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COMPOSERPACIORKIEWICZ, TADEUSZ
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ORCHESTRA / ENSEMBLEHuberman Philharmonic Czestochowa
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PERFORMERKlocek, Telecki, Gadzina
Paciorkiewicz: Violin Concertos / Telecki, Gadzina
- DUX
- July 16, 2021
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RELEASE DATEJuly 16, 2021
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UPC5902547013169
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CATALOG NUMBERDUX1316
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LABELDUX
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NUMBER OF DISCS1
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GENRE
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I. Allegro ma non troppo e molto maestoso
Composer: Tadeusz Paciorkiewicz
Ensemble: Huberman Philharmonic Częstochowa
Performer: Szymon Telecki
Conductor: Adam Klocek
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II. Lento molto
Composer: Tadeusz Paciorkiewicz
Ensemble: Huberman Philharmonic Częstochowa
Performer: Szymon Telecki
Conductor: Adam Klocek
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III. Allegro appassionato
Composer: Tadeusz Paciorkiewicz
Ensemble: Huberman Philharmonic Częstochowa
Performer: Szymon Telecki
Conductor: Adam Klocek
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I. Moderato
Composer: Tadeusz Paciorkiewicz
Ensemble: Huberman Philharmonic Częstochowa
Performer: Szymon Telecki, Tadeusz Gadzina
Conductor: Adam Klocek
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II. Adagio
Composer: Tadeusz Paciorkiewicz
Ensemble: Huberman Philharmonic Częstochowa
Performer: Szymon Telecki, Tadeusz Gadzina
Conductor: Adam Klocek
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III. Allegro sostenuto
Composer: Tadeusz Paciorkiewicz
Ensemble: Huberman Philharmonic Częstochowa
Performer: Szymon Telecki, Tadeusz Gadzina
Conductor: Adam Klocek
Featuring ⌄
Product Details ⌄
Works ⌄
This new release from Dux presents Violin Concertos by composer Tadeusz Paciokiewicz. Paciokiewicz used to say that “even the best craftsmanship and compositional skills are only a means to achieve the goal of expressing a work”. In every composition by Tadeusz Paciorkiewicz, there is a multiplicity and changeability of moods. The character of his music oscillates between the poles of extreme emotions, using refined nuances. The composer received many awards and distinctions for his pedagogical and artistic activity. Tadeusz Paciorkiewicz wrote the following about his works: “The most characteristic features of my style include, above all, the symbiosis of homophony with polyphony and the use, especially in themes, of all twelve notes of the scale. The use of the full twelve--note scale does not imply, however, any connection with the dodecaphonic technique. I tend to lean towards the atonal style, without sacrificing tonality, which I use quite individually. In my works, I prefer classical forms: sonata, concerto, symphony, rondo, or variations. I also often use baroque forms, such as passacaglia, fugue, or cantata. Emotionality is an inherent feature of my com-positions, without which the music is dead and boring, and boredom is actually the enemy of art.”
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