Marian

SAWAComplete Violin Works

Jolanta�6RVQRZVND��9LROLQ���0DULD�*DEU\��3LDQR�Marietta Kruzel-Sosnowska, Organ

29.70239

1 Bogurodzica (Mother of God) 2:432 Modlitwa (Prayer) 3:343 Sonata 11:324 Trzy Dialogi (Three Dialogues) 5:035 Hommage a Karol Szymanowski 7:146 Cadenza 4:297 Canzonetta 2:128 Duol vel Duet 3:039 Lajkonik 4:14

0 Burleska 2:03 � 7U]\�0LQLDWXU\�']LHFLĕFH (Three Children’s Miniatures) 3:10! Krakowiaczek dla Joli 0:48@ Pavana 1:22# Oberek 1:00

$ Largo 3:40% Con fuoco 2:28

Marian

SAWA(1937–2005)

Complete Violin Works

3 9.70239

Marian Sawa was a Polish composer, organist, improviser, and pedagogue. From 1958 to 1968 Sawa studied organ performance ZLWK� )HOLNV� 5ćF]NRZVNL�and composition with .D]LPLHU]� 6LNRUVNL� DW�the Chopin State Higher School of Music, and was

concurrently (between 1956 and 1966) organist at the Military Church in Warsaw. Between 1966 and 1973 Sawa was co-chairman of The Polish Composer's Union Youth Department and later, between 1997 and 1999, was Artistic Director of the Polish Union of Choirs and Orchestras �0D]RYLDQ�FKDSWHU��DQG�D�PHPEHU�RI�WKH�$XWKRUV·�Union (ZAiKS) and The Musica Sacra Society. � 0DULDQ� 6DZD·V� WHDFKLQJ� FDUHHU� EHJDQ� LQ�1966. He taught organ improvisation, harmony, counterpoint and liturgical accompaniment at many of the great musical establishments in Warsaw. During his lifetime Marian Sawa was awarded numerous awards and state decorations for both his rich compositional output and his outstanding contributions to education and culture. This world première recording of Marian 6DZD·V�FRPSOHWH�YLROLQ�ZRUNV�DLPV� WR� LQWURGXFH�the recently discovered violin music of the highly SUROLÀF�:DUVDZ�FRPSRVHU��6DZD��QRZ�UHJDUGHG�

one of the most interesting twentieth-century Polish composers, never strove to publish his compositions nor to promote them in his lifetime. Although his music has recently risen in prominence, the majority of his music remains available only in manuscript form. The works for violin are but a small part of his impressive oeuvre and many of his compositions for the instrument remained undiscovered until 2012. � 6DZD·V� YLROLQ� PXVLF� HQFRPSDVVHV� PDQ\�musical idioms. Its disparity is relatively large, beginning in the 1960s with fully experimental works, tone clusters in the avant-garde style, and ending with works from the 2000s which DUH�LGHQWLÀDEOH�E\�WKHLU�VLPSOH�PRGDO�KDUPRQLHV��6DZD·V� YLROLQ� ZRUNV� DUH� RI� YDU\LQJ� OHYHOV� RI�GLIÀFXOW\� DQG� DUH� ZULWWHQ� IRU� YLROLQ� DQG� SLDQR��violin and organ, and for violin solo and are characterised by cohesive form and contrapunctal intricacy. The composer employs many musical effects and techniques including scordatura and aleatoricism, and the music sparkles with brilliant humour. Bogurodzica, for violin and organ, was ZULWWHQ� LQ� ������ ,W� ZDV� ÀUVW� SHUIRUPHG� DW� 7KH�Fryderyk Chopin Academy of Music in Warsaw by Wojciech Kondrat and Ewa Kowalewska. This compact work is entirely based on the opening motif of the oldest Polish Medieval Hymn entitled Bogurodzica (Mother of God). Its majestic long tones depict the marching and victorious battles of the cavalry and evoke the entries

Marian SAWA (1937–2005)

Complete Violin Works

© Ja

n Am

bors

ki

49.70239

of the impressive Polish Hussars. Rhythmical and imitative elements make up this short composition, which ends with a bugle tune. The following piece for violin and organ, Modlitwa (Prayer), was written at the same time, LQ� ������ DQG� ZDV� ÀUVW� SHUIRUPHG� E\� WKH� VDPH�artists as premièred Bogurodzica. The beauty of Modlitwa lies in its exceptional simplicity. The violin provides the tuneful narrative with the organ providing a characteristic accompaniment, based on a walking bass consisting of a few repeated tones. This ostinato-like accompaniment provides a meditative mood, a mysterious sound-world HQKDQFHG�E\�WKH�YLROLQ�DUWLÀFLDO�KDUPRQLFV�LQ�WKH�VHFRQG�VWDQ]D� The longest and most spectacular violin composition by Marian Sawa is his Sonata, for violin and piano, composed in 1967. It was ZULWWHQ�GXULQJ�6DZD·V�VWXGLHV�LQ�:DUVDZ�DQG�ZDV�OHIW�XQÀQLVKHG��,W�FRQVLVWV�RI�WZHOYH�SDJHV�LQ�WRWDO�DQG�KDV�QR�IRUPDO�HQGLQJ��ZLWK�6DZD·V�VFULEEOHG�amendments clearly visible on the manuscript. The work is experimental, variable in character and multi-stylistic, with scordatura in the violin part (a technique also called cross-tuning and used most often in Baroque music, when the strings are tuned differently to normal); the strings are to be tuned F#-D-A-F. Sawa was one of only a handful twentieth-century composers to employ scordatura, even applying it to a two minute violin FDGHQ]D�� ,Q� DGGLWLRQ�� WKH� YLROLQ� DQG� WKH� SLDQR�parts are rich in glissando effects, with the pianist asked to utilise tone clusters. The conclusion of the Sonata was composed using material left by Sawa; a recapitulation and aleatoric coda was added and is performed here in an improvisatory way.

