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Hyperion Records

CDA67905 - Zarebski: Piano Quintet; Zelenski: Piano Quartet
Girl with a Jug (c1900, detail) by Apoloniusz Kedzierski (1861-1939)
Photograph © Copyright by Wilczynski Krzysztof / National Museum, Warsaw
CDA67905

Recording details: December 2011
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Jeremy Hayes
Engineered by Ben Connellan
Release date: December 2012
DISCID: 6010C008
Total duration: 71 minutes 6 seconds

BBC MUSIC MAGAZINE CHAMBER CHOICE
INTERNATIONAL PIANO MAGAZINE CHOICE

'Hyperion's useful coupling of the Zarębski with Żeleński's quartet makes this disc specially welcome and the playing is first-rate' (Gramophone)

'An outstanding account of Zarębski's Piano Quintet, capturing the score's emotional intensity … a performance of passionate warmth … making this recording doubly valuable is the even rarer Piano Quartet in C minor by Wladyslaw Żeleński … gentler and yearningly introspective, it is nevertheless full of soaring melodies, and folk-inflected scales and rhythms reinforce a certain Slavic tone. Again, the performance is impeccable … another invaluable Hyperion release' (BBC Music Magazine)

'Zarębski's Piano Quintet confirms a feel for Lisztian harmony allied to a commanding formal sense that should have been the springboard into an eventful maturity and, even so, is not so far behind those by Brahms, Dvořák or Franck as a significant contribution to the medium … the Piano Quartet by Żeleński is complementary in almost every respect … the pianism of Polish specialist Jonathan Plowright has an eloquence and poise which meshes with the strings in a master-class of responsive ensemble playing. Warmly spacious sound, and detailed booklet notes by Adrian Thomas, only add to the disc's attractions. Hopefully this partnership will record more Polish chamber music of the late Romantic era' (International Record Review)

'The combination of Hyperion's state-of-the-art recording, an inspired repertoire choice and committed, musicianly performances makes this disc a winner. Both composers here are deserving of further exposure … Żeleński's Piano Quartet is darkly Romantic and the players display a clear rapport, with Plowright careful never to obfuscate textures; the highlight is the gorgeously sustained, rapt Romance … mystery infuses the ululating surfaces and metric feints of Zarębski's Quintet's Adagio … in which the demonstration standard recording really comes into its own. A fascinating disc, lovingly produced' (International Piano)

'British pianist and specialist in Polish music Jonathan Plowright is well supported by the Szymanowski Quartet from Poland, and the performances of both works are exemplary for their passion and emotional sweep' (Singapore Straits Times)

Zarębski: Piano Quintet; Żeleński: Piano Quartet
Allegro con brio  [11'59]
Allegro  [9'52]
Adagio  [10'44]
Scherzo: Presto  [5'33]
Finale: Presto  [8'38]

Two important chamber works from 19th-century Poland, in quality equivalent perhaps to Dvořák and Brahms, but completely unknown outside their native country.

Zarebski was a virtuoso pianist, more feted during much of his short life as a performer than a composer. However his Piano Quintet is truly a masterpiece, demonstrating an originality and stature that match and even surpass better-known piano quintets by better-known composers. It shows a remarkably fresh ear for symphonic thinking, motivic development and sheer melodic invention. Zelenski was a teacher rather than a performer, ending his distinguished academic career as Director of the Conservatory in his home town of Krakow. His Piano Quartet is a passionate, lyrical work, combining the Romanticism of Mendelssohn and Schumann with a piquant Slavic element.

The Szymanowski Quartet—half Polish, half Ukrainian—and honorary Pole Jonathan Plowright are the ideal performers of this music.


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Introduction  EnglishFrançaisDeutsch
It is a striking feature of nineteenth-century Polish music—Chopin apart—that even today it is barely known outside its native country. After Chopin’s death in 1849, Stanislaw Moniuszko was the major figure within Poland through the 1850s and ’60s, largely because of his operas. It was up to composer–virtuosos, developing Chopin’s example, to carry the spirit and the letter of Polish music abroad. The violinist Henryk Wieniawski took on this role until his death in 1880. His mantle was subsequently assumed by the pianist Ignacy Jan Paderewski at the end of that decade.

Two paths were open to composers. That of the composer–virtuoso was chosen by Juliusz Zarebski (1854–1885), and his all-too-brief career flourished between those of Wieniawski and Paderewski. The other option was to remain at home and develop a career as a composer and teacher. That was the path followed by Wladyslaw Zelenski (1837–1921).

