Customer Reviews

Stojowski: Piano Concertos Nos. 1 & 2

5 star:		(6)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

Those of you who are new to Stojowski's Concerti for Piano and Orchestra will, I promise, be amazed by the originality, fluency, and ambitions that permeate themselves passage after passage. You will be further amazed of how very little Zygmunt Stojowski (1870-1946) is known despite the huge success this composer enjoyed for much of his career. He was hailed throughout Europe as Poland's most outstanding composer after Chopin and his music was pioneered by among the most famous of musical artists like Heifetz, Damrosch, Paderewski, Hans von Bulow, Carl Muck, Monteux, and Nikisch. He's neglect is as big of a blow as, say, the neglect of Medtner, Bortkiewicz, Karlowicz, Myaskovsky, and even Glazunov. Their music are, thankfully, under some revivalism, but even I can't ignore the damage done by decades of their unjustified neglect. Their status would have otherwise been more substantial as a result. Well.....it's our loss.

The First Concerto for Piano & Orchestra (of 1890) is quite an original piece. After a rather sombre opening (Andante poco mosso), the following passage (Allegro un poco maestoso) asserts itself with majesty and dramatic impetus. But the bold yet unexpecting entry of the piano demonstrates Stojowski's unrelenting creative spirits. The poetic rhetoric has flair and the idiom is quite unlike anything I've heard before. The rapt poetry, nobility, and beauty behind the music are spellbinding (think of Bortkiewicz' Lamentations and Consolations as well as his Quatre Morceaux). Thinking of possible influences behind this gorgeous score was no easy task & I've came up rather empty (Chopin comes to mind, but vaguely). The Concerto happened to be dedicated in homage to Anton Rubinstein and the second movement demonstrates that Stojowski was not stranger to the music of his Russian counterpart, like, say, his First Piano Concerto. It's a captivating movement, dreamingly so, and the finale is as fine as the previous movements: heroic, exciting, but with the quiet passages (again evoking Rubinstein somewhat) that simply fail to escape me.

The Second Piano Concerto, written in the Summers of 1909 and 1910, never fails to escape me either. It's marginally a finer piece, with the structure as unusual and original as his language. The opening bars of the Prologue (Andante con moto) is as beautiful and noble as those of Busoni's momentous Piano Concerto of 1902-1904. The rapt poetry @ say, 2'22" have me drawn back onto it to a point of redundancy. Awesome stuff, even in the Scherzo (Presto), which is quite Hollywoodish in character quite suitable for a Disney film. But turn to the set of variations, and you'll witness Stojowski's inventiveness at his very best. They are finely wrought, with a compelling lightness of touch and flair that bring to mind the variations Ernst von Dohnanyi used in his large scaled works, like the Variations on a Nursery Theme, the two symphonies, and the Suite in F sharp op. 19. I confess I cannot choose one variation over the other, as they are all equally well written. Sample, if you will, any of them, and you'll be convinced of the workings of such a creative mind of Poland's outstanding composer since Chopin. Little wonders then that this piece created quite a sensation during a performance in New York City on March 4th, 1915 by the New York Philharmonic under the direction of Paderewski himself. As Joseph Herter mentions in his highly informative sleeve notes, Paderewski's approach was in fact so spacious (45 minutes in duration) that the critics, while praised the work wholeheartedly, criticized its supposedly longwindedness (one critic suggested that some of the variations should be omitted). Stojowski, perhaps reluctantly, concurred, and therefore omitted the sixth variation before his next performance as pianist with Willem Van Hoogstraten conducted the New York Philharmonic in Carnegie Hall (which took place on November 16th, 1924).

I have a feeling that this warmly, incandescent recorded CD will continue to create sensations in its own right. The music shall be given most of the credit here. But, the renderings of Jonathan Plowright is flawless and full of artistry. He has the scores in full measure, and his approach is full of imagination and verve. The quiet pages are simply spellbinding under his hands. It's as though a narration is being told in the way the themes are allowed to blossom in their natural ways. The support of the BBC Scottish Symphony under Brabbins is likewise spellbinding and narrative also. After praising them in their exhilarating, warm-hearted renditions of Lyapunov's Piano Concerti and the Bortkiewicz' two symphonies, I continued to be awed by their understanding of, advocacy on behalf of, and commitment towards the rarests of repertoire. It's definitely a re-assuring, uplifting feeling in the midst of the precarious crisis that's confronting the music industry as we speak. Dare I hope for Hyperion and, if applicable, the same enterprising team to embark on more of Stojowski's works like, say, his Caprice-Oriental, his symphonies, and even his songs?

Humm...like I'm going to be surprised of what Hyperion have up its adventurous, enterprising sleeves.

I had heard of Stojowski --- but other than him being one of a talented crop of young Polish composers at the turn of the century, I don't really know anything else about him. The program notes state that he essentially stopped composing around World War I because he refused to keep in step with prevailing musical trends, which contributed to his slide into obscurity.

Armed with that information, I would have assumed that Stojowiski's music would have had the flavor of over-the-top Late Romantic museum pieces, with all of the attendent excess that often accompanied Late Romanticism at the turn of the century. However, I found these to be surprisingly original works, relatively free of clichés, familiar only in as much as they sounded similar to works by some of his comtemporaries like Karlowicz, for example. They may not stand head & shoulders above other compositions of the period, but they are certainly decent pieces that deserve more attention than they have gotten.