Trzy Dialogi (Three Dialogues), for violin and organ, was completed in the summer of 2002 and represents an excellent example of dialogue between two equal instruments. In each of the three parts of Trzy Dialogi, Sawa chooses a different musical motif, a distinct musical ÀJXUH� WKDW� LV�VXEVHTXHQWO\�DOWHUHG�� UHSHDWHG��RU�VHTXHQFHG�WKURXJKRXW�HDFK�RI�WKH�SDUWV��7KH�ÀUVW�dialogue regularly uses augmented fourths which are later rhythmically augmented. The second dialogue comprises motifs recalling irregular Balkan rhythms. Finally, the third dialogue is based on the rhythm and meter of Oberek, a Polish traditional dance. Trzy Dialogi� ZDV� ÀUVW�performed by Jolanta Sosnowska and Marietta .UX]HO�6RVQRZVND� DW� 6W�� -DFRE·V� &DWKHGUDO� LQ�WKH�3ROLVK�FLW\�RI�2OV]W\Q�RQ�-XO\�����������ZLWK�Marian Sawa present. Hommage à Karol Szymanowski� LV�6DZD·V�earliest violin and piano miniature. The piece was FRPSRVHG�LQ�������DW�WKH�EHJLQQLQJ�RI�KLV�FDUHHU��DQG�LV�FOHDUO\�LQÁXHQFHG�E\�6]\PDQRZVNL��6DZD�abandons a traditional structure and instead constructs the piece with many individual sections. Hommage à Karol Szymanowski remained undiscovered till 2012 and was only SUHPLqUHG� E\� -RODQWD� DQG� 0DULD� *DEU\ŋ� LQ�Warsaw on April 26, 2015 - one day before the WHQWK�DQQLYHUVDU\�RI�WKH�FRPSRVHU·V�GHDWK�� Cadenza for violin solo was probably 6DZD·V� ODVW� FRPSRVLWLRQ� IRU� WKLV� LQVWUXPHQW�� ,W�ZDV� IRXQG� LQ� 0DULDQ� 6DZD·V� DUFKLYHV� LQ� �����ZLWK� QR� LQVWUXPHQWDO� VSHFLÀFDWLRQ�� QR� WLWOH� DQG�no ending. After being completed and named, it ZDV�ÀUVW�SHUIRUPHG�RQ�-XQH���������E\�-RODQWD�Sosnowska at The Field Cathedral of the Polish Army in Warsaw in Poland.

5 9.70239

Canzonetta and Duol vel Duet for violin and organ were composed in 2003. The violin parts in these mysterious and calm miniatures are more exposed and the organ takes a more background UROH��SURYLGLQJ�UHVSLWH�IURP�6DZD·V�RWKHU�G\QDPLF�and passionate violin compositions. Jolanta 6RVQRZVND� DQG� 0DULHWWD� .UX]HO�6RVQRZVND�premièred Duol vel Duet on May 1, 2008 at the Second Annual Polish Festival in Houston, Texas �86$���7KH�ÀUVW�SHUIRUPDQFH�RI�Canzonetta was given during the Vendyssel Festival in Raabjerg (Denmark) by Jolanta Sosnowska and Rikke Møller-Kursch on July 17, 2008. Lajkonik for violin solo, composed in 2003, ZDV�ÀUVW�SHUIRUPHG�E\�-RODQWD�6RVQRZVND�LQ�WKH�concert hall of the F. Chopin Academy of Music in Warsaw in Poland during the Third Composers Symposium on May 16, 2003. The piece bears an interesting title: the Lajkonik is one of the XQRIÀFLDO� V\PEROV� RI� .UDNyZ�� WKH� IRUPHU� 3ROLVK�FDSLWDO��&ODG�LQ�0RQJRO�UREHV��WKH�IDLU\WDOH�ÀJXUH�rides a hobbyhorse topped with peacock feathers and accompanied by a musical troupe. The myth has been celebrated once a year for more than 200 years with the procession of the Lajkonik WKURXJK� WKH� JRWKLF� FLW\�� 6DZD·V� SURJUDPPDWLF�representation is picturesque, humorous and virtuosic. � 2QH�RI�0DULDQ�6DZD·V�HDUOLHVW�FRPSRVLWLRQV��Burleska for violin and piano was written in 1967. The short miniature is based on four motifs which form the foundation for the entire work, undergoing quasi thematic development and imitative interplay. After a virtuosic, tumultuous opening in the piano part, the violin and piano parts are constantly intertwined, sometimes in FDQRQ� DQG� RWKHU� WLPHV� V\QFKURQLVHG�� 7KH� ÀUVW�

performance of Burleska was given by Jolanta 6RVQRZVND�DQG�0DULD�*DEU\ŋ�RQ�$SULO����������during the gala concert commemorating the tenth DQQLYHUVDU\�RI�6DZD·V�GHDWK� 7U]\� 0LQLDWXU\� ']LHFLĕFH� �7KUHH� &KLOGUHQ·V�Miniatures) were written for the young Jolanta 6RVQRZVND� IRU� KHU� ÀUVW� YLROLQ� H[DP� DQG� ZHUH�FRPSRVHG� RQ� 0D\� ��� ����� DW� 6RVQRZVND·V�home; a place in which the composer was warmly received and considered a family friend. 7KHVH�PLQLDWXUHV�ZHUH�6DZD·V�ÀUVW�ZRUNV�IRU�WKH�instrument in nearly two decades at a time when he was devoting himself to the composition of organ music. Krakowiaczek dla Joli (Cracovienne for little Jolanta), Pavana and Oberek constitute DQ�HQMR\DEOH�FKLOGUHQ·V�F\FOH��D�YDOXDEOH�DGGLWLRQ�to musical literature for youngsters. Simple in both technicality and tonality, the works are H[WUHPHO\� DFFHVVLEOH�� 7KH� ÀUVW� SHUIRUPDQDFH�of the Miniatures followed a few weeks later at WKH�.DURO�6]\PDQRZVNL�6WDWH�6FKRRO�RI�0XVLF�LQ�Warsaw, with the dedicatee accompanied by her mother.� 7KH� ÀUVW� RI� 6DZD·V� FRPSRVLWLRQV� IRU� YLROLQ�and organ were Largo and Con fuoco. They were written on June 6th and 7th, 1995, for summer organ concerts held at the Assumption &KXUFK� RI� 6W� 0DU\� LQ� :ãDG\VãDZRZR� �3RODQG���The premières were given by Marian Sawa and the teenage Sosnowska on Aug 3, 1995. The ÀUVW� SLHFH�� Largo, is possessed of a mystical character. The relatively simple use of the violin LQ� D� VPRRWK� ÁRZLQJ� FDQWLOHQD� LV� MX[WDSRVHG�with rhythmic ostinato structures and modal harmonies on the accompanying organ. Con fuoco in contrast, written only a day later, is embedded in Polish folk music. The opening of

69.70239

the piece is a long pedal note in the organ, which becomes the background to a striking violin recitative. Gradually increasing in emotional and dynamic intensity, both instruments burst into folkloric dance passages, driving the middle

section forward in a motoric and rhythmic dialogue. Building to a climax, the music ends in a mood of wild elation.

