It’s got to be the Stabat Mater, the most perfect thing he ever composed. The violin concertos are great of course, as is King Roger and many other works of his.
The "Trois Mythes", again for violin (but this time, with piano accompainment) also are wonderful, and masterfully show how to write for the instrument.
I love, Love, LOVE the Szyamowski violin concertos. (One of the best recordings Simon Rattle made was the violin concertos with Thomas Zehetmair. I've listened to that CD many, many times.) HOWEVER, I have to respectfully disagree that this is the best choice for the one work to preserve. Many of Szymanowski's greatest works are for the human voice (King Roger is a good example), especially when combined with orchestra. I wouldn't pick King Roger as it is his only opera and therefore not most characteristic. Many other commenters have mentioned the Stabat Mater, and if you had picked that, I couldn't have faulted you for it. It is a great work. However, my choice for the one work to preserve would have to be what is arguably Symanowski's most famous work, and possibly his greatest, the Symphony No. 3 ("The Song of the Night"). It has the same perfumed atmosphere as the first violin concerto, and has terrific writing for the singer and choir, a great choice of text which suits the music perfectly, and it is a tight, well constructed, and highly dramatic work. It was the piece that introduced me to Szymanowski, first through Dorati's Detroit recording, then Simon Rattle, and it remains my favorite. But I also believe it is the most representative and characteristic of Szymanowski's works.
So interesting, Dave. Thank you so much. I have organized a weekend break in Brussels in early January and was looking at concert options. There is a wonderful concert hall (Palais des Beaux Arts), which is an Art Nouveau masterpiece by Horta, with a fabulous acoustic. Anyway... One option was a symphony concert including this piece. Unknown to me til this morning. The soloist is Christian Tetzlaff, who I like a lot and should be sufficient recommendation on his own. My only hesitation when I looked up concert info yesterday was caused by a memory of trying the Britten violin concerto "blind" once and being very disappointed. Once bitten, twice DO YOUR HOMEWORK. So I found a recording on TH-cam, with score showing on screen. What a fantastic piece. And then also in the same TH-cam selection is this piece f on you. Your review made me reflect on my concert going life, which for lots of complicated reasons has been severely curtailed for the last decade. Suddenly the prospect of going to a concert is a much more considered activity, not least because it's not cheap any more. (tickets from 52 euros, proclaimed the web page). I consider myself to be an experienced, and discerning arts attender. As an insider (marketing rather than performing), I had two decades of a host of cultural riches (Pelleas at the Royal Opera House with Abbado in the 90s, was a highlight). Now I have to think twice about every time I pay for anything. So there are lots of considerations, most of which means I have to choose carefully. Which of course means that when I do go my expectations are sky high. So the on-paper evaluation of regional Belgian orchestra, unknown (to me) conductor and second half of Tchaik 6, has to be balanced against a violinist I admire hugely playing in a magnificent venue. Why share all this with you? When I worked in the arts I used to make myself very unpopular with artistic directors. On any night, regardless of atrtform only 25 percent of attenders will be those returning. Three quarters of the audience will only come once. Why? Because while people are, mostly, NOT experts in Beethoven or Mahler, they are experts in going out. Their decision to return is not based on the artistic experience because a professional performance will generally be OK. Rather it's whether all the potential obstacles from ease of ticket buying to the transport hurdles etc etc are outweighed by the experience at the venue itself. If you have experience of going out then what you are comparing is not Artist A's interpretation vs Artists B, C or even G. Instead what comes first is were the staff friendly, how was the interval wine? And this insight was gained from pre-pandemic events. Artistic directors never really wanted to hear it because they were often blinkered by the "build a better mousetrap and the world will beat a path to your door" mentality of assuming that your vision is superior to someone else's. I am not sorry I no longer have to worry about pulling rabbits out of hats for artistic organizations in post pandemic times. Im prepared to bet that deficits are a stark reality for even the most hallowed organizations. Maybe some honest soul searching about how to join the dots of an what makes a memorable evening out AS A WHOLE, might be good place to start. Thank you for indulging me, Dave
Seems a great choice. To me Szymanowski's really unique and characteristic contribution is in his middle "exotic" period which doesn't sound quite like anyone else. I feel "Song of the Night" is the other really strong contender.
I'd pick the dark, haunting, gorgeous STABAT MATER from Szymanowksi's 3rd period, and tell that jerk Cancrizans to get lost. Many composers wrote in the lush, exotic, post-romantic idiom, but where does anyone find such a perfectly balanced combination of ancient, modal, austere (but gorgeous), folk-like idiom as the Stabat Mater? LR
It's an amazing composition. However, his Stabat Mater is one of the supreme vocal/choral masterpieces of all time, and I think the one work of his I could not forego.
If first heard the 2nd Fiddle in the 1970's. Love at first hearing, but I didn't write down the name of the piece. The classical stations I listened to had playlists, and this was not in the normal rotation. The next time I heard it played, same problem. About the fifth time, I finally got the info, but I was struggling financially, and it did not show up in the bins at used record stores. Still, it was an almost-earworm. May it be one for Kancrezanz!
I'm not familiar with this violin concerto but plan on listening to it ver soon. As I was browsing through reviews and available recordings I came across a recording of both violin concertos performed by Thomas Zehetmair recoupled on a single CD with the fourth symphony, all conducted by Simon Rattle. I'm going for it.
It’s got to be the Stabat Mater, the most perfect thing he ever composed. The violin concertos are great of course, as is King Roger and many other works of his.
The "Trois Mythes", again for violin (but this time, with piano accompainment) also are wonderful, and masterfully show how to write for the instrument.
