After three concerts in Cracow they went their separate ways again. This was followed by a holiday in the south of France. He then formed a partnership with two Italian artists: the singer signora Fiorentini , and the double-bass player Giovanni Bottesini. The double-bass and violin duos in particular caused a sensation. Wieniawski then performed in numerous Dutch towns, then in Belgium Brussels, Antwerp, Namur and in April he arrived in Paris to give a dozen or so concerts.
He spent the summer months in now traditional fashion at various health-resorts on the Rhine. In October he visited Weimar and gave concerts in Dresden. At the end of October Wieniawski travelled to London, thus opening up an important new chapter in both his professional and his personal life. He was invited by a well-known impressario, the composer and conductor Louis Antoine Jullien , to participate in the 20th annual series of concerts at the Royal Lyceum Theatre.
In February he was invited to the first desk of the newly inaugurated cycle of Monday Popular Concerts, to which he remained faithful whenever he was in London. A third musical organization fostering chamber music in London was the Beethoven Quartet Society in which Wieniawski played alongside the finest musicians of the day: Heinrich Wilhelm Ernst , Joseph Joachim and Alfred Piatti. Looking through the programmes of the chamber concerts organized by these three London societies one is startled by the line-up of leading artists from every corner of Europe and amazed by the depth and breadth of the repertoire contributed by the Polish virtuoso.
The programmes frequently contained works by L. Beethoven, including the Piano Trios: in B flat major op. The chamber-music of F. Mendelssohn-Bartholdy heard in these concerts consisted primarily of the Piano Trios: in D minor op. Schumann by the String Quartets: in A minor op. Spohr was represented by the String Quartet in G major op. Wieniawski remained in London until June before setting off to perform — as he did most years — in the health-resorts of Baden-Baden, Ems, Bad Homburg and Ostend.
The two young people fell deeply in love. But the truth is more prosaic. Mr Hampton was eventually persuaded by his wife and daughter to allow the marriage to take place but consented on the strict condition that Wieniawski take out a life-assurance policy for the considerable sum of , francs and settle down to married life. Wieniawski concluded his London engagements at the Drury Lane Theatre and set out for the continent.
Here he gave concerts in Amsterdam as well as in other Dutch cities, then he stopped in Brussels and Paris before arriving in Bordeaux for three more concerts. In March he set off for St. Petersburg to fulfil the second condition laid down by his future father-in-law: the settling down to married life. Petersburg Wieniawski gave several concerts, all of which were received with the greatest acclaim. In the mid-nineteenth century, the ruling sovereigns of Europe endeavoured to secure the services of the very best instrumentalists as their court soloists.
One of the most prestigious posts was soloist at the St. Petersburg court, a capital which played an extremely important role in the musical life of Europe. Wieniawski crossed the River Neva with the express purpose of securing this position, the ground-work for which had already been prepared by his influential friend Anton Rubinstein. On 25 April General Saburov, the Director of the Imperial Theatres, approached Count Adlerberg, the court minister, with the proposal that Wieniawski be appointed court-soloist.
But before the marriage could take place Wieniawski had three concerts to give in Vilnius, then at the end of May he was obliged to spend a few weeks in Warsaw where he had not played for ten whole years. Anton Rubinstein led the bride to the altar, Gioacchino Rossini was a witness and Henri Vieuxtemps played the violin during the ceremony. Then, passing through Warsaw, where they bade farewell to their friends, they set off for their new destination — St. His contract authorized him to stage his own concerts annually, at his own expense, in the grand theatres of St.
Petersburg and Moscow — an entitlement that Wieniawski interpreted liberally since he often managed to arrange himself extra concerts. He also collaborated closely with the Russian Musical Society, whose founder and director was Anton Rubinstein, and he took part in many of their concerts. Wieniawski formed and led a string quartet attached to the Society and each autumn and winter it gave a cycle of chamber music concerts. The illustrious line-up of the players and their brilliant artistry and repertoire met with great interest and acclaim.
Petersburg Wieniawski had the chance to exploit the wealth of musical experience that he had gained in London. Many of the chamber works that he had played in London now appeared in the programmes of his St. Petersburg concerts. He also introduced some new pieces, e. It was during his years of employment at the St. Petersburg court that Wieniawski composed his most mature works. Here, for the teaching purposes, he wrote eight virtuoso miniatures — the Etudes-Caprices for two violins op. In he wrote the popular Fantaisie brillante on themes from Ch. Petersburg Wieniawski also wrote a transcription of A.