A pleasant surprise is the excellent orchestral accompaniment to a top-notch performance by Jonathan Plowright. One of my complaints with a number of Hyperion's other entries in this collection is that excellent performances by the soloist have been undermined by listless, disengaged performances by the orchestra. That is definitely not the case here; the orchestra very much does justice to Stojowski, and makes the listening experience all the more satisfying.

Zygmunt Stojowski was a pupil of Paderewski and one of Poland's most renowned composers. His reputation began in his twenties during the 1890s and his music enjoyed many performances, albeit until the 20th century caught up and went past his Romantic style. Stojowski never altered his style of composing and, sadly, someone who was regarded as one of the great musicians of his day was forgotten. He immigrated to the United States in 1905 where he became a very popular professor of piano and was given the honor of a concert devoted to his works alone.

Stojowski's piano concertos date from 1890 and 1909/10. Jonathan Plowright and the BBC Scottish Orchestra, conducted by Martyn Brabbins give them a wonderful performance. The First concerto is characterized by lush melodies in the first two movements and a dramatic finale. The Second concerto also goes by the name Prologue, Scherzo and Variations. Paderewski played this concerto in New York and created a sensation with the concert sold out and the audience refusing to leave after the work was played. The Second concerto was hailed as a masterpiece, and once can understand its appeal as you listen. It is characterized by brilliant piano writing and scintillating writing for the orchestra. Why this concerto is not better known is criminal.

The performances on this CD are remarkable and among the best of the Romantic Piano Concerto series. Highest recommendation.

Siegsmund Stojowski's name is on a lot of my old piano music. The fact that he wrote Piano Concertos in not surprising. We must thank Hyperion for keeping on with this concerto series. However, except for a stirring opening to the 1st concerto (the pianist enters rather effectively with what I think are double octaves) I am not sure if I really am in love with these works yet. Being a big Scharwenka fan (especially the 2nd Concerto with Seta Tanyel) I hoped that these concertos would have the same effect, but I fear that they haven't yet. I certainly do not regret owning these, but these probably are not essential concertos unless you are a completist, which I most certainly am! If you like the Tchaikovsky 1st or the Rachmaninoff or Grieg concertos, do not be afraid of these! It probably would be refreshing to hear these in the concert hall rather than the old warhorses. Kudos to the fearless pianist Johnathan Plowright for learning and recording these works.

These concerti are musically quite meaty -- especially the #1. What really helps is the first-class musicmaking by the pianist, conductor and orchestra. Kudos to Hyperion for extending its Romantic Piano Concerto series over so many volumes and including so many forgotten composers like Stojowski. Unlike other series like the one on Vox many years ago, Hyperion is finding the strongest talent around instead of settling for second-rate orchestras and slapdash rehearsing. The result really does these works proud. Martyn Brabbins in particular is great as conductor in these performances and in a number of other works in this series.

I've realized what it is about Hyperion's Romantic Piano Concerto series that's so enjoyable. It's the fact that here are a bunch of rather obscure, lovely concertos that are JUST AS NICE TO LISTEN TO as the more mainstream ones. Honestly, as one who doesn't quite understand much about the specific writing or anything of the sort, I know that I simply LIKE THIS.

Let's break it down. The music is pretty. Very pretty, in fact. Lovely and beautiful are also words that can be used. They are pieces that sparkle and shine with pretty diddles. Maybe that's the simple, common-man way to look at it, but that's how I hear it. There are complexities that are gorgeous, but mostly it's just NICE.

Okay. So Stojowski (who I had never heard of until now...) is a talented composer. His music is pleasant to listen to. But that's not all, right? It definitely helps that this CD is well done. The playing is wonderful and the overall impression is just so good.

There are two concertos on this disc. The first was the one that caught my attention with the more exciting, interesting moments. There seemed to be more passion and feeling in it, though I certainly enjoyed the second concerto as well. The second is two movements, then a third, and variations. The variations are really interesting and kind of blend into one another in a way that makes the overall CD great to listen to.

Really, if you're a fan of the other installments in this series, I don't think you'll be disappointed in this one. It certainly lives up to our standards.

Recommended.

ZYGMUNT STOJOWSKI (1870-1946) was very Polish. A student of Paderewski he emigrated to the U. S. where he taught and performed with the great orchestras. His piano concertos and his Symphony in d ("a jewel of the Polish symphonic literature") created sensations when performed. Little wonder. Stojowski is dramatic and romantic. It is inconceivable to me that this first class composer could have dropped out of sight. But that's our fault, not his. He is head and shoulders above many composers who still litter the airwaves. There is little available by Stojowski today. He deserves to be remembered and performed. I want to hear more from him. Especially his symphony.

This is a very poorly engineered recording. The piano is heard somewhere in the background, as if it is somewhere "far far away lost in the woods" producing some echoed sounds sometimes. The orchestra sounds much louder than the piano. There is no real dialogue of the piano with the orchestra here. The pieces are designed by the composer as if they are not concerts for piano and orchestra, but symphonic works for orchestra and piano. I regret buying this CD. I wish I could have given 0 stars if there were a choice of that.