1. Piano Trio in A minor, op.17 - I. Allegro moderato    [0:16:09.27]
2. Piano Trio in A minor, op.17 - II. Scherzo    [0:06:53.12]
3. Piano Trio in A minor, op.17 - III. Adagio fantastico    [0:11:27.58]
4. Piano Trio in A minor, op.17 - IV. Rondo    [0:11:01.37]
5. Souvenir de Dresde for oboe, cello and piano, op.47    [0:08:20.53]
6. Les Larmes for cello and piano, op.41    [0:06:18.13]
7. Introduction et Variations for violin and piano, op.18    [0:14:50.57]

Les Explorateurs:
Joanna Ławrynowicz (piano)
Anna Orlik (violin)
Łukasz Tudzierz (cello)
Grzegorz Stec (oboe)

Dobrzyński's Piano Trio is very Schubertesque in places, the final especially. It is a huge work, but holds the listener's interest throughout. The playing of Ławrynowicz, Tudzierz and violinist Anna Orlik is both sympathetic and characterful, making a terrific case for a terrific work. Grzegorz Stec's colourful oboe adds a dash of something different in Souvenir of Dresden, a work which recalls good times past in loving and indeed moving tones. Les Larmes too is a delightful little piece, unpretentious, slightly melancholic. Finally, the Introduction and Variations is like an early piece by Henryk Wieniawski - not a great work as such, but cheery entertainment for both listeners and performers. Dobrzyński's original, incidentally, was for flute and piano - the notes do not say whose arrangement this is. ---Byzantion, musicweb-international.com

The big work here is the 45-minute trio from 1831, very much in the Hummel style of much brilliant piano figuration in its three fast movements with an Adagio fantastico in the style of a vocal scena to offset the cascade of piano notes. The couplings are high quality salon music, beautifully cantilena-style in Dresde and Larmes. Les Explorateurs. ---recordsinternational.com

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01. Fantaisie for Violin and Piano op.32    [0:17:19.24]
02. Introduction and Variations for Violin and Piano op.9    [0:20:12.74]
03. Les Larmes for Violin and Piano op.41    [0:06:57.35]
04. Souvenir de Dresde for Violin, Cello and Piano op.47    [0:08:20.20]
05. Introduction and Variations for Flute and Piano op.18    [0:15:14.54]
06. Andante e Rondo alla Polacca for Flute and Piano op.42    [0:11:55.13]

Les Explorateurs:
Joanna Ławrynowicz (piano)
Anna Orlik (violin)
Łukasz Tudzierz (cello)
Grzegorz Stec (oboe)

"The wonderful discoveries that I have made during my research on neglected repertoire often make me wonder why it is that so much beautiful Polish music has fallen into oblivion" - thus writes Acte Préalable (AP) impresario Jan Jarnicki in his customary preamble for the CD booklet. Music-lovers who have bought previous AP discs will have asked themselves the same question - how to account rationally for the big repertoire gap between Chopin and Szymanowski, and again between Szymanowski and Penderecki/Górecki. The names capable of filling those holes are legion, a fact to which many previous AP recordings are persuasive testimony.

This new disc is the second and - for now at least - last volume dedicated to the chamber music of one of those composers, Ignacy Dobrzyński. Volume one itself only came out a few weeks ago. Jarnicki writes that he "discovered Dobrzyński left behind a vast legacy of chamber pieces", but this is something of an overstatement - the present volume and the first, incidentally one of AP's finest recordings to date (review), constitute the complete works of those written to include a piano, apart from a Clarinet Duo in A. According to Jarnicki, that work may yet appear on a future volume, but since last year it has actually been available on another entrepreneurial Polish label, DUX (0857). Roman Widaszek's account of this delightful piece would in fact be a difficult one to upstage.

For all that Dobrzyński continues to impress here - sounding at times not unlike early Schubert or Wieniawski - this second disc is less compelling than the first, despite its highly generous running time, for two reasons. First, three of the works, opp. 18, 41 and 47, are the same, bar a change of instrumentation - these are alternative versions, albeit the notes are not always clear which ones were made or sanctioned by the composer.

