1. Beethoven – Moonlight Sonata – I.Adagio sostenuto
2. Beethoven – Moonlight Sonata – II.Allegretto III.Presto agitato
3. Liszt – La Campanella
4. Schubert – Moment Musical As-dur op.94 nr 2
5. Chopin – Nocturn Fis-dur op.15 nr 2		play
6. Chopin – Waltz Es-dur op.18
7. Paderewski – Menuet G-dur op.14 nr 1
8. Chopin – Etiude cis-moll op.25 nr 7
9. Chopin – Liszt – Życzenie (Wish)

Ignacy paderewski - piano

Ignacy Jan Paderewski (1860-1941) was one of the greatest people in the history of Poland. His multifarious activities as a composer, a pianist, a politician, a prominent statesman and, last but not least, a generous philantropist, distinguished him from the group of the greatest individuals of the world of culture and politics of the first half of the twentieth century, both in Poland and world-wide.

Paderewski earned the reputation of one of the best pianists, and his virtuoso career spanned more than fifty years. A top-paid artist, he was coveted by crowds of listeners of the most famous concert halls and his recitals were honoured by the presence of Europe's royalty. Paderewski's concert itineraries took him to the countries of Europe, both Americas, South Africa as well as Australia, New Zealand, and Tasmania.

Paderewski was both a passionate performer and composer of music. Neo-Romantic in style, his compositions frequently take on classical or folk dance forms of masurs, kujawiaks and krakowiaks.

Leading orchestras have included compositions by Paderewski, such as his opera "Manru","Polonia Symphony" and "Polish Fantasia" for piano and orchestra, in their repertoires. Paderewski's mastery as a composer is also reflected in his two sonatas (for violin and piano), three cycles of variations, and songs to Polish and French lyrics (Op. 7, 18 and 22, respectively). "Menuet in G-major Op. 14 No. 1", in the style of Mozart, "Melody" from Op. 8 and "Nocturn" from Op. 16 are the three of his miniature compositions to have enjoyed record popularity levels.

Popularity breeds financial success, and Paderewski used it for his public activity. He was generous in sharing his resources both with his compatriots and with citizens of other countries. He made donations to funds and foundations, and contributed to the construction of concert halls and monuments, such as those of Debussy and Colonne in Paris, of Liszt in Weimar, of Beethoven in Bonn, of Chopin in Zelazowa Wola, of Kosciuszko in Chicago. He sponsored the Arch of Washington and many other projects. A number of countries bestowed their top honours on Paderewski in recognition of his artistic and patriotric merit and in appreciation of his generosity to war veterans, artists and intellectuals. He was awarded the Order of the British Empire, the French Legion of Honour and distinctions conferred by Belgium, Spain, Italy, Romania, Saxony, and Lombardy. Poland honoured him with the Great Ribbon of the Order of the White Eagle, Order of Polonia Restituta and, posthumously, the Virtuti Militari medal.

Non-existent on the political map of Europe for 123 years, from 1795 to 1918, Poland gives Paderewski credit for his political activity, too. A great statesman, friend of distinguished artists, writers and politicians, he directed all his acitivities towards the restoration of his country's independence. After World War I he headed the Polish government, his cabinet consistently pursuing the programme of defence of Poland's borders and of harmonious cooperation with the neighbouring countries.

The last years of Paderewski's long life were devoted mostly to charity work.--- culture.pl

Ignacy Jan Paderewski (1860-1941) jest jedną z najwybitniejszych i najważniejszych postaci w historii Polski. Kompozytor, pianista, polityk, mąż stanu.

Wielotorowa działalność Paderewskiego jako kompozytora i pianisty, a zarazem polityka, wielkiego męża stanu czy wreszcie hojnego filantropa - wyróżniała go spośród grona największych osobowości świata kultury i polityki pierwszej połowy ubiegłego wieku nie tylko w Polsce, ale i na świecie.

Paderewski zyskał sławę jednego z największych pianistów, a jego kariera wirtuoza trwała ponad 50 lat. Był artystą najlepiej opłacanym, pożądanym przez tłumy słuchaczy najsłynniejszych sal koncertowych, jego recitale zaszczycały swą obecnością koronowane głowy Europy. Mapa podróży koncertowych Paderewskiego obejmowała kraje całej Europy, obydwu Ameryk i Południowej Afryki, a także Australię, Nową Zelandię i Tasmanię.

Artysta z pasją oddawał się nie tylko wykonywaniu, ale i komponowaniu muzyki. Jego utwory utrzymane są w stylistyce neoromantycznej, często przybierają formy klasyczne, pojawiają się w nich także formy taneczne, takie jak mazury, kujawiaki czy krakowiaki.

Najsłynniejsze zespoły orkiestrowe włączały do swego repertuaru utwory Paderewskiego takie jak opera "Manru", Symfonia "Polonia", "Fantazja polska" na fortepian i orkiestrę. O kunszcie kompozytorskim Paderewskiego świadczą też jego sonaty - skrzypcowa i fortepianowa, 3 cykle wariacji, pieśni do tekstów polskich (op. 7, 18) i francuskich (op. 22). Spośród drobnych miniatur fortepianowych Paderewskiego rekordy popularności do dziś bije "Menuet G-dur" op. 14 nr 1 w stylu Mozarta, "Melodia" z op. 8 oraz "Nocturn" z op. 16.