Jolanta Sosnowska

A fragment of the original manuscript for the Sonata from 1967

7 9.70239

0DULDQ� 6DZD� E\ã� SROVNLP� NRPSR]\WRUHP��RUJDQLVWć�� LPSURZL]DWRUHP� L� SHGDJRJLHP�� :�ODWDFK� ���������� 6DZD� VWXGLRZDã� RUJDQ\� X�SURI�� )HOLNVD� 5ćF]NRZVNLHJR� L� NRPSR]\FMĕ� X�SURI�� .D]LPLHU]D� 6LNRUVNLHJR� Z� ZDUV]DZVNLHM�:\ŧV]HM� 6]NROH� 0X]\F]QHM� LP�� )�� &KRSLQD��5yZQRF]HŋQLH� �PLĕG]\������D�������SLDVWRZDã�IXQNFMĕ� RUJDQLVW\� Z� .RŋFLHOH� *DUQL]RQRZ\P� Z�:DUV]DZLH�� 1D� SU]HãRPLH� ODW� V]HŋþG]LHVLćW\FK�L� VLHGHPG]LHVLćW\FK� REMćã� VWDQRZLVNR�ZLFHSU]HZRGQLF]ćFHJR� .RãD� 0ãRG\FK� =ZLć]NX�.RPSR]\WRUyZ� 3ROVNLFK�� :� NROHMQ\FK� ODWDFK�SHãQLã� IXQNFMĕ� G\UHNWRUD� DUW\VW\F]QHJR�2GG]LDãX�0D]RZLHFNLHJR� 3=&+L2�� =� NROHL� Z� ODWDFK� ����E\ã� F]ãRQNLHP� =$L.6� L� 6WRZDU]\V]HQLD� 0XVLFD�6DFUD�� :� URNX� ����� 6DZD� UR]SRF]ćã� SUDFĕ�SHGDJRJLF]Qć�� 8F]\ã� L� Z\NãDGDã� LPSURZL]DFMĕ�RUJDQRZć�� KDUPRQLĕ�� NRQWUDSXQNW� RUD]�DNRPSDQLDPHQW� OLWXUJLF]Q\� Z� ZLHOX� V]NRãDFK�PX]\F]Q\FK� L� Z� SUHVWLŧRZ\FK� XF]HOQLDFK�ZDUV]DZVNLFK�� :� FLćJX� VZHJR� ŧ\FLD� 0DULDQ�6DZD� RWU]\PDã� ]D� VZRMć� ERJDWć� WZyUF]Rŋþ�V]HUHJ� QDJUyG� NRPSR]\WRUVNLFK� L� RG]QDF]Hĸ�SDĸVWZRZ\FK�� %\ã� UyZQLHŧ� QDJUDG]DQ\� SU]H]�.RPLWHW� GR� VSUDZ�5DGLD� L� 7HOHZL]ML� ]D� SLRVHQNL�GOD�G]LHFL��� 1LQLHMV]H� SUHPLHURZH� QDJUDQLH� ZV]\VWNLFK�G]LHã� VNU]\SFRZ\FK� 0DULDQD� 6DZ\� PD� QD� FHOX�SU]HGVWDZLHQLH� QLHGDZQR� RGNU\W\FK� XWZRUyZ�QLH]Z\NOH� NUHDW\ZQHJR� ZDUV]DZVNLHJR�NRPSR]\WRUD��1D�WOH�FDãRNV]WDãWX�MHJR�WZyUF]RŋFL�ɍ� WDN� UyŧQRURGQHM� L� RSHUXMćFHM� ZLHORUDNLPL�DSDUDWDPL�Z\NRQDZF]\PL��Z�NWyUHM�QD�SLHUZV]\�SODQ� Z\VXZDMć� VLĕ� XWZRU\� QD� RUJDQ\� RUD]�NRPSR]\FMH� FKyUDOQH� ɍ� G]LHãD� VNU]\SFRZH� QLH�

]DMPXMć� SRF]HVQHJR� PLHMVFD�� 1LHNWyUH� ]� QLFK�RGNU\WR� GRSLHUR� Z� URNX� ������ SR� VSRU]ćG]HQLX�NDWDORJX�G]LHã�WHJR�NRPSR]\WRUD��6DZD��XZDŧDQ\�REHFQLH� ]D� MHGQHJR� ]� QDMFLHNDZV]\FK� WZyUFyZ�SROVNLFK� ;;� ZLHNX�� ]D� ŧ\FLD� QLH� ]DELHJDã�� DE\�MHJR� XWZRU\� E\ã\� Z\GDZDQH� GUXNLHP�� 3RPLPR�URVQćFHJR�]DLQWHUHVRZDQLD�WZyUF]RŋFLć�0DULDQD�6DZ\��ZLHOH� MHJR�NRPSR]\FML�QDGDO�SR]RVWDMH�Z�UĕNRSLVDFK��']LHãD�VNU]\SFRZH�6DZ\�SRZVWDZDã\�Z�GZyFK�RGOHJã\FK�RNUHVDFK�MHJR�ŧ\FLD��8WZRU\�]� ODW� V]HŋþG]LHVLćW\FK� SUH]HQWXMć� SRGHMŋFLH�typowo eksperymentatorskie, awangardowe, ]� ERJDWć� SDOHWć� NODVWHUyZ� L� JOLVVDQG�� ]Dŋ� WH�]� RVWDWQLHJR� RNUHVX� ŧ\FLD� FKDUDNWHU\]XMć� VLĕ�SURVWV]ć�� PQLHM� VNRPSOLNRZDQć� KDUPRQLć� OXE�EU]PLHQLHP� PRGDOQ\P�� 6DZD� VWRVXMH� ZLHOH�FLHNDZ\FK� ]DELHJyZ� NRPSR]\WRUVNLFK�� WDNLFK�MDN� VNRUGDWXUD�� DOHDWRU\]P�� &]ĕVWR� ZSODWD� WHŧ�HIHNW\�VRQRU\VW\F]QH��-HJR�PX]\ND�VNU]\SFRZD�MHVW�Eã\VNRWOLZD�L�RG]QDF]D�VLĕ�GXŧ\P�SRF]XFLHP�humoru. Bogurodzica, QD�VNU]\SFH�]�WRZDU]\V]HQLHP�RUJDQyZ��VNRPSRQRZDQD�E\ãD�Z�URNX�������-HM�SUDZ\NRQDQLH� RGE\ãR� VLĕ� Z� JPDFKX� $NDGHPLL�0X]\F]QHM�LP��)U\GHU\ND�&KRSLQD�Z�:DUV]DZLH�w interpretacji Wojciecha Kondrata i Ewy .RZDOHZVNLHM��7HQ�]ZLĕ]ã\�XWZyU�Z�FDãRŋFL�RSDUW\�MHVW� QD� WHPDFLH� SROVNLHJR� ŋUHGQLRZLHF]QHJR�K\PQX� SRG� Wć� VDPć� QD]Zć�� :� GťZLĕNDFK�Bogurodzicy 6DZ\�Vã\FKDþ�PDUV]�ZLHONLHM�DUPLL��D� RF]DPL� Z\REUDťQL� PRŧQD� ]REDF]\þ� VNU]\GãD�KXVDU]\��LFK�FKRUćJZLH�L�]EURMH��8WZyU�VNãDGDMćF\�VLĕ� ]� LQWURGXNFML� L� VQXW\FK�ZRNyã� WHPDWX� LPLWDFML�]DP\ND�PDMHVWDW\F]QLH�EU]PLćF\�V\JQDã�ERMRZ\�� Modlitwa�� QD� VNU]\SFH� ]� WRZDU]\V]HQLHP�

Marian SAWA (1937–2005)

89.70239

RUJDQyZ�� WR� WDNŧH� NRPSR]\FMD� ]� URNX� ������ D�MHM� SUDZ\NRQDQLD� GRNRQDOL� UyZQLHŧ� :RMFLHFK�.RQGUDW� L� (ZD� .RZDOHZVND�� 3LĕNQR� Modlitwy WNZL� Z� Z\MćWNRZHM� SURVWRFLH�� 1DUUDF\MQHM� UROL�VNU]\SLHF��SURZDG]ćF\FK�MHGQRJãRVRZć�PHORGLĕ��WRZDU]\V]\� FKDUDNWHU\VW\F]Q\� DNRPSDQLDPHQW�RUJDQyZ�� 2SDUW\� MHVW� RQ� QD� W]Z�� �FKRG]RQ\PµࡐEDVLH��]ãRŧRQ\P�]�NLONX�GťZLĕNyZ��7R�RVWLQDWRZH�SRWUDNWRZDQLH�SDUWLL�LQVWUXPHQWX�WRZDU]\V]ćFHJR�ZSURZDG]D�QDVWUyM�Z\MćWNRZHM�PHG\WDFML��'UXJD��ZURWNDµ�]D�SRPRFć�ÁDŧROHWyZ�SRWĕJXMH�MHV]F]H[ࡐEDUG]LHM�WDMHPQLF]\�L�Z\MćWNRZ\�QDVWUyM�XWZRUX��:�MHGQRVWDMQ\P�U\WPLH�QDGDZDQ\P�SU]H]�PLDURZ\�DNRPSDQLDPHQW�RUJDQyZ�NRã\V]H�VLĕ�SUDNW\F]QLH�FDã\�XWZyU�� Sonata��QD�VNU]\SFH�L�IRUWHSLDQ��WR�QDMGãXŧV]\�L�QDMEDUG]LHM�VSHNWDNXODUQ\�XWZyU�Z�]ELRU]H�G]LHã�VNU]\SFRZ\FK�6DZ\��6RQDWĕ� NRPSRQRZDã� RQ�Z�F]DVDFK� VWXGLyZ�� Z� URNX� ������ SR]RVWDZLDMćF�G]LHãR� Z� QLHGRNRĸF]RQ\P�� OLF]ćF\P� GZDQDŋFLH�VWURQ�� UĕNRSLVLH�� 6RQDWD� WR� XWZyU� VWULFWH�HNVSHU\PHQWDWRUVNL�� Z� FKDUDNWHU]H� ]PLHQQ\��PXOWLVW\OLW\F]Q\��6DZD�VWRVXMH�Z�SDUWLL� VNU]\SLHF�VNRUGDWXUĕ�� GHF\GXMćF� R� W\P�� ŧH� VWUXQ\� ]RVWDMć�SU]HVWURMRQH� �ÀV�G�D�I��� &]\QL� WR� MDNR� MHGHQ�]� QLHOLF]Q\FK� NRPSR]\WRUyZ� VZRLFK� F]DVyZ��VWRVXMćF�VNRUGDWXUĕ�Z�XWZRU]H�ZLUWXR]RZVNLP�QD�WDNć� VNDOĕ�� FR� VWDQRZL� V]F]HJyOQH�Z\]ZDQLH�Z�WUZDMćFHM�GZLH�PLQXW\�VRORZHM�NDGHQFML�VNU]\SLHF��3U]\� MHM� NRĸFX� PDWHULDã� QXWRZ\� SR]RVWDZLRQ\�SU]H]� 6DZĕ� SRZROL� VLĕ� XU\ZD�� ]H� ZVND]DQLHP�QD�SRZUyW�WHPDWX�SRF]ćWNRZHJR��Sonata ]RVWDãD�]DNRĸF]RQD� SRSU]H]� ]DVWRVRZDQLH� UHSU\]\� L�]DPNQLĕFLH�XWZRUX�DOHDWRU\F]Qć��LPSURZL]RZDQć�FRGć��2ELH�SDUWLH� LQVWUXPHQWDOQH�FHFKXMć� OLF]QH�JOLVVDQGD�RUD]�²�Z�SDUWLL�IRUWHSLDQX�²�ZV]HODNLHJR�URG]DMX�NODVWHU\�

Trzy dialogi�� QD� VNU]\SFH� L� RUJDQ\�� ]� URNX������ WR� ]QDNRPLW\� SU]\NãDG� SDUWQHUVNLHJR�SRWUDNWRZDQLD� REX� LQVWUXPHQWyZ�� :� XWZRU]H�W\P�0DULDQ�6DZD�SRVWDZLã� QD� UR]PRZĕ�PLĕG]\�GZRPD� LQVWUXPHQWDPL�� ']LHãR� FKDUDNWHU\]XMH�SUDFD� PRW\ZLF]QD�� XUR]PDLFRQD� QLHUHJXODUQD�U\WPLND� L� HOHPHQW\� WDĸFD� OXGRZHJR�� Trzy dialogi� Vć� MHG\Qć� NRPSR]\FMć� QD� VNU]\SFH� ]�RUJDQDPL�� JG]LH� SDUWLĕ� RUJDQyZ� SRWUDNWRZDã�6DZD�UyZQRU]ĕGQLH��7R�]ZDUWD� IRUPD�F\NOLF]QD��D� MHM� NRQWUDVWRZRŋþ� VSUDZLD�� Lŧ� XWZyU� QDOHŧ\�GR� QDMFLHNDZV]\FK� G]LHã� ]H� VSXŋFL]Q\� 6DZ\�SLVDQ\FK� QD� VNU]\SFH� L� RUJDQ\�� 3UDZ\NRQDQLH�XWZRUX� SU]H]� -RODQWĕ� 6RVQRZVNć� L� 0DULHWWĕ�.UX]HO�6RVQRZVNć�QDVWćSLãR����OLSFD������URNX�Z�.DWHGU]H�ŋZ��-DNXED�Z�2OV]W\QLH��1D�SUHPLHU]H�REHFQ\�E\ã�VDP�NRPSR]\WRU� Hommage à Karol Szymanowski��QD�VNU]\SFH�]�IRUWHSLDQHP��]�URNX������MHVW�QDMZF]HŋQLHMV]\P�XWZRUHP� VNRPSRQRZDQ\P� SU]H]� 6DZĕ� QD� Wĕ�REVDGĕ� Z\NRQDZF]ć�� .RPSR]\WRU� RGZRãXMH� VLĕ�Z�QLP�GR� WZyUF]RŋFL�SRG]LZLDQHJR�SU]H]�VLHELH�.DUROD�6]\PDQRZVNLHJR��0\ŋOHQLH�WHPDW\F]QH�L�QLHXVWDQQH�SU]HWZDU]DQLH�PRW\ZX�SRF]ćWNRZHJR�ZVND]XMH� QD� ORJLNĕ� WZyUF]ć� SRF]ćWNXMćFHJR�ZyZF]DV�6DZ\��:�XWZRU]H�VWRVXMH�RQ�QD�V]HURNć�VNDOĕ�SROLIRQLĕ��LPLWDFMĕ�L�NRQWUDSXQNW��Hommage, RGQDOH]LRQ\�Z� UĕNRSLVDFK� NRPSR]\WRUD�GRSLHUR�SR� MHJR� ŋPLHUFL�� QD� VZRMH�SUDZ\NRQDQLH� F]HNDã�SRQDG� F]WHUG]LHŋFL� ODW�� 'RNRQDã\� WHJR� -RODQWD�6RVQRZVND� L� 0DULD� *DEU\ŋ�� QD� G]LHĸ� SU]HG�G]LHVLćWć� URF]QLFć� ŋPLHUFL� NRPSR]\WRUD� �� ���NZLHWQLD������URNX�Z�:DUV]DZLH� Cadenza�� QD� VNU]\SFH� VROR�� WR�SUDZGRSRGREQLH� RVWDWQL� XWZyU� 6DZ\� QD� WHQ�LQVWUXPHQW��=QDOH]LRQ\�Z�]DSLVNDFK�NRPSR]\WRUD�QLH� ]RVWDã� SU]H]� QLHJR� DQL� XNRĸF]RQ\�� DQL�

9 9.70239

]DW\WXãRZDQ\��3R�GRNRQDQLX�SHZQ\FK�X]XSHãQLHĸ�L� QDGDQLX� QD]Z\� Cadenza�� XWZyU� ]RVWDã�SUDZ\NRQDQ\� SU]H]� -RODQWĕ� 6RVQRZVNć� GQLD� ��F]HUZFD������URNX�Z�.DWHGU]H�3RORZHM�:RMVND�3ROVNLHJR�Z�:DUV]DZLH�� &DQ]RQHWWĕ�L�Duol vel Duet��RED�QD�VNU]\SFH�]�WRZDU]\V]HQLHP�RUJDQyZ��QDSLVDã�6DZD�Z�URNX�������6W\OLVW\ND�&DQ]RQHWW\�XNLHUXQNRZDQD�MHVW�UDF]HM�Z�VWURQĕ� OXGRZRŋFL�� EDUG]LHM�SU]\SRPLQD�RQD� VWDURGDZQć� SLHŋĸ� QD� OLUĕ� NRUERZć� L� ŋSLHZ��W Duecie vel Duolu 6DZD� XND]XMH� VLĕ� ]� NROHL�MDNR� WZyUFD� ]� QLHPDã\P� SRF]XFLHP� KXPRUX��1DVWURMRZH� L� HPDQXMćFH� VSRNRMHP� F]ĕŋFL�VNUDMQH� NRQWUDVWXMć� ]H� ŋURGNLHP� RSDUW\P� QD��EDãNDĸVNLFKµࡐ U\WPDFK��3UDZ\NRQDQLH�Duolu vel Duetu PLDãR�PLHMVFH���PDMD������URNX�Z�UDPDFK�The 2nd Annual Polish Festival w Houston, w VWDQLH�7H[DV��86$���=DJUDã\�-RODQWD�6RVQRZVND�L� 0DULHWWD� .UX]HO�6RVQRZVND�� =� NROHL� SLHUZV]H�wykonanie Canzonetty�RGE\ãR�VLĕ���� OLSFD� WHJR�VDPHJR� URNX� SRGF]DV� 9HQG\VVHO� )HVWLYDO� Z�5DDEMHUJ�Z�'DQLL��8WZyU� ]DEU]PLDã�ZyZF]DV�Z�interpretacji Jolanty Sosnowskiej i Rikke Møller-Kursch. Lajkonik�� QD� VNU]\SFH� VROR�� QDSLVDQ\� Z�URNX�������WR�NRPSR]\FMD�QD�ZVNURŋ�LOXVWUDF\MQD�VNXSLRQD� ZRNyã� /DMNRQLND�� QLHZLHONLHJR�NRQLND� QD� GZyFK� QRJDFK�� NWyU\� VZDZROQLH�hasa po krakowskim rynku, obuty w wysokie F]HUZRQH� WU]HZLNL�� 3LV]ćF� QD� SRWU]HE\� ,,,�6\PSR]MXP� .RPSR]\WRUVNLHJR� $NDGHPLL�0X]\F]QHM� LP�� )U\GHU\ND� &KRSLQD� �REHFQLH�XQLZHUV\WHWX��� 0DULDQ� 6DZD� SRNXVLã� VLĕ� R�XWZyU� QLHNRQZHQFMRQDOQ\� L� SURJUDPRZ\�� SHãQ\�KXPRUX� L� ZLUWXR]HULL�� 3UDZ\NRQDQLD� GRNRQDãD�Jolanta Sosnowska 16 maja 2003 roku w Sali NRQFHUWRZHM�$NDGHPLL�0X]\F]QHM� LP��)U\GHU\ND�

&KRSLQD�Z�:DUV]DZLH� Burleska QDSLVDQD� Z� URNX� ����� UyZQLHŧ�VWDQRZL� MHGHQ� ]� SLHUZV]\FK� XWZRUyZ� 0DULDQD�6DZ\�QD�VNU]\SFH�]�IRUWHSLDQHP��7R�Eã\VNRWOLZD��NUyFLXWND�NRPSR]\FMD�R�]ZLĕ]ãHM��ORJLF]QHM�IRUPLH��QDSLVDQD� ]� RJURPQ\P� KXPRUHP� L� SU]HNRUć��5R]SRF]\QD� VLĕ� RQD� NLONXQDVWRWDNWRZ\P��HIHNWRZQ\P� ZVWĕSHP� IRUWHSLDQX�� ODZLQRZ\P�JOLVVDQR� L� FKURPDW\F]Q\PL� RSDGDMćF\PL�SRFKRGDPL�� 7HQ� QLHFR� SDWHW\F]QLH� EU]PLćF\�ZVWĕS�� QLF]\P� QLH� ]DSRZLDGD� NSLDUVNLHJR�FKDUDNWHUX� PLQLDWXU\�� ]EXGRZDQHM� QD� F]WHUHFK�]UyŧQLFRZDQ\FK�� UR]ZLMDQ\FK� L� LPLWRZDQ\FK�motywach. Prawykonania Burleski� GRNRQDã\�-RODQWD�6RVQRZVND� L�0DULD�*DEU\ŋ� ��� NZLHWQLD������URNX�Z�:DUV]DZLH�� 7U]\� PLQLDWXU\� ']LHFLĕFH�� QD� VNU]\SFH�]� IRUWHSLDQHP�� WR� NUyFLXWNLH� XWZRU\� V]NROQH��QDSLVDQH� �� PDMD� ����� URNX� GOD� PDãHM� -ROL�6RVQRZVNLHM�� 7UDÀDMćFD� Z� JXVWD� G]LHFL� WRQDOQD�harmonia miniatur doskonale oddaje ducha WDĸFyZ�OXGRZ\FK��NUDNRZLDND�L�REHUND��D�QDZHW�dworskiej renesansowej pavany. Zapisane, ZUD]� ]� GHG\NDFMć�� QD� NDUWNDFK� G]LHFLĕFHJR�V]NROQHJR� ]HV]\WX� QXWRZHJR� G]LHãND�� SRVãXŧ\ã\�]D� SLHUZV]ć� OLWHUDWXUĕ� VNU]\SFRZć� GOD� -RODQW\�6RVQRZVNLHM��NWyUH�WR�NRPSR]\FMH�Z\NRQDãD�SU]\�DNRPSDQLDPHQFLH� PDP\�� SRGF]DV� SLHUZV]\FK�HJ]DPLQyZ� ]H� VNU]\SLHF� Z� 3DĸVWZRZHM�3RGVWDZRZHM� 6]NROH� 0X]\F]QHM� LP�� .��6]\PDQRZVNLHJR�Z�:DUV]DZLH�� 3LHUZV]\PL� NRPSR]\FMDPL� QD� VNU]\SFH� ]�WRZDU]\V]HQLHP� RUJDQyZ� 0DULDQD� 6DZ\� E\ã\�/DUJR�L�Con fuoco��3RZVWDã\�RQH���L���F]HUZFD������URNX� ]�P\ŋOć� R�Z\NRQDQLX� LFK� SRGF]DV� /HWQLFK�.RQFHUWyZ�2UJDQRZ\FK�ZH�:ãDG\VãDZRZLH� L�Z�-DVWU]ĕELHM�*yU]H��)HVWLZDORZHJR�SUDZ\NRQDQLD�

109.70239

Jolanta Sosnowska, Violin

The daughter of a violinist and an organist, Jolanta Sosnowska comes IURP�D�PXVLFDO�EDFNJURXQG��6KH�JUDGXDWHG�IURP�WKH�.DURO�6]\PDQRZVNL�0XVLF�/\FHXP�DQG�FRPSOHWHG�KHU�PXVLFDO�HGXFDWLRQ�DV�D�YLROLQVW�DW�WKH�)U\GHU\N� &KRSLQ� 0XVLF� 8QLYHUVLW\� LQ�:DUVDZ� �3RODQG�� ZLWK� 0LURVãDZ�âDZU\QRZLF]�DQG�ZLWK�6LEEL�%HUQKDUGVVRQ�DW�WKH�8QLYHUVLW\�RI�,OOLQRLV�LQ�the United States. Sosnowska participated in numerous masterclasses led by Wolfgang Marschner, Ruggiero Ricci, John Holloway and Giuliano Carmignola. Her interest in historical performance practice led her back to Europe where she studied baroque violin with Ulrike Engel and Gunar /HW]ERU� DW� WKH� (DUO\� 0XVLF� 'HSDUWPHQW� RI� WKH� .RQVHUYDWRULXP� :LHQ�(Austria), and later her fascination with contemporary music brought her back to Warsaw where she earned her Doctor of Musical Arts degree. Sosnowska has performed as a soloist throughout Europe and also in Japan, Mexico, Peru, Russia and in the USA. As recipient of the special SUL]H�DW� WKH��nd H. Biber Competition in St. Florian, she was invited to

perform solo concerts at Austrian baroque festivals including Resonanzen. She was also the recipient of an award from the Jumpstart Jr. Foundation which enabled her to perform and record in the Concertgebouw chamber hall in Amsterdam. As part of her collaboration with numerous period music ensembles, Jolanta Sosnowska has performed LQ� WKH� %HUOLQHU� .RQ]HUWKDXV�� &RQFHUWJHERXZ� %UXJHV�� :LHQHU� .RQ]HUWKDXV�� DQG� WKH� 1DWLRQDO� &HQWUH� IRU�Performing Arts in Beijing. She has recorded for the Austrian ORF, Polish TVP, and labels including Deutsche Grammophon, Sony Classical, Pan Classics and Gramola. She also records in her homeland Poland for the Acte Préalable label, which released her début album featuring world premières of violin works by =\JPXQW�1RVNRZVNL��+HU�ÀUVW�DOEXP�RQ�WKH�IRU�WXQH�ODEHO��HQWLWOHG�baRock&Vienna, was released in 2015.

ZH�ZãDG\VãDZRZVNLP�NRŋFLHOH�SZ��:QLHERZ]LĕFLD�103�� �� VLHUSQLD� WHJR� VDPHJR� URNX� GRNRQDã�VDP� 0DULDQ� 6DZD�� D� ZUD]� ]� QLP� QDVWROHWQLD�ZyZF]DV� -RODQWD� 6RVQRZVND�� NWyUHM� ]RVWDã\�]DGHG\NRZDQH� NRPSR]\FMH�� 3LHUZV]\� XWZyU� Largo, to udana, ekspresyjna miniatura wielce HNVSRQXMćFD� JãRV� VNU]\SFRZ\�� NWyU\� QDUUDFMĕ�ZLHG]LH� QD� WOH� GUXJRSODQRZHJR�� MHGQRVWDMQHJR�DNRPSDQLDPHQWX� RUJDQyZ�� 7R� MHGHQ� ]� GZyFK�OLU\F]Q\FK� XWZRUyZ�0DULDQD�6DZ\� ]� HZLGHQWQLH�

GRPLQXMćFć� UROć� VNU]\SFRZć� R� FKDUDNWHU]H�kantylenowym. Con fuoco� ]� NROHL� WR� XWZyU�UR]SRF]\QDMćF\� VLĕ� QLH]Z\NOH� HNVSUHV\MQ\P�UHF\WDW\ZHP� VNU]\SLHF� QD� WOH� QXW\� SHGDãRZHM�Z� RUJDQDFK�� SR� NWyU\P� QDVWĕSXMH� ŧ\ZLRãRZD��RSDUWD� QD� PRW\ZDFK� WDĸFyZ� OXGRZ\FK�� F]ĕŋþ�ŋURGNRZD��&DãRŋþ��Z�V]DOHĸF]\P�ZLU]H��]DP\ND�NUyWND�FRGD�

Jolanta Sosnowska

��0LãRV]�:

R]DF]\ĸVNL

11 9.70239

Ms Sosnowska is a previous winner of the Paul Rolland Violin Competition and the recipient of the Paul Rolland Award. She has given lectures and taught masterclasses in Poland and in Mexico. She also publishes for the Akademikerverlag Edition in Germany. Jolanta Sosnowska, personally acquainted with Marian Sawa and dedicatee of many of his works, was given the honour of premièring most of his violin compositions. Fascinated by their dynamism, she chose them as the topic for her doctoral dissertation entitled 7KH�3HUIRUPHU·V�&UHDWLYH�5ROH�LQ�WKH�&RQFHSWLRQ�RI�WKH�9LROLQ�Works of Marian Sawa, aiming to become a comprehensive and emotionally involved interpreter of his music. She has also provided a printed version of the scores.

0DULD�*DEU\ŋ��3LDQR

0DULD�*DEU\ŋ�ZDV�ERUQ�LQWR�D�IDPLO\�RI�PXVLFLDQV�LQ�:DUVDZ�DQG�EHJDQ�to play the piano at an early age. She completed her musical education as a pianist at the Fryderyk Chopin University of Music in Warsaw with Teresa Manasterska and with Ivan Klánsky at the Musikhochschule in /XFHUQH�� 6ZLW]HUODQG�� JUDGXDWLQJ� ZLWK� VSHFLDO� GLVWLQFWLRQ�� *DEU\ŋ� KDV�SDUWLFLSDWHG�LQ�PDVWHUFODVVHV�ZLWK�$QGU]HM�-DVLĸVNL��5XGROI�%XFKELQGHU��Murray Perahia, Marcello Abbado, Andrei Gavrilov and Kristian %H]XLGHQKRXW��+HU� IDVFLQDWLRQ�ZLWK�SHULRG� LQVWUXPHQWV� OHG�KHU� EDFN� WR�6ZLW]HUODQG�� ZKHUH� VKH� VWXGLHG� KLVWRULFDO� SHUIRUPDQFH� SUDFWLFH� ZLWK�Jesper Christensen at the Schola Cantorum Basiliensis of the Basel 0XVLNKRFKVFKXOH�� *DEU\ŋ� KDV� ZRQ� SUL]HV� DW� QXPHURXV� FRPSHWLWLRQV��including the international Chopin competitions in Antonin (Poland), *|WWLQJHQ��*HUPDQ\���DQG�0DULiQVNp�/i]Qđ��&]HFK�5HSXEOLF���6KH�ZRQ�ÀUVW�SUL]H�DW�WKH�%HHWKRYHQ�&RPSHWLWLRQ�LQ�+UDGHF��&]HFK�5HSXEOLF�DQG�WKH�(GZLQ�)LVFKHU�&RPSHWLWLRQ�LQ�/XFHUQH��6ZLW]HUODQG��,Q������*DEU\ŋ�

ZDV�DZDUGHG�WKH�&LW\�RI�/XFHUQH�0R]DUW�3UL]H�DQG�LQ������ZRQ�ÀUVW�SUL]H�LQ�WKH�KLVWRULFDO�LQVWUXPHQWV�FDWHJRU\�at the Golden Ring�&KRSLQ�&RPSHWLWLRQ�LQ�6ORYHQLD��0DULD�*DEU\ŋ�XVHV�D�YDULHW\�RI�NH\ERDUG�LQVWUXPHQWV�LQ�KHU�chamber music and solo concert performances at major music venues around Europe, the US, South Korea and Japan. She has made numerous recordings for Swiss and Polish Radio and was invited to music festivals such as Chopin Festival in Vienna, Mittel-Fest in Cividale, Italy, the International Music Students Festival in .\RWR��-DSDQ��WKH�3LDQR�)HVWLYDO�LQ�6ãXSVN��3RODQG��0XUWHQ�&ODVVLFV��6ZLW]HUODQG�DQG�WKH�&KRSLQ�)HVWLYDO�LQ�0DULiQVNp�/i]Qđ��,Q������*DEU\ŋ�MRLQHG�WKH�IDFXOW\�RI�WKH�)U\GHU\N�&KRSLQ�8QLYHUVLW\�LQ�:DUVDZ��6KH�VHUYHG�also as guest professor at the Keimyung-Chopin University in Daegu, South Korea and has taught masterclasses LQ�3RODQG��6RXWK�.RUHD�DQG�6ZLW]HUODQG��0DULD�*DEU\ŋ�KDV�SHUIRUPHG�FRQFHUWV�LQ�IURQW�RI�PDQ\�GLJQLWDULHV��including the Japanese Imperial Family.

��7RP

DV]�7U]HELDWRZ

VNL

129.70239

Marietta Kruzel-Sosnowska, Organ

3ROLVK�RUJDQ�YLUWXRVR�0DULHWWD�.UX]HO�6RVQRZVND�LV�UHFRJQLVHG�IRU�KHU�characteristic and creative interpretations of contemporary music. Her long and productive collaboration with Marian Sawa has seen her première several of his works (many of them inspired or commissioned by her) and caused her to become known as an experienced interpreter of his music. She has been the President of the Marian Sawa Society since 2006.� � � .UX]HO�6RVQRZVND� LV� FRPPRQO\� UHJDUGHG� DV� RQH� RI� WKH� PRVW�dedicated and successful organ teachers in Poland. Her pedagogical FDUHHU� VWDUWHG� DW� WKH� .DURO� 6]\PDQRZVNL� 6HFRQGDU\�0XVLF� 6FKRRO� LQ�Warsaw, and later she was invited to join the Church Music faculty at the Frederic Chopin Music University and the Musicology department at the &DUGLQDO�6WHIDQ�:\V]\ĸVNL�8QLYHUVLW\� LQ�:DUVDZ��.UX]HO�6RVQRZVND·V�university education began in the 60s. She is a graduate of the Fryderyk

&KRSLQ�8QLYHUVLW\�RI�0XVLF�LQ�:DUVDZ�ZKHUH�VKH�VWXGLHG�ZLWK�)HOLNV�5ćF]NRZVNL��+HU�RWKHU�WHDFKHUV�LQFOXGHG�)ORU�3HHWHUV��*X\�%RYHW��0DULH�&ODLUH�$ODLQ��+DUDOG�9RJHO�DQG�+DQV�+DVHOE|FN��.UX]HO�6RVQRZVND� LV�DOVR�a music theorist. She completed her studies at the Theory Department of the Fryderyk Chopin University of 0XVLF�XQGHU�$QGU]HM�'REURZROVNL��VSHFLDOL]LQJ�LQ�WZHOYH�WRQH�PXVLF�DQDO\VLV�DQG�LVRPRUSKLF�PXVLFDO�QRWDWLRQ��$V�D�FRQFHUW�DUWLVW��.UX]HO�6RVQRZVND�VSHFLDOLVHV�LQ�QHZ�3ROLVK�FRPSRVLWLRQV��6KH�KDV�SHUIRUPHG�LQ�FRQFHUW�halls throughout Poland and participated in all the larger Polish organ festivals, including the contemporary music festival The Warsaw Autumn��.UX]HO�6RVQRZVND�KDV� WRXUHG�(XURSH��6FDQGLQDYLD�� WKH�86$��%HODUXV�and Russia and has made numerous recordings for Polish record labels Acte Préalable, Polonia Records DQG�9HULWRQ�DQG�IHDWXUHG�RQ�3ROLVK�UDGLR�DQG�79��0DULHWWD�.UX]HO�6RVQRZVND�VLWV�RQ�WKH�MXULHV�RI�PDQ\�3ROLVK�organ competitions.

6SHFLDO�WKDQNV�WR��+DQQD�6DZLFND��-RDQQD�6WUXF]\N��.DULQ�.R]ELDO��&KULVWRSKHU�+DOOV��0LFKDã�.RUF]\N�DQG�/HV]HN�*RUHFNL�

5HFRUGHG�DW�7KH�)LHOG�&DWKHGUDO�RI�WKH�3ROLVK�$UP\�LQ�:DUVDZ��3RODQG�RQ����DQG����)HEUXDU\��������WU��������������������������6W��9LQFHQW�'H�3DXO�&KXUFK�LQ�2WZRFN��3RODQG�RQ����2FWREHU��������WU�������

7KH�$OHNVDQGHU�-DU]ĕEVNL�&RQFHUW�+DOO�RI�WKH�6WDWH�.DURO�6]\PDQRZVNL��6FKRRO�RI�0XVLF�LQ�:DUVDZ��3RODQG�RQ����'HFHPEHU��������WU����������������0DUFK��������WU����

© Pi

otr G

rinho

lc