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Track(s) taken from SIGCD380

Dreamscape

composer
1977

Piotr Hausenplas (cello), Lech Napierała (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: August 2013
All Saints' Church, East Finchley, London, United Kingdom
Produced by Adrian Peacock
Engineered by Mike Hatch
Release date: May 2014
Total duration: 9 minutes 21 seconds
 

Reviews

'This must be a first: a father-daughter disc in which both are the composers. The centenary of Andrzej Panufnik (1914-1991) is being celebrated this year. It’s a wonderful opportunity to revisit his delicate, jewel-like music, at once appealing, rigorous and poignant. Today the name Panufnik is as frequently associated with Roxanna, who has masterminded this disc in tribute to her father. It includes a piano trio by each, songs by each, and one song—Modlitwa—which he started and she, years after his death, completed. Love Song, a setting of Philip Sidney which Andrzej dedicated to his wife, Camilla, makes a heartfelt opening. Dreamscape, a vocalise here played by cello and piano, dates from the same period. This is intensely personal music-making, beautifully performed' (The Observer)

'The centenary of the birth of Andrzej Panufnik is marked in his adopted country by special performances and recordings, including these songs and trios by the composer who was born in Warsaw at the start of the First World War, and by his daughter. The father's songs to fine English texts—Philip Sidney, Shakespeare—are shot through with melancholy, even when celebrating love, Roxanna, born in London, marvels at her city as Wordsworth did, from Westminster Bridge in That Mighty Heart, and her delight in her life bubbles through her piano trio Around Three Corners. But Andrzej's cello vocalise, Virtue, and his early Piano Trio Op 1 steal the show' (The Independent on Sunday)
Dreamscape (1977) was a vocalise, composed by Dad alongside Love song, for Peter & Meriel Dickinson. My father was trying to express the ‘unconscious language of the soul’—a kind of dream language, which is made especially haunting due to the oscillating quarter tones which appear at the beginning. A few years ago, when our pianist Lech Napierała and cellist Piotr Hausenplas were looking for a piece to play (and no singer was available), I suggested they try substituting the vocal part with the cello. You might be wondering why we have the instrumental version here but, actually, my mother and I much prefer it this way—particularly as my father had always admired the cello for its ‘singing quality’.

from notes by Roxanna Panufnik © 2014

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