Second, the flautist Jagoda Sokolowska-O'Donovan is not convincing, especially in the Andante e Rondo alla Polacca, where she initially seems to let nerves get the better of her. Her wrong notes right at the beginning are the worst of it, but it takes her a long while to settle down. She is on improved form in the op.18 Introduction and Variations, but there are still articulatory and intonational impurities that make a second listen-through a less appealing proposition.

The other musicians all appeared on volume one, where they were excellent without exception. Les Explorateurs is a chamber ensemble based around pianist Joanna Ławrynowicz, with guest musicians coming in according to the requirements of works at hand. Ławrynowicz has recorded over thirty CDs for AP spanning more than a decade, and was apparently the first Pole to record the complete works of Chopin (also for AP). As previously, the performances of Ławrynowicz, Łukasz Tudzierz and Anna Orlik are poised and nicely coloured. ---Byzantion, musicweb-international.com

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CD1
1. Monbar (The Freebooters), Op. 30: Overture 		10:44  	

Piano Concerto in A-Flat Major, Op. 2 (reconstructed by K. Baculewski)
2. I. Allegro moderato 		17:50  	
3. II. Andante espressivo 		10:00  	  
4. III. Rondo: Vivace ma non troppo (Cadenza by E. Madey) 		12:33  	   

CD 2 							
Symphony No. 2 in C minor, Op. 15, "Characteristic" (1862 revised version) 
5. I. Andante sostenuto - Allegro vivace 		13:25  	  
6. II. Elegia: Andante doloroso ma non troppo lento 		6:56  	  
7. III. Minuetto alla Mazovienna: Allegro ma non troppo - Trio 		8:38  	
8. IV. Finale alla Cracovienna: Vivace assai – Presto – Prestissimo 		7:14  	  	

9. Symphony No. 2 in C Minor, Op. 15, "Characteristic": II. Andante grazioso (1834 original version)

Emilian Madey – piano
Polish Radio Symphony Orchestra, Warsaw
Lukasz Borowicz - conductor

The name of Ignacy Feliks Dobrzyński is still not well known outside his native Poland, but there was a time when he vied for attention in Warsaw’s musical circles with his near-contemporary Fryderyk Chopin who went on to become the country’s most famous composer. The career of Chopin flourished after he left Poland. Dobrzyński on the other hand remained in Warsaw and saw his own compositional ambitions thwarted by the difficulty of working in Russian-occupied Poland. The works on these discs date from a time when Dobrzyński was a young man. He was only seventeen when, in 1824, he wrote his Piano Concerto. With this work Dobrzyński followed in the footsteps of composers such as Hummel and Field, associated with the style brillant, but made more than a passing nod to Weber and to late eighteenth-century idioms. The Second Symphony followed in 1834. Revising the symphony much later, Dobrzyński wrote a new slow movement for the piece in 1862, and it is in this version that the symphony has since been performed. Uniquely, both slow movements are included on this disc. The tone that Dobrzyński adopted for the music is urgent and impassioned, probably a reflection of the occupied and divided Poland of the 1830s. Dobrzyński considered the opera Monbar, or The Filibusters his masterpiece. Setting a pirate tale, the work displays plenty of orchestral swashbuckling, offering throughout clearly depicted themes, such as tropical storms, fighting, love, and, of course, treason. The opera had to wait twenty-five years for its complete premiere, under the composer’s baton, in Warsaw, in January 1863. Even then the opera only had three performances before the break-out two weeks later of the January Uprising, a Polish protest against the occupying forces. Monbar was subsequently shelved and not heard again until a concert performance in Warsaw in 2010. Łukasz Borowicz was appointed Artistic Director of the Polish Radio Symphony Orchestra in Warsaw in 2007; he has appeared as a guest conductor with orchestras including the Konzerthausorchester in Berlin, Royal Philharmonic Orchestra in London, Düsseldorfer Symphoniker, Prague Symphony Orchestra, Russian National Philharmonic Orchestra, and BBC Scottish Symphony Orchestra. The Polish-born pianist Emilian Madey is also active as a composer, conductor, and lecturer at the Chopin University of Music in Warsaw. --- chandos.net