I love, Love, LOVE the Szyamowski violin concertos. (One of the best recordings Simon Rattle made was the violin concertos with Thomas Zehetmair. I've listened to that CD many, many times.)
HOWEVER, I have to respectfully disagree that this is the best choice for the one work to preserve. Many of Szymanowski's greatest works are for the human voice (King Roger is a good example), especially when combined with orchestra. I wouldn't pick King Roger as it is his only opera and therefore not most characteristic. Many other commenters have mentioned the Stabat Mater, and if you had picked that, I couldn't have faulted you for it. It is a great work. However, my choice for the one work to preserve would have to be what is arguably Symanowski's most famous work, and possibly his greatest, the Symphony No. 3 ("The Song of the Night"). It has the same perfumed atmosphere as the first violin concerto, and has terrific writing for the singer and choir, a great choice of text which suits the music perfectly, and it is a tight, well constructed, and highly dramatic work. It was the piece that introduced me to Szymanowski, first through Dorati's Detroit recording, then Simon Rattle, and it remains my favorite. But I also believe it is the most representative and characteristic of Szymanowski's works.
You make a good case!
So interesting, Dave. Thank you so much.
I have organized a weekend break in Brussels in early January and was looking at concert options. There is a wonderful concert hall (Palais des Beaux Arts), which is an Art Nouveau masterpiece by Horta, with a fabulous acoustic. Anyway...
One option was a symphony concert including this piece. Unknown to me til this morning. The soloist is Christian Tetzlaff, who I like a lot and should be sufficient recommendation on his own. My only hesitation when I looked up concert info yesterday was caused by a memory of trying the Britten violin concerto "blind" once and being very disappointed. Once bitten, twice DO YOUR HOMEWORK.
So I found a recording on TH-cam, with score showing on screen. What a fantastic piece. And then also in the same TH-cam selection is this piece f on you.
Your review made me reflect on my concert going life, which for lots of complicated reasons has been severely curtailed for the last decade. Suddenly the prospect of going to a concert is a much more considered activity, not least because it's not cheap any more. (tickets from 52 euros, proclaimed the web page).
I consider myself to be an experienced, and discerning arts attender. As an insider (marketing rather than performing), I had two decades of a host of cultural riches (Pelleas at the Royal Opera House with Abbado in the 90s, was a highlight). Now I have to think twice about every time I pay for anything. So there are lots of considerations, most of which means I have to choose carefully. Which of course means that when I do go my expectations are sky high. So the on-paper evaluation of regional Belgian orchestra, unknown (to me) conductor and second half of Tchaik 6, has to be balanced against a violinist I admire hugely playing in a magnificent venue.
Why share all this with you?
When I worked in the arts I used to make myself very unpopular with artistic directors. On any night, regardless of atrtform only 25 percent of attenders will be those returning. Three quarters of the audience will only come once. Why? Because while people are, mostly, NOT experts in Beethoven or Mahler, they are experts in going out. Their decision to return is not based on the artistic experience because a professional performance will generally be OK. Rather it's whether all the potential obstacles from ease of ticket buying to the transport hurdles etc etc are outweighed by the experience at the venue itself. If you have experience of going out then what you are comparing is not Artist A's interpretation vs Artists B, C or even G. Instead what comes first is were the staff friendly, how was the interval wine? And this insight was gained from pre-pandemic events. Artistic directors never really wanted to hear it because they were often blinkered by the "build a better mousetrap and the world will beat a path to your door" mentality of assuming that your vision is superior to someone else's.
I am not sorry I no longer have to worry about pulling rabbits out of hats for artistic organizations in post pandemic times. Im prepared to bet that deficits are a stark reality for even the most hallowed organizations. Maybe some honest soul searching about how to join the dots of an what makes a memorable evening out AS A WHOLE, might be good place to start.
Thank you for indulging me, Dave
Seems a great choice. To me Szymanowski's really unique and characteristic contribution is in his middle "exotic" period which doesn't sound quite like anyone else. I feel "Song of the Night" is the other really strong contender.
His first violin concerto is one of my all time favorites. It's sad that it doesn't get the attention it deserves.
I’ve actually seen it programmed quite often in concert over the past few years!
I'd pick the dark, haunting, gorgeous STABAT MATER from Szymanowksi's 3rd period, and tell that jerk Cancrizans to get lost. Many composers wrote in the lush, exotic, post-romantic idiom, but where does anyone find such a perfectly balanced combination of ancient, modal, austere (but gorgeous), folk-like idiom as the Stabat Mater? LR
great talk ! I recommend the David Oistrakh recording
It's an amazing composition. However, his Stabat Mater is one of the supreme vocal/choral masterpieces of all time, and I think the one work of his I could not forego.
Thanks for the recommendation, I’m interested in exploring this composer more, didn’t know about the 3 periods. Perhaps Lutoslawski is next?
If first heard the 2nd Fiddle in the 1970's. Love at first hearing, but I didn't write down the name of the piece. The classical stations I listened to had playlists, and this was not in the normal rotation. The next time I heard it played, same problem. About the fifth time, I finally got the info, but I was struggling financially, and it did not show up in the bins at used record stores. Still, it was an almost-earworm. May it be one for Kancrezanz!
I'm not familiar with this violin concerto but plan on listening to it ver soon. As I was browsing through reviews and available recordings I came across a recording of both violin concertos performed by Thomas Zehetmair recoupled on a single CD with the fourth symphony, all conducted by Simon Rattle. I'm going for it.
A terrific disc.
Does the salonenn violin concerto remindsyou of the szymanovskky ?