The cycle of Nine Preludes, Op. 1 gained recognition already two years before its official release. In 1904, Arthur Rubinstein – fascinated by the first contact with the Preludes, as well as with several other compositions of his later friend – used the following words to describe them: ‘This music indeed touched my deepest emotions; I have not experienced anything similar since the discovery of Chopin. Who is that man? Where does he live? Where is he now? I need to meet him!’ Undoubtedly, op. 1 can be considered the first great showcase of Karol Szymanowski’s talent. In each of the miniatures, a smooth synthesis of Romantic influences and harmonic and textural procedures typical of many of the composer’s works occurs. These works are beautifully performed by flutist Agata Igras and pianist Mariusz Rukowski.

Lush, impressionistic, exotic, erotically charged even, Karol Szymanowski’s music appears as a world in its own right, a refuge from the harshest aspects of reality, but also a place in which, paradoxically, the dreamer can find the strength and solace needed to cope with the real world and is drawn into an alternative, heightened state of consciousness. Sueye Park and Roland Pöntinen take us on a journey through the Polish composer’s works for violin and piano.

While the early Violin Sonata in D minor already shows Szymanowski’s precocious talent in writing for violin, the Romance in D major and the Nocturne et Tarantelle indicate the emergence of a feverish and exotic atmosphere as well as the musical expression of physical intoxication, a characteristic of the composer’s mature works. Mythes (1915) represents Szymanowski at the zenith of his artistry, creating ‘a new mode of expression for the violin’ and through this an other-worldly musical language. La Berceuse d’Aïtacho Enia concludes this disc in a dreamy yet troubled mood, as if the pains of the real world had ultimately found a way to reach us.

A young violinist, paired with one of the most renowned Lisztians of our day, make an illuminating and harmonious partnership in an exquisite body of modern classics for the duo. Very few 20th-century pieces have entered the canon of literature for violin and piano as universally as the Mythes of Karol Szymanowski. Alongside the sonatas of Janacek and Prokofiev, for example, the cycle embodies the style of it's composer at his most characteristic. In Szymanowski's case, the Mythes draw on a sensuous language of impressionism but also a Russian school of violin playing, and a fragrance in the melodies that is unique to him. Italian critics have been extravagant in their praise of Francesca Bonaita. Her repertoire already includes modern classics such as the concertos by Barber, Zimmermann and Schnittke, indicating the kind of affinity with modernist idioms which makes this Szymanowski disc so striking as a demonstration of her musicianship. Having graduated from the conservatoire in Milan as a student of Sergei Krylov, she furthered her studies in Lugano while attracting notice for her performances in many international violin competitions. The pianist Saskia Giorgini is well known as a Lisztian, with several outstanding albums to her credit, and as a sympathetic recital partner to outstanding musicians of our day such as Ian Bostridge and Vilde Frang. The duo have written a note for this new album of Szymanowski which both explains the background to each of the major works - the Mythes, the early Sonata and the composer's late transcriptions of three Paganini caprices - while underlining their intellectual grasp of this music as it falls under their fingers. As they note, Szymanowski was initially inspired by the examples of Franck and Brahms in writing his own, opulent Violin Sonata in 1909. Gradually he found his voice, helped along the way in particular by his friendship with the violinist Pavel Kochanski. It was Kochanski who gave both technical advice and inspiration to Szymanowski as he composed the two violin concertos and the trio of Mythes which are his culminating work in the field of chamber music: 'a mystical synthesis of the sensual and the divine', as they encapsulate it's elusive sequence of moods. Karol Szymanowski (1882-1937) was one of Poland's most important and original composers. Szymanowski's style is eclectic, standing in the long romantic tradition. He imbued his works with exoticisms, impressionistic flourishes and a general sense of freedom and imagination. The works for violin and piano were composed for the famous Polish violinist Paul Kochanski. The most important works are the substantial Second Violin Sonata and the cycle Myths, both appearing regularly on concert programs nowadays. Played by rising star Francesca Bonaita with pianist Saskia Giorgini, whose Piano Classics and Pentatone recordings have won many awards (Critic's Choice) and 5 star reviews.

This is the third album featuring the piano works of Karol Szymanowski, performed by the outstanding interpreter of his music, Joanna Domanska. The Sonata is the first major work in the young composer's output, an exceptional piece full of contrasts. The dark, dramatic mood of the outer movements collides with the more cheerful middle sections, particularly the charming pastiche of the minuet. Preludium and Fugue are early works that already astonish with their seriousness, depth of expression, and a sophisticated use of texture and harmony. The Variations, considered one of the most difficult works in the piano repertoire, are based on a wistful theme drawn from the music of the Podhale region. This album features the first-ever recording in which the monumental, virtuosic finale is presented in it's entirety, without the shortened version suggested by the composer himself. The works on the album showcase a spectrum of emotions: lyricism, flickering mystery, subtlety, mournful gravity, triumph, and bravura. While all the pieces demonstrate a typically 19th-century virtuosic pianism, the most prominent quality is the depth of musical expression.