Towarzyszący popularności sukces finansowy Paderewski wykorzystał w działalności publicznej. Majątkiem dzielił się hojnie, zarówno z rodakami, jak i obywatelami wielu innych krajów. Zasilał fundusze i fundacje, z jego udziałem finansowym powstawały sale koncertowe i pomniki, m.in. monumenty Debussy'ego i E. Colonne'a w Paryżu, pomnik Liszta w Weimarze, Beethovena w Bonn, Chopina w Żelazowej Woli, Kościuszki w Chicago, Łuk Waszyngtona...

Wiele krajów obdarowało Paderewskiego najwyższymi zaszczytami w uznaniu zasług artystycznych, patriotycznych, ale też ze względu na hojność artysty dla weteranów wojennych, środowisk twórczych i intelektualnych. Artysta otrzymał m.in. Order Imperium Brytyjskiego, francuską Legię Honorową, odznaczenia Belgii, Hiszpanii, Włoch, Rumunii, Saksonii, Lombardii, czy wreszcie Polski: Wielką Wstęgę Orderu Orła Białego, Order Polonia Restituta i pośmiertnie Virtuti Militari.

Dla Polski - nieobecnej przez 123 lata (1795-1918) na politycznych mapach Europy - zasłużył się Paderewski również jako polityk. Wielki mąż stanu, przyjaciel wybitnych artystów, pisarzy, polityków skierował wszystkie swe działania na rzecz przywrócenia niepodległości ojczyzny. Po I wojnie światowej stanął na czele rządu, a jego gabinet konsekwentnie realizował program obrony granic i zgodnej współpracy z sąsiadującymi z Polską krajami.

Ostatnie lata swego długiego życia poświęcił Paderewski głównie pracy charytatywnej. --- culture.pl

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Piano Concerto in A minor, Op.17   33:44
1. I. Allegro  16:10
2. II. Romanza: Andante  9:16
3. III. Allegro molto vivace  8:14

4. Fantaisie polonaise sur des themes originaux, Op.19  21:02
5. Overture  9:45

Janina Fialkowska - piano
National Polish Radio Symphony Orchestra
Antoni Wit - conductor

Ignacy Paderewski’s Piano Concerto belongs with the finest works of Romantic nationalism, right up there with the similar works of Grieg, Tchaikovsky, and Rachmaninov. The reasons for its comparative neglect are simply unfathomable: it has great tunes, is very well orchestrated, and sounds like a blast to play. The Polish Fantasy is equally attractive, and would make a very welcome change of pace in concert from the endless parade of Paganini Rhapsodies and other such warhorses. The principal competition for this new release comes from Koch, where Eva Kupiec and conductor Hugh Wolff turn in lyrical, affecting performances of both works (there’s also a Hyperion disc that I find comparatively uninteresting). Janina Fialkowska has more steel in her tone, and plays both works with less “Chopin” and more “Prokofiev” than her compatriot, and this suits the music, which is vintage turn-of-the-century stuff, very well. I find her approach particularly compelling in the finale of the concerto where her firm articulation and slightly more relaxed tempo gives the music more strength of purpose and direction than does Kupiec. Naxos also includes a bonus in the form of the rarely heard Overture, and Antoni Wit’s conducting is easily as fine as Wolff’s. My one reservation concerns the recording: the tone of piano becomes somewhat clattery in the keyboard’s upper octaves, and this is particularly noticeable in the final measures of the concerto’s outer movements, where Paderewski really piles on the treble. It’s a small drawback in what is otherwise a highly recommendable enterprise. ---David Hurwitz, classicstoday.com

It seems only a short while since I reviewed another recording of Paderewski Piano Concerto and Polish Fantasy, sufficiently endearing and popular show pieces to justify David Doughty's claim, in his excellent notes, that 'they still hold a place on the edge of the pianist's repertory today. 'Lovers of the Grieg and, at a lower level of inspiration, the Anton Rubinstein piano concertos, need look no further for easily digested passions and confidences and, in the Polish Fantasy, for flamboyant, ethnic, Lisztian colouring.

Since her early fraught career as a protegee of Artur Rubinstein, the Polish-Canadian pianist Janina Fialkowska has broadened her style, and her performances of both works are as affectionate as they are masterly. Here the considerable qualities that marked her first Chopin and Liszt RCA discs are extended into an altogether more dazzling relish and brio, even a touch of dare-devilry. She plays the Piano Concerto's second subject with a special sense of its intimacy and spins off Paderewski's icing-sugar figuration with an open-hearted delight in its sparkle and charm. The cadenza in particular is unfurled with great brilliance and the sort of improvisatory flair that in the past sometimes eluded her, and the final sprints of both works are given with a genuine rush of adrenalin.

Such enthusiasm is infectious, and Fialkowska is excellently partnered by her orchestra and conductor. So although I would never want to be without Earl Wild's coruscating Elan recording of the Piano Concerto, Fialkowska's quality, shining through Naxos's unrealistically close sound, is sufficiently ebullient and individual to sweep aside all possible accusations of dilute romanticism.' ---Bryce Morrison, gramophone.co.uk

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