • Scherzo-tarantelle, Op. 16 material, with passages of artificial harmonics. A gentle 1853 and 1860, provide a contrast. The first of the group Artistic Director of the Kazakhstan Chamber Orchestra, before settling in 1989 in England. In 1991 Bisengaliev return to the earlier version of the theme leads to further allows the Polish village fiddler a moment of won first prize in the international Nicanor Zabaleta Competition, also receiving the special virtuoso prize for the The Polish violinist Henryk Wieniawski was born in direction that Wieniawski gave the first performance of lyrical exploration of the material and a dance-like preparation before he launches into the dance. The most outstanding performance of the competition. Earlier he was a prize-winner in 1988 at the Leipzig International Lublin in 1835 and had his early training in his native his Second Violin Concerto in St Petersburg in 1862. variation, played largely off the string and culminating mazurka encompasses certain varieties of rhythm, Bach Competition. He made his concerto début in England playing the Beethoven concerto with the Royal country, before his admission at the age of eight to the In 1872 Wieniawski left Russia, resuming his career in a brilliant conclusion. within the general form of the dance. These rhythms Philharmonic Orchestra, followed by a London performance of the Tchaikovsky concerto. He has appeared as a Paris Conservatoire, where he entered the class of as a virtuoso, initially in partnership with Rubinstein. The Polonaise, the Polish dance that had made its include that of the obertass and the kujawiak, reflected soloist with major orchestras in Russia, England, Germany, Poland and the former Republic of Czechoslovakia. His Massart, with whom he continued to study after From 1875 to 1877 he taught at the Brussels way from village to ballroom and thence, with the help in two of the four Wieniawski Mazurkas, while the recordings include concertos issued by Melodiya, Naxos and Marco Polo, and he has been three times the subject of completing his course. In 1848 he travelled to Conservatory, where he succeeded Vieuxtemps, and of composers like Chopin, to the fashionable salon and Polish Song has a more obviously vocal element about a Central Soviet Television documentary. St Petersburg, where his performances made an during this period and thereafter continued his to the concert-hall, provides an opportunity for virtuoso it, a reminder that the mazurka was in origin a dance- excellent impression on Vieuxtemps, the court violinist. performing career, now with deteriorating health. In violin treatment, evidence, if any were needed, of song. The following year he returned to the Paris Russia again he set out on a concert-tour with Wieniawski’s native origins. Le carnaval russe evokes Wieniawski dedicated his Légende, written in 1860, John Lenehan Conservatoire to acquire the necessary skills for Tchaikovsky’s one-time innamorata Desirée Artôt, but the spirit of Russia, where he achieved his first and the year of his marriage, to his wife Isabella Hampton. composition. By the age of fifteen he was able to this was interrupted by a breakdown in health and a greatest successes and where he ended his career. The musical contents of the work match its John Lenehan has earned an international reputation both for his work as solo pianist and with leading chamber embark on a full career as a virtuoso, accompanied by brief attempt at convalescence at the house of Dating from the early 1850s and published in Leipzig in characteristically romantic title, as the tale unfolds. To music groups of his generation. Together with such well-known musicians as Nigel Kennedy and Julian Lloyd his younger brother Józef, two years his junior, who, Tchaikovsky’s patroness Nadezhda von Meck. He died 1854, it allows the violinist-composer to exploit this the Tarantelle makes a lively and brilliant contrast, Webber he has appeared in major concert venues around the world and has been a frequent broadcaster and like his mother and his maternal uncle, had become a in Moscow on the last day of March, 1880, at the age of relatively simple thematic material with all the technical a version of an ltalian dance, the rapidity of which has recording artist. John Lenehan’s solo performances have received an extremely enthusiastic response from the very considerable pianist. forty-four. virtuosity at his command, including astonishing feats been suggested either as the result of or remedy for the critics and, reviewing his London recital of works by the French virtuoso composer Charles Valentin Alkan, The Between 1851 and 1853 the Wieniawskis were in Wieniawski’s Souvenir de Moscou, originally of left-hand pizzicato and the favourite contemporary bite of the tarantula spider, although a purely Times remarked “John Lenehan’s masterly recital rightly drew gasps and cheers”. Among his recent recordings has Russia, giving concert after concert. Henryk written for violin and orchestra, was composed in 1853. virtuoso device of accompanying a melody on one geographical derivation might seem more probable. been a disc of music by Erik Satie and his recitals show a refreshingly wide range of repertoire often including Wieniawski had already turned his attention to Starting with a flourish, the work allows the violin an string with a tremolo on the string below. music in a lighter vein. composition, with a Grand caprice fantastique in 1847 exhibition of virtuosity, before the lyrical melody at the Keith Anderson and an Allegro de sonate the following year in heart of the piece is heard. The violinist then provides an collaboration with his brother. By 1853 he had written ornamented running accompaniment to the theme, in some fourteen compositions for violin and piano and which harmonics are intermingled. This leads to a rapid violin and orchestra. Of these the first Violin Concerto and very Russian dance, the melody in artificial won particular favour and secured his welcome in harmonics and a brilliant conclusion. Germany, after he had played the concerto with the The E major Capriccio-Valse was written in 1852 Gewandhaus Orchestra in Leipzig. In London he played and is introduced by the piano, which the violin with the Beethoven Quartet Society, together with the interrupts with interjected recitative, before the waltz cellist Piatti, Joachim and Ernst, and in 1860 married the sequence starts. Again considerable use is made of niece of the Irish pianist and composer George Osborne. harmonics, double-stopping and other technical devices, Performance in Paris with Anton Rubinstein led to an although the lyricism of the work prevails throughout invitation to move to Russia, where he served as court and is never sacrificed to mere technical display. violinist and for some years as professor of the violin at The theme of the Theme and Variations is first the Conservatory that Rubinstein had established in St. stated in multiple stops by the violinist and then, with Petersburg. It was with the orchestra under the latter’s accompaniment, in the higher register of the instrument.