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01. Dobrzyński - String Quartet N.1 - I. Allegro moderato    [0:10:10.44]
02. Dobrzyński - String Quartet N.1 - II. Menuetto. Allegro moderato    [0:08:56.42]
03. Dobrzyński - String Quartet N.1 - III. Andante. Doloroso ma non troppo lento    [0:06:45.67]
04. Dobrzyński - String Quartet N.1 - IV. Finale. Vivace assai    [0:07:46.26]
05. Dobrzyński - String Quartet N.2 - I. Andante    [0:13:47.64]
06. Dobrzyński - String Quartet N.2 - II. Tempo di menuetto    [0:06:45.34]
07. Dobrzyński - String Quartet N.2 - III. Presto    [0:07:40.59]
08. Dobrzyński - String Quartet N.2 - IV. Allegro moderato    [0:07:40.51]

Performer: 
Kwartet Wilanow:
Tadeusz Gadzina – I violin
Paweł Łosakiewicz – II violin
Ryszard Duź – viola
Marian Wasiółka – cello
+
Tomasz Strahl – 2nd cello

Ignacy Feliks Dobrzyński (15 February 1807 – 9 October 1867) was a Polish pianist and composer. Dobrzyński was born in Romanów, in Volhynia, now (Romaniv? ukr. Романів, between the 1933-2003 it was known as Дзержинськ – Dzerżynśk)Dserschynsk, Zhytomyr Oblast, Ukraine.

He attended a Jesuit school in Romanów, then continued his education at Vinnitsa, where he graduated from the Gimnazjum Podolskie (Podole Gymnasium). He first studied music with his father Ignacy, a violinist, composer and music director. Beginning in 1825 he studied in Warsaw with Józef Elsner, at first privately, then in 1826–28 at the Warsaw Conservatory, where he was a classmate of Frédéric Chopin's.

Dobrzyński toured Germany as a soloist and also conducted operas and concerts. In 1857 he organized "Ignacy Feliks Dobrzyński's Polish Orchestra" (Orkiestra Polska Ignacego Feliksa Dobrzyńskiego), which comprised leading members of the orchestra of Warsaw's Great Theater. In 1858–60 he participated in a committee established to found a Music Institute. He also became a member of the Lwów Music Society. He died in Warsaw.

Here is one of several Polish romantic composers whom Acte Préalable will be introducing to the world (many are not in English-language music encyclopedias) as they continue their program of unearthing worthy compatriots from both the 19th and 20th centuries. Dobrzynski's quintets (no dates are given but the use of the Polish national anthem in the slow movement of the first suggests 1848 or thereabouts) are mainly concerned with melody, lyricism and lightly dancing minuet movements. Even that national anthem movement, marked "Doloroso ma non troppo lento", is, at the most, wistful as a Mendelssohnian sunniness spreads warmth throughout these two engaging 35-minute pieces. --- acteprealable.com

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Act I – tracks 1 - 16
Act II – tracks 17 – 27
Act III – tracks 28 - 38

Monbar, Wodz Flibustierow - Rafal Bartminski (tenor)
Don Zuan Kastellas - Pavlo Tolstoy (tenor)
Donna Maria - Ewa Biegas (soprano)
Don Alonzo do Bel Alcazar - Wojtek Gierlach (bass)
Rozalja - Agnieszka Makówka (mezzosoprano)
Blanka - Eliza Kruszczynska (soprano)
Perez - Dariusz Machej (bass)
Van Best - Krzysztof Szmyt (tenor)
Koryfeusz - Daniel Borowski (bass)
Diego - Grzegorz Pazik (baritone)
Alvarez, oficer - Krzysztof Szmyt (tenor)
Triszar - Daniel Borowski (bass)

Chór Polskiego Radia
Polska Orkiestra Radiowa
Lukasz Borowicz - conductor

19.IX, 2010, Studio Koncertowe Polskiego Radia, Warszawie

At one time Ignacy Dobrzyński is said to have been as well known in Poland as Chopin, with whom he once shared the teacher Józef Elsner. One left Poland and found fame, the other remained in Russian-occupied Warsaw and was ultimately all but forgotten. Bits and pieces of Dobrzyński's music have appeared on disc in recent years, but very few monographs. The pirate-painting Monbar is of a generally Rossinian nature - cheerful, catchy, with an exuberant finale. ---Byzantion, musicweb-international.com