Most Polish music composed in the second half of the nineteenth century is still rarely performed. It never established an international profile that could match the developing repertoire and styles that were evolving elsewhere in Europe. This was in large part because Poland no longer existed as a nation state. It had been partitioned by Russia, Prussia and Austria, and the occupying powers had ulterior motives for not allowing too much national sentiment or cultural independence to develop. It was almost impossible to establish robust institutions, aside from opera, or to move musical life beyond the provincial, and it was not until 1901 that the first full-time symphony orchestra, the Warsaw Philharmonic, was founded. The music of Zarebski (pronounced Zarempski) and Zelenski (Zhelainski) was a victim of this history. Yet in recent years, some of their music has resurfaced and there is a realization that perhaps, after all, Poland was not quite the stagnant musical backwater that was once thought.

In 1885, when Zarebski composed his Piano Quintet in G minor, Op 34, he was famous more as a performer than as a composer. He had been born in Zytomierz, a small town in what is now Ukraine. His talent as a pianist soon became apparent, and he was sent to study in Vienna (where he graduated aged eighteen) and St Petersburg. In 1874 he went to Rome, where he soon became Liszt’s favourite pupil. His virtuosity took him across Europe, from Constantinople to London, and in 1878 he gained celebrity status at the Paris Exhibition for his performances on a double keyboard piano. This invention by the Mangeot brothers was a particular challenge, because the upper keyboard had the bass register to the right and the treble to the left. Zarebski left no trace of his expertise on this bizarre contraption.

Much of his music for solo piano consists of virtuosic salon music, often with roots in Polish dance traditions. His cycle of five pieces Roses and Thorns (1883), on the other hand, is remarkably prescient of the harmonic liberation of French music just a few years later. Zarebski was evidently far more than just a showman. He was a thoughtful, imaginative and potentially major compositional figure. The Piano Quintet is eloquent witness to what might have been had he not died of tuberculosis aged just thirty-one.

Since it was first published (in 1931, forty-six years after its composition), the Piano Quintet has been regarded within Poland as a masterpiece. It is hoped that it will now be recognized more widely outside Poland for its originality and stature that match and even surpass better-known piano quintets by better-known composers. It shows a remarkably fresh ear for symphonic thinking, motivic development and sheer melodic invention.

It is immediately striking that the piano is cast as primus inter pares rather than as a vehicle for virtuosity. Zarebski also understands, where other composers have sometimes struggled, how to balance the piano and four string instruments. More often than not, the piano plays a supporting role to the intense lyricism of the strings. The main theme of the first movement quickly takes wing in a manner that becomes characteristic of Zarebski’s intuitive thematic development, where the melody moves motivically beyond its initial idea. Another typical feature is his application of this free-flowing principle to larger sections. A subsidiary idea, playfully toying with the 4/4 time signature, also becomes lyrical and modulates to E flat major, not a standard key-relationship for a second subject.

The gently melancholic lilting of the second subject soon gives way to a gathering of expressive power, before an extended codetta leads to the central development. Here, Zarebski shows his tonal boldness by moving the main theme through a range of distant keys without ever settling. Even the reflective musing on the main theme by the cello seems keen to avoid confirming the key outright, so it is not surprising that when C sharp minor is finally affirmed it rapidly subsides onto the home key, a tritone away, for the abbreviated recapitulation. Within six bars, in a masterstroke of concision, Zarebski switches from the main theme to the second subject and the momentum rapidly develops towards the first of two climaxes. A brief return to the main theme leads to a headlong coda.

The metrical displacement that featured briefly in the first movement recurs at the start of the second. The downbeat is not initially where it sounds, and the tonality is ‘off key’ too, aiding the mysterious atmosphere of the muted string response to the piano’s bass rhythm. The theme, when it comes, is in B flat major, though its resonance and chromatic colouring give it an intensity that might rather be associated with a minor key. It is soon on the move tonally and develops into an expressive interplay among the string players. A second section, in a bright G major, opens with a rare solo spot for the piano, edging chromatically downwards in a way that Chopin might have recognized. The central section that follows demonstrates Zarebski’s concern with delicacy as much as lyricism, and this provides a telling foil for the increasingly impassioned recapitulation of the main theme. The movement ends with a surprise return of the enigmatic introduction (after, not before the recapitulation) and a final glimpse of the main theme.