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Henryk Wienlawski (1835-1880) seinem Lehrer Massart gewidmet und eine glänzende nieder. Er schickte ein Telegramm an Isobels Mutter, in Kompositionen für Violine und Klavier Studie über den berühmten italienischen Tanz. dem er sie für das nächste Konzert einlud, das am Henryk Die Polonaisen, die Mazurka und der Kujawiak nächsten Tag stattfinden sollte. Auch Vater Hampton Henryk Wieniawski wurde am 10. Juni 1835 als Sohn befremdenden Streichquartette von Ludwig van zeigen Wieniawski als Meister im Umgang mit den kam, und nachdem er die Legende gehört und die des Militärarztes Tadeusz Wieniawski in Lublin Beethoven. polnischen Nationaltänzen, wohingegen die “Legende“ Reaktion seiner Tochter darauf beobachtet hatte, gab er WIENIAWSKI geboren. Seine Mutter Regina war die Tochter des Der Komponist Wieniawski hat naheliegenderweise in eine ganz andere Richtung weist. Sie ist das Zeugnis dem Paar seinen Segen. Henryk und Isobel heirateten angesehenen polnischen Pianisten Edward Wolff. wie viele seiner Kollegen sein eigenes Instrument in den seiner Liebe zu Isobel Hampton, die er zunächst nach und hatten fünf Kinder. Offenbar erkannten die Eltern früh die musikalische Mittelpunkt seiner Arbeit gestellt. Die beiden dem Willen ihres Vaters nicht heiraten sollte. Nachdem Begabung ihres Sohnes, und sie konnten es sich leisten, Violinkonzerte bilden einen Höhepunkt seines der Familienvorstand ihn in London hatte “abblitzen“ Keith Anderson Violin Showpieces ihn in die besten pädagogischen Hände zu geben: Sein Werkkatalogs; dazu kommen kammermusikalische lassen, zog sich Wieniawski zurück, um einige Stunden erster Lehrer war ein Schüler von Louis Spohr gewesen, Stücke für Violine und Klavier sowie Unterrichts- und Geige zu spielen - danach schrieb er die “Legende“ Deutsche Fassung: Cris Posslac der zweite unterrichtete unter anderem auch Joseph Anschauungsmaterial. Joachim. Am 11. November 1878 spielte Henryk Wieniawski Marat Bisengaliev, Violin Henryk wurde schon 1843 vom Pariser in Berlin sein zweites Violinkonzert. Wenige Takte Konservatorium angenommen, wo er solche Fortschritte nach seinem Soloeinsatz brach er ab und verließ die machte, dass ihm der russische Zar eine prächtige Bühne. Nach einer kurzen Pause kam er zurück mit der John Lenehan, Piano Guarneri-Violine schenkte. Bitte, sich beim Spiel setzen zu dürfen. Wieder begann 1848 begann der Siegeszug des Virtuosen er, doch ein zweiter Herzkrampf zwang ihn zur Wieniawski, der innerhalb kürzester Zeit alle Aufgabe. Nach allen Strapazen der früheren Jahre europäischen Metropolen für sich einnehmen konnte - deutete sich an, dass der bewunderte Geiger nicht mehr und das nicht nur dank seiner außerordentlichen lange leben würde. Nachdem er durch den geigerischen Begabungen, sondern auch, weil er über Zusammenbruch seiner Bank sein Vermögen verloren eine erstaunliche physische Kondition verfügte: So gab hatte, verfiel er in einen Zustand tiefster Depression, er er bei einer zweijährigen Konzerttournee in Russland kehrte nach Russland zurück, wo Tschaikowskys sage und schreibe 195 Konzerte. Mäzenin Nadeshda von Meck die besten Ärzte um ihn 1872 besuchte er gemeinsam mit dem Komponisten versammelte. Doch Wieniawski hatte offenbar und Pianisten Anton Rubinstein die USA. Man erzählt aufgegeben. Am 2. April 1880, ganze 45 Jahre alt, starb sich, dass die beiden Künstler zwar mehr als siebzig Mal er in Moskau. Beethovens Kreutzer-Sonate aufgeführt, während der Die Kompositionen auf der vorliegenden CD Reise aber kein Wort miteinander gewechselt hätten – gehören im wesentlichen zu Wieniawskis typischen Wieniawski sei empört gewesen, dass der