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(1835-1880) Polish violinist and composer

Henryk Wieniawski. (1835-1880) Polish violinist and composer. Short biography. Henryk Wieniawski, born in Lublin on 10th July 1835, died in Moscow on 31st March 1880, was a violinist, composer and music teacher. A true Lublin salon, the Wieniawskis' house was frequented

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(1835-1880) Polish violinist and composer

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  1. Henryk Wieniawski (1835-1880) Polish violinist and composer

  2. Short biography Henryk Wieniawski, born in Lublin on 10th July 1835, died in Moscow on 31st March 1880, was a violinist, composer and music teacher. A true Lublin salon, the Wieniawskis' house was frequented by leading artists and hosted concerts, literary meetings and discussions.

  3. Education Initially Henryk was taught by his mother, then by Jan Hornziel, the violinist of the Grand Theatre in Warsaw, and Stanislaw Serwczynski, the soloist and concertmaster of the Budapest Opera. In 1843, at the age of eight, Wieniawski went to Paris to study with Lambert-Joseph Massart at the Paris Conservatory, from which he graduated three years later, winning the first prize and a gold medal. He then continued to take lessons from Massart for two more years, followed by a two-month concert tour in St Petersburg, the Baltics and Warsaw. In 1849 Wieniawski returned to the Paris Conservatory to study composition with Hippolite Collet, and graduated with distinction the following year.

  4. First concerts In 1850 Henryk embarked on a series of concerts, starting from all major towns of the Russian empire and continuing in a number of European cities. His brother Jozef accompanied him until 1850. The response was enthusiastic wherever they appeared. Having enjoyed tremendous success in Paris, Brussels, Dresden, London and elsewhere, in 1860 Wieniawski accepted the posts of the first violinist at the tsar's court and the soloist of the Russian Music Society, simultaneously teaching the violin in the Society's music classes, turned into a Conservatory in 1862. Wieniawski's several years of teaching created the foundations of the St Petersburg violin school, later developed into the great Russian school by Leopold Auer.

  5. Career Every year Wieniawski would spend three to four months playing concerts outside Russia, mostly in the fashionable spas of Europe. After twelve years in Russia, he left for a grand concert tour in the United States, to play - together with Antoni Rubinstein - 215 concerts over a period of eight months. Wieniawski stayed in the US until 1874, playing more concerts with Paulina Lucca, the famous singer. On returning to Europe, he took over as a teacher from the ailing Henry Vieuxtemps at the Brussels Conservatory, a position he held until 1877. One of his students there was Eugene Ysaye. Deteriorating heart condition and obesity forced Wieniawski to play concerts in the sitting position in his last years.

  6. Wieniawski's competition Since 1935 Poland has been the venue of the Henryk Wieniawski International Violin Competition. Initially held in Warsaw, the event, recurring every five years, was moved to Poznan in 1952.First competition had two stages but now it has four stages. First stage is without public. In second stage can play only 60 violinist in third – 24 and in fourth just only 12. In final every violinist must play concert with orchestra. Some winners of Winiawski’s copetition: - Ginette Neveu (France, 1935), Wanda Wiłkomirska (Poland, 1952), Roza Fajn (ZSRR, 1957), Krzysztof Jakowicz (Poland, 1962), Kaja Danczowska (Poland, 1967), Vadim Brodski (ZSRR, 1977), Alena Baeva (Russia, 2001).

  7. I Violin Concerto in F sharp minor Henryk Wieniawski composed the VIOLIN CONCERTO IN F SHARP MINOR OP. 14 in 1853. Its premiere took place on 27th October 1853 in Leipzig, with Wieniawski playing the solo part, accompanied by the famous Leipzig Gewandhaus Orchestra. The concerto was dedicated to the Prussian king, who distinguished the composer with the Great Golden Medal of Arts and Sciences. The work was published by the Hofmeister publishers in Leipzig in 1853.

  8. Style of F sharp minor concerto Although the means which Wieniawski used in CONCERTO IN F SHARP MINOR do not go beyond the style of the time, the amazing thing is that the piece was composed by a seventeen-year-old composer. Clearly, his composing style was influenced by Niccolo Paganini, Karol Lipinski, Henri Vieuxtemps and Henrich Wilhelm Ernst. The very choice of the key brings to mind Lipinski's CONCERTO NO.1, Vieuxtemps' CONCERTO NO. 2 and Ernst's CONCERTO PATHETIQUE OP. 23. Affinities with Ernst's CONCERTO include not only the use of the same key, but also the passage technique Wieniawski applied in the first movement, Allegro Moderato. What was novel was Wieniawski's use of the cadence as a integral and obligatory CONCERTO movement. The start of the second movement, with its then fashionable title of Preghiera (The Prayer), is reminiscent of Medieval music. The contemplative mood passes away, however, with the sounding of the fanfare, jocular trumpet motive starting the third movement. The finale, in the form of a rondo, features folk elements bringing to mind Hungarian tunes. Full of artistic finesse and virtuoso technique, the work ends with a bravado coda.

  9. Other compositions •GRAND CAPRICE FANTASTIQUE SUR UN THEME ORIGINAL OP. 1 (1847) •VARIATIONS ON HIS OWN MAZUREK (ca. 1847) •ARIA AND VARIATIONS E-MAJOR (1848) •FANTASY AND VARIATIONS IN E-MAJOR (1848) •NOCTURNE POUR VIOLON SEUL (1848) •ROMANCE (ca. 1848) •RONDO ALLA POLACCA E-MINOR (1848) •ALLEGRO DE SONATE, PRESTO POUR VIOLON ET PIANO CONCERTANT OP. 2 (1848?) •DUO CONCERTANT ON THE THEME FROM THE OPERA "LUCIA DI LAMMERMOOR" BY DONIZETTI (ca.1850) •VILLAGE MAZUR (ca. 1850) •TWO MAZURKAS (1851) •MARCH (1851) •VARIATIONS ON THE THEME OF THE RUSSIAN NATIONAL ANTHEM (ca. 1851) •PREMIERE POLONAISE DE CONCERT D-MAJOR OP. 4 (ca. 1852) •SOUVENIR DE MOSCOU, DEUX ROMANCES RUSSES OP. 6 (ca. 1852) •CAPRICCIO-VALSE E-MAJOR OP. 7 (1852) •GRAND DUO POLONAIS POUR VIOLON ET PIANO CONCERTANT OP. 8 (ca. 1852)

  10. Other compositions (part 2) • FANTAISIE PASTORALE OP. 13 (ca. 1853) • KUJAWIAK A-MINOR (1853) • SCHERZO-TARANTELLE G-MOLL OP. 16 (1855) • LEGENDE OP. 17 (ca. 1860) • DEUX MAZOURKAS CARACTERISTIQUES: OBERTASS ET LE MENETRIER OP. 19 (1860?) • FANTAISIE BRILLANTE SUR "FAUST" OPERA DE CHARLES GOUNOD OP. 20 (ca. 1865) • POLONAISE BRILLANTE A-MAJOR (ca. 1870) • SOUVENIR DE SAN FRANCISCO (ca. 1874) • DEUXIEME GRAND CONCERTO D-MINOR • GIGUE E-MINOR • KUJAWIAK C-MAJOR • POLONAISE TRIOMPHALE • REVERIE F SHARP MINOR POUR ALTO ET PIANO

  11. The end Presentation made by Karolina Anna Kolinek :)

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