A virtuoso touch is brought to the exuberant Scherzo, which sets off in C minor as an almost jokey galop in 6/8. A new idea, in 2/4, also contrasts in key: G flat major on its first appearance, G major on its second. What then follows is unexpected: a fugal treatment of this theme and a substantial espressivo section before a brief return of the two themes to conclude the movement. Once more Zarebski has ignored standard thematic/structural conventions. He does it again, to stunning effect, immediately after the third movement ends.

By starting the Finale with the main theme from the Scherzo, Zarebski also makes explicit what has been hinted at earlier: the motivic ties between movements. This cyclic integration, characteristic of the age and possibly learned from his teacher Liszt, is especially subtle in Zarebski’s hands. It is only as the Finale progresses that he makes an overt point of tying the work together in this way, and it seems totally natural, never self-conscious.

After this unusual introduction, the Finale settles into a folk-like theme in G major, its innocent gait soon developing into something more rumbustious. A gentler musing, with running semiquaver accompaniment on the piano, leads to another major recollection, of the work’s opening theme. From this point on, Zarebski meshes old and new, combining the lyrical and the exuberant with symphonic panache and crowning the coda with a majestic statement of the quintet’s first theme.

In appearance and character, Zelenski the man could hardly have been more different. Whereas Zarebski, with his shock of hair and electric presence, was every bit the performer in the public’s eyes, Zelenski was reserved and contained, a figure who preferred to contribute through his passion for music education. He was born near Kraków, in the Austrian sector of partitioned Poland, although he lived long enough to see the country reunited as an independent country in 1918. He was broadly educated, with a doctorate in philosophy from Prague University. After teaching at the Institute of Music in Warsaw, he returned to Kraków in 1881 and went on to be Director of the Conservatory there until his death. Although from historical accounts it is clear that he composed across all genres, much of his music has since been lost and most of that which survives cannot be dated.

Zelenski’s Piano Quartet in C minor, Op 61, is one such work. In tone, it shares the romantic outlook of Zarebski’s quintet and of another Polish piano quartet, by Zygmunt Noskowski (1846–1909). These three works share a yearning lyricism and passionate momentum that owe something to Mendelssohn and Schumann as well as Brahms, yet there is also a Slavic element that sets them apart from these composers’ works for piano and strings. Nowhere is this more apparent than in Zelenski’s first movement. The opening idea, with its sharpened fourth, has a folk-like tone, although this is more colouristic than substantive. Even so, the sharpened fourth appears again in the third movement, Intermezzo, and it is embedded in some of the piano writing in the Finale.

The first movement is indicative of Zelenski’s ability to mould high lyricism with a strong sense of momentum. The piano plays a key role, while the string trio is often used in unison for maximum expressivity. The second theme is especially eloquent. Zelenski repeats the exposition, before pursuing a development of shifting tonalities and dramatic contrasts. Most subtly and seamlessly, he ushers in the recapitulation by starting it part-way through the first theme. As in the first movement of Zarebski’s quintet, the coda’s forward drive is interrupted for a last moment of lyrical reflection. There is an unusual diminuendo on the final open-fifth chord.

The Romanza in A flat that follows is a song without words, initiated by the cello. Its wistful tone gives way to a central idea played by the string trio, its searching semiquavers leading to an impasto-like texture that ranges from troubled to stormy. As this subsides, the opening theme floats in, molto tranquillo, although the recapitulation proper comes a little later. Zelenski treats this as an opportunity for further variation and drawing together of the movement’s themes.

Although the third movement in G minor is called Intermezzo, its roots lie in the mazurka, with its first-beat rhythm and second-beat punctuation. Zelenski’s take on this Polish dance is quirky. The movement begins off-key and off-beat and the air is one of whimsy rather than regular foot-stamping. A singing second idea in B flat interrupts the mazurka briefly. There are two contrasting episodes: dark string murmurings in E flat major, brought to order by the piano, and a scampering idea in G major, which also reappears to round off the movement.

The Allegro appassionato has all the hallmarks of a classic sonata finale. At heart it is a tarantella, surging forward even though there are lyrical temptations put in its way. The second subject, played by the piano in octaves, is a perky idea, sounding rather like a fugue subject. It in turn gives way to the high-flown lyricism familiar from earlier in the quartet. After the second subject is indeed treated to a brief fugato at the end of the development, Zelenski, as in the first movement, reintroduces the main theme, part-way through. A brief coda brings the quartet to a rousing end with a final motivic hint in the piano of its very first theme.

Adrian Thomas © 2012

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