Tadeusz Majerski: Concerto-Poem and Other Works

The Polish pianist-composer Tadeusz Majerski (1888–1963), who spent his life in Lwów (now Lviv in Ukraine), has been entirely lost from sight. But he wrote some of the most interesting Polish music of his day, bringing together late-Romantic sensitivity and the modern outlook of the new age. This first album dedicated to his work presents one of his major scores, the rhapsodic Concerto-Poem for piano and orchestra, as well as two powerful chamber works and a number of representative piano miniatures.

Michał Drewnowski, piano
Royal Scottish National Orchestra (Track 1)
Emil Tabakov, conductor (Track 1)
New Art Chamber Soloists (Tracks 2–11)
Arkadiusz Dobrowolski, cello (Tracks 12-13)

Listen To This Recording:

    Concerto-Poem for piano and orchestra (1946, rev. 1956; scoring rev. and ed. Emilian Madey, 2008–9)

  1. Concerto-Poem for piano and orchestra
  2. Piano Quintet in the Form of Variations:

  3. Andante – Tema: Andante semplice
  4. Var. I L’istesso tempo
  5. Var. II Allegro feroce, ma non troppo
  6. Var. III Allegretto
  7. Var. IV Allegro deciso
  8. Var. V Allegro, ma non troppo
  9. Var. VI Allegretto con moto
  10. Var. VII Andante con magna espressione
  11. Var. VIII Allegretto con moto
  12. Var. IX Allegro – Andante
  13. Sonata for Cello and Piano:

  14. I Largo ma in tempo rubato
  15. II Allegro con brio
  16. Four Piano Preludes:

  17. No. 1, Misterioso. Lento non troppo
  18. No. 2, Allegro appassionato
  19. No. 3, Andante molto espressivo
  20. No. 4, Presto ma non troppo
  21. La Musique Oubliee: Three Musical Pictures

  22. No. 1 Sorrow
  23. No. 2 In the Dark
  24. No. 3 At the Crossroad
  25. Three Pieces for Piano:

  26. No. 1 Etude
  27. No. 2 Unsentimental Waltz
  28. No. 3 Prelude

First Recordings

3 reviews for Tadeusz Majerski: Concerto-Poem and Other Works

  1. :

    ‘Another fresh and refreshing revival from Toccata selected from an unfashionable and untilled corner of the Polish field.’

    —Rob Barnett, MusicWeb International

  2. :

    ‘The documentation is, as ever with Toccata, first class. And the well-recorded performances project the music with sensitive awareness of style and colour.’

    —Jonathan Woolf, MusicWeb International

  3. :

    ‘Drewnowski’s playing throughout the album is never less than exemplary, as are the contributions of cellist Arkadiusz Dobrowolski and the New Art Chamber Soloists. For the first commercial recording devoted entirely to his music, this fascinating, unjustly forgotten composer couldn’t be in better hands.’

    —Jim Svejda, Fanfare Magazine

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