Dobrzyński composed his first opera between 1836 and 1838, entitled Monbar czyli Flibustierowie / Monbar or the Filibusters [aka "Freebooters"] op. 30. Segments of the opera were played in concert halls in Warsaw, Poznań, Berlin and Dresden, and it premiered on-stage at Warsaw's Teatr Wielki in 1863. --- culture.pl

Dyrygent Łukasz Borowicz konsekwentnie wyciąga z lamusa zapomniane polskie opery. „Zagubiona jaskółka” Laksa, „Rycerze Króla Artura” Bacewicz, „Maria” Statkowskiego… Teraz „Monbar, czyli Flibustierowie” Ignacego Feliksa Dobrzyńskiego. Dzieło zapomniane na prawie 150 lat.

Z dziełami sztuki jest czasem tak, że popadają w zapomnienie, niebyt. Zalegają w piwnicach muzeów, śpią w szufladach biurek, leżą na półkach archiwów, w magazynach bibliotek. Czasem ktoś sobie o nich przypomni: a to kurator rocznicowej wystawy, a to naukowiec-humanista, szukający starych odpowiedzi na nowe pytania. Dyrygent Łukasz Borowicz konsekwentnie wyciąga z lamusa zapomniane polskie opery. „Zagubiona jaskółka” Laksa (nomen omen…), „Rycerze Króla Artura” Bacewicz, „Maria” Statkowskiego… Do tej listy dołączył właśnie „Monbar, czyli Flibustierowie” Ignacego Feliksa Dobrzyńskiego. Dzieło zapomniane na prawie 150 lat, nie mające zresztą (nigdy?) szczęścia do pełnego wybrzmienia. Opera powstawała w latach 1836-38. Już w 1837 roku koncertowo wykonano uwerturę i duet głównych bohaterów, rok później finał opery. I na tym koniec... Dobrzyński bezskutecznie zabiegał (m.in. w Warszawie i w Prusach) o wystawienie opery. Fragmenty wykonano jeszcze na koncertach w Poznaniu (1845), Berlinie (1845-46) oraz Dreźnie (1847), ale cała opera doczekała się prawykonania w Operze Warszawskiej dopiero 10 stycznia 1863 roku, 25 lat po napisaniu partytury… Dwanaście dni po premierze wybuchło powstanie styczniowe, opera spadła z afisza.

Do wrześniowego koncertu znaliśmy jedynie wydaną przez PWM uwerturę opery. Prawdopodobnie cały materiał orkiestrowy opery spłonął w pożarze Opery Warszawskiej w 1939 roku lub w czasie powstania warszawskiego. Na szczęście przetrwał rękopis – w zbiorach Biblioteki Warszawskiego Towarzystwa Muzycznego. Z niego właśnie (oraz ze znajdującego się w WTM wyciągu fortepianowego wydanego w 1860 roku) powstała nowa redakcja partytury.

Nowe-stare dzieło brzmi bardzo ciekawie. Dobrzyński (1807-1867, pianista i kompozytor, dyrygent i pedagog, uważany – obok Moniuszki – za najwybitniejszego polskiego kompozytora XIX wieku po Chopinie; podobnie jak on, uczeń Józefa Elsnera) potrafił pisać muzykę – emocjonalnie prawdziwą, nie nachalną, nie banalną, wyrazistą. Niektóre fragmenty jakby zapowiadają nawet „Otella” Verdiego, inne przewyższają dokonania Moniuszki. Może tylko fabuła dość zawikłana, od punktu wyjścia – czyli Flibustierów – piratów różnych narodowości (przede wszystkim Francuzi, Anglicy i Holendrzy) grasujących po morzach Ameryki Środkowej w XVII i XVIII wieku, żyjący głównie na wyspach w okolicy Haiti. Trochę to dalekie… --- Tomasz Cyz, dwutygodnik.com

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