Name seines Virtuosenstücken, die er schrieb, um dem Publikum Klavierpartners auf den Plakaten größer gedruckt war seine Fähigkeiten vorzuführen. Das frühe, ursprünglich als sein eigener. vom Orchester begleitete “Souvenir de Moscou“ variiert Der musikalische Triumph des Henryk Wieniawski zwei russische Volkslieder und kombiniert die ließ nichts zu wünschen übrig. Schon 1860 wurde er von schlichten Melodien mit ungeheuren technischen Zar Alexander II. zum Hof-Violinisten ernannt, Eskapaden – wie auch die “Variationen über ein außerdem erhielt er eine Professur am Moskauer “Originalthema“, in denen er eine selbsterfundene Konservatorium, wo Eugène Ysaye sein Schüler wurde. Melodie bravourös verändert. Doch er beschränkte sich nicht auf solistische Die “Valse-Caprice“ ist eine schwierige Übung für Darbietungen. Als Bratscher spielte er mit Joseph die Bogenhand, die der Komponist voller Ironie in der Joachim, Heinrich Wilhelm Ernst und Alfredo Carlo Partitur als “einfach“ bezeichnete. “Scherzo-Tarantella“ Piatti Kammermusik, darunter die damals noch recht gehört zu Wieniawskis bekanntesten Werken. Es ist
8.550744 5 6 8.550744 550744 bk Wieniawski EU 2/26/08 2:01 PM Page 5
Henryk Wienlawski (1835-1880) seinem Lehrer Massart gewidmet und eine glänzende nieder. Er schickte ein Telegramm an Isobels Mutter, in Kompositionen für Violine und Klavier Studie über den berühmten italienischen Tanz. dem er sie für das nächste Konzert einlud, das am Henryk Die Polonaisen, die Mazurka und der Kujawiak nächsten Tag stattfinden sollte. Auch Vater Hampton Henryk Wieniawski wurde am 10. Juni 1835 als Sohn befremdenden Streichquartette von Ludwig van zeigen Wieniawski als Meister im Umgang mit den kam, und nachdem er die Legende gehört und die des Militärarztes Tadeusz Wieniawski in Lublin Beethoven. polnischen Nationaltänzen, wohingegen die “Legende“ Reaktion seiner Tochter darauf beobachtet hatte, gab er WIENIAWSKI geboren. Seine Mutter Regina war die Tochter des Der Komponist Wieniawski hat naheliegenderweise in eine ganz andere Richtung weist. Sie ist das Zeugnis dem Paar seinen Segen. Henryk und Isobel heirateten angesehenen polnischen Pianisten Edward Wolff. wie viele seiner Kollegen sein eigenes Instrument in den seiner Liebe zu Isobel Hampton, die er zunächst nach und hatten fünf Kinder. Offenbar erkannten die Eltern früh die musikalische Mittelpunkt seiner Arbeit gestellt. Die beiden dem Willen ihres Vaters nicht heiraten sollte. Nachdem Begabung ihres Sohnes, und sie konnten es sich leisten, Violinkonzerte bilden einen Höhepunkt seines der Familienvorstand ihn in London hatte “abblitzen“ Keith Anderson Violin Showpieces ihn in die besten pädagogischen Hände zu geben: Sein Werkkatalogs; dazu kommen kammermusikalische lassen, zog sich Wieniawski zurück, um einige Stunden erster Lehrer war ein Schüler von Louis Spohr gewesen, Stücke für Violine und Klavier sowie Unterrichts- und Geige zu spielen - danach schrieb er die “Legende“ Deutsche Fassung: Cris Posslac der zweite unterrichtete unter anderem auch Joseph Anschauungsmaterial. Joachim. Am 11. November 1878 spielte Henryk Wieniawski Marat Bisengaliev, Violin Henryk wurde schon 1843 vom Pariser in Berlin sein zweites Violinkonzert. Wenige Takte Konservatorium angenommen, wo er solche Fortschritte nach seinem Soloeinsatz brach er ab und verließ die machte, dass ihm der russische Zar eine prächtige Bühne. Nach einer kurzen Pause kam er zurück mit der John Lenehan, Piano Guarneri-Violine schenkte. Bitte, sich beim Spiel setzen zu dürfen. Wieder begann 1848 begann der Siegeszug des Virtuosen er, doch ein zweiter Herzkrampf zwang ihn zur Wieniawski, der innerhalb kürzester Zeit alle Aufgabe. Nach