Melancholic and Heroic Polonaises – Polish Romantic Music – Cyprien Katsaris

Contents

Zarebski: Juliusz Zarębski. Polonaise mélancolique e-moll op. 10

autor nieznany: Anonymous, „W żłobie leży”, poł. XVII wieku & Polonez „Wezmę ja kontusz”

Kacper Napoleon Wysocki: Polonez a-moll „Pożegnanie ojczyzny”

Tadeusz Kościuszko: Polonez pożegnalny Kościuszki

Józef Kozłowski: Polonez na temat opery Westalka

Elsner: Polonez D-dur (z tematem hymnu Wielkiej Brytanii Boże, chroń Króla w Trio)

Szymanowska: Polonez f-moll No.4 ze zbioru „Osiemnaście tańców różnych rodzajów” (1819–1820 lub wcześniej)

Nowakowski, J: Grande polonaise pathétique, Op. 11

Kurpinski: Polonez G-dur

Maciej Radziwiłł: Polonez C-dur No.1 (1788)

Wieniawski: Transkrypcja Poloneza koncertowego D-dur

Noskowski: W starym dworku: Polonez elegijny No.3, Op. 22 (ok. / c.1885)

Edmund Makomaski: Polonaise martiale

Żeleński: Polonez B-dur

Wieniawski, J: Polonaise, Op. 13

World renowned pianist Cyprien Katsaris is rediscovering unknown, forgotten composers (Makomaski, Kozlowski, Kosciuszko, Radziwill), introducing us to the world of polonaise rhythms, the atmosphere of the epoch and the musical skills of nineteenth-century composers. His brilliant renditions allow us to appreciate not just the inventiveness of composers at that time, but also the charm of the convention and the simplicity and symmetry of the form.

This anthology shows the evolution of the polonaise genre through the ages–from modest prototypes to elaborate forms of a virtuosic character. The polonaises by nineteenth-century Polish composers also display variegated expression– from lyrical, sentimental works full of sadness and melancholy to heroic pieces exuding strength and the spirit of battle. The greatest number of polonaises were written in the late eighteenth and nineteenth centuries, when Poland was absent from the map of Europe. The polonaise, as the best-known Polish dance, adheres to a patriotic strand of output and remains a mark of national identity.

This recording is released as part of the Fryderyk Chopin Institute’s “Resonance” series (Rezonans).