© Protected - Classical Music in Poland and the Europe of Chopin - Reviewer's Notebook

Pleyel Factory Number 13214 (1847) The great English painter J. M. W. Turner once remarked  'always take advantage of an accident'.  In this case I am attempting to take advantage of a coincidence. The consideration is of two  Pleyel  Petit Patron grand pianos used by Fryderyk Chopin. These instruments followed each other to the same address in Paris as if in the manner of a metaphysical destiny.  I have already covered in detail the restoration in Warsaw of Chopin's last piano in Paris,  Pleyel  No .  14810 of 1848, and will follow this with an examination of the history and review a performance on the recently rediscovered penultimate  Pleyel  used by Chopin in Paris,   Factory No. 13214 of 1847.  The award-winning pianist and pedagogue Professor Hubert Rutkowski of the  Hochschule für Musik und Theater  in Hamburg explained the fascination  Pleyel  had for the P...

Dorota Szczepańska – soprano Jan Jakub Monowid – alto Aleksander Kunach – tenor Artur Janda – bass Vocal Ensemble of the Warsaw Chamber Opera  Musicae Antiquae Collegium Varsoviense  Conductor: Dirk Vermeulen All photographs by Grzegorz Bargieł Cantata I:  Jauchzet, frohlocket, auf, preiset die Tage Cantata II.  Und es waren Hirten in derselben Gegend Cantata III.  Herrscher des Himmels, erhöre das Lallen The festive joy and jubilation that exploded over us in a spectacular, pyrotechnical fashion with three baroque trumpets and timpani at the opening of the Christmas Oratorio instantly dispelled any pandemic-related melancholia or neurotic inturned thoughtfulness that may have overtaken the heart during the present human tragedy. Here once again was Bach in therapeutic and healing guise, embracing the exultation and festive elation of his own muscular creative musical life. During 1734/1735 J.S.Bach composed three 'Oratorios' - Christmas, Easter and Ascensi...