allen Strapazen der früheren Jahre europäischen Metropolen für sich einnehmen konnte - deutete sich an, dass der bewunderte Geiger nicht mehr und das nicht nur dank seiner außerordentlichen lange leben würde. Nachdem er durch den geigerischen Begabungen, sondern auch, weil er über Zusammenbruch seiner Bank sein Vermögen verloren eine erstaunliche physische Kondition verfügte: So gab hatte, verfiel er in einen Zustand tiefster Depression, er er bei einer zweijährigen Konzerttournee in Russland kehrte nach Russland zurück, wo Tschaikowskys sage und schreibe 195 Konzerte. Mäzenin Nadeshda von Meck die besten Ärzte um ihn 1872 besuchte er gemeinsam mit dem Komponisten versammelte. Doch Wieniawski hatte offenbar und Pianisten Anton Rubinstein die USA. Man erzählt aufgegeben. Am 2. April 1880, ganze 45 Jahre alt, starb sich, dass die beiden Künstler zwar mehr als siebzig Mal er in Moskau. Beethovens Kreutzer-Sonate aufgeführt, während der Die Kompositionen auf der vorliegenden CD Reise aber kein Wort miteinander gewechselt hätten – gehören im wesentlichen zu Wieniawskis typischen Wieniawski sei empört gewesen, dass der Name seines Virtuosenstücken, die er schrieb, um dem Publikum Klavierpartners auf den Plakaten größer gedruckt war seine Fähigkeiten vorzuführen. Das frühe, ursprünglich als sein eigener. vom Orchester begleitete “Souvenir de Moscou“ variiert Der musikalische Triumph des Henryk Wieniawski zwei russische Volkslieder und kombiniert die ließ nichts zu wünschen übrig. Schon 1860 wurde er von schlichten Melodien mit ungeheuren technischen Zar Alexander II. zum Hof-Violinisten ernannt, Eskapaden – wie auch die “Variationen über ein außerdem erhielt er eine Professur am Moskauer “Originalthema“, in denen er eine selbsterfundene Konservatorium, wo Eugène Ysaye sein Schüler wurde. Melodie bravourös verändert. Doch er beschränkte sich nicht auf solistische Die “Valse-Caprice“ ist eine schwierige Übung für Darbietungen. Als Bratscher spielte er mit Joseph die Bogenhand, die der Komponist voller Ironie in der Joachim, Heinrich Wilhelm Ernst und Alfredo Carlo Partitur als “einfach“ bezeichnete. “Scherzo-Tarantella“ Piatti Kammermusik, darunter die damals noch recht gehört zu Wieniawskis bekanntesten Werken. Es ist
8.550744 5 6 8.550744 NAXOS NAXOS 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 8.550744
WIENIAWSKI: russe allows the violinist-composer to exploit relatively simple thematic material with all the WIENIAWSKI: technical virtuosity at his command, including astonishing feats of left-hand pizzicato and the DDD favourite contemporary virtuoso device of accompanying a melody on one string with a tremolo on the string below. Playing Time Henryk 68:25 WIENIAWSKI (1835-1880) Violin Showpieces Violin Showpieces Violin Showpieces 1 Souvenir de Moscou, Op. 6 7:07 2 Capriccio-Valse in E Major, Op. 7 6:32 3 Variations on an original theme, Op. 15 11:53 4 Polonaise brillante No. 1, Op. 4 5:37
5 Le carnaval russe, Op. 11 7:10 www.naxos.com Made in Germany Booklet notes in English • Kommentar auf Deutsch Naxos Rights International Ltd.
6 Gigue in E Minor, Op. 23 2:37 1994 & 7 Saltarello (arr. Lenehan) 1:42 8 Mazurka Op. 19, No. 2 ‘Village Fiddler’ 3:35 9
Mazurka Op. 19, No. 1 ‘Obertass’ 2:09 2008 0 Mazurka Op. 12, No. 2 ‘Polish Song’ 3:47 ! Mazurka, Kujawiak 2:43 @ Légende, Op. 17 7:47 # Scherzo-tarantelle, Op. 16 4:35 Marat Bisengaliev, Violin • John Lenehan, Piano 8.550744 8.550744 Recorded at the Rosslyn Hill Chapel, Hampstead, London, on 11th, 13th and 14th December, 1992 Producer: Murray Khouri • Engineer: Simon Fox • Booklet notes: Keith Anderson Cover image: Julie Playing the Violin by Berthe Morisot (1841-1895)