Its first version had been written in but the subsequent improved concerto was published in its final version in Petersburg Wieniawski took an extremely active part in high society gatherings held in the salons of musicians and patrons of the arts; these salons played a significant role in nineteenth-century Russian musical life. He joined the board of directors and taught the violin and chamber-music class, a position which he held until Petersburg contract restricted his freedom to make music, a freedom on which he greatly depended.
So it was with extra fervour that he used the summer vacations to develop his concert career. Moreover, with each new contract the vacations became longer and longer, eventually amounting to a whole six months. Petersburg for many months at a time. As a matter of fact, out of the twelve years that he was formally employed in St. Petersburg, Wieniawski spent no more than half of the time in the city. In and he played in numerous concerts organized throughout Holland. Five years later he gave two series of concerts in Paris interspersed with appearances in Bordeaux.
In , , and he was welcomed by the music-lovers of Denmark, Sweden, Norway and Finland. Almost every year he took part in the musical gatherings of leading artists in the health-resorts of Baden-Baden, Wiesbaden, Kreuznach, Ems and Ostend. In and he gave concerts in Bucharest. In he gave an extraordinary concert in Constantinople to an audience of a single person: Sultan Abdul-Aziz. Wieniawski gave concerts in many German towns, but did not miss out Russian towns on his summer travels. In , after an absence of ten years, he re-appeared in Warsaw. The three concerts that he gave there prompted critics to analize the changes that had taken place in his style of playing — changes which critics in other countries had already described.
By no account does this mean that his playing is devoid of emotion; quite the reverse: it brims over with expression, though this is not as fiery as before. Two years later Wieniawski returned to Warsaw to honour an invitation issued several months earlier in St. When Wieniawski visited Berg in Warsaw, to invite him to the concert, the Governor had clearly forgotten about the agreement reached in St. Petersburg and arrogantly dispatched the artist. This met with an ironic retort from Wieniawski. A huge row broke out and Wieniawski was expelled from Warsaw. Petersburg employment.
He had become excessively encumbered by the restrictions imposed by his court appointment and had even been discussing the possibility of undertaking an extensive tour of America.
Concert Etude for Trumpet and Piano: : Alexander Goedicke
The row with Berg made it easier to make the break. After his expulsion from Warsaw, Wieniawski still had concerts to give in Revel, Helsinki and Viborg, after which he went to St. Six days later he left Russia. The impressario Maurice Grau was in the process of organizing a group of artists for an American tour. He had already engaged Anton Rubinstein as his star soloist and he now added Henryk Wieniawski to join him. The singers Luisa Liebhard and Luisa Ormeni made up the team.
On 31 August they set sail from Liverpool to New York and on 23 September began a marathon, murderous tour. The mechanism for establishing oneself as a star in America was not easy. Great was the surprise of the audience and critics when it turned out that the violinist appearing alongside Rubinstein was his equal partner — at least. He fascinated audiences with his playing. We did not understand why Wieniawski was announced as the only rival to the memory of Paganini, or why he should be placed in such a category.
But here we had classical violin playing in its purity, applied to one of the worthiest and most arduous tasks. Other American critics spoke in similar tones.
In the course of eight months they were to give concerts in 60 cities of the eastern States. Rubinstein was physically and mentally broken by this tyranny of six to seven concerts per week. Wieniawski, on the other hand, stayed on a whole extra year of his own, giving concerts in California, in other western, States and in Mexico.
He was particularly warmly received in California. To show his gratitude to the Californian audiences he wrote and dedicated them a new composition — Souvenir de San Francisco , based on American song motifs. The Hague biography of Wieniawski was followed by a second biography in eight chapters; this book is known only from press accounts and has been sought in vain. Wieniawski then returned to New York for a few concerts and on his way back to Europe appeared in Cuba. His repertoire expanded to include the following pieces: J.
In the summer of Wieniawski was back in London where he immediately threw himself into concert-life. He took part in the Covent Garden Promenade Concerts and evenings of classical music. In September and October he gave concerts in Holland, and at the invitation of the Dutch king spent several days at the royal summer residence in Loo. On 1 December he travelled with his family to Brussels where the family set up their permanent home.
But Vieuxtemps declined the invitation and moved to Paris. He assumed these duties on 28 December Just as in St. Wieniawski gave concerts not only in Brussels, where he set up an especially valuable new series of chamber concerts with the pianist Louis Brassin : the Union Instrumentale, which was successfully based on the London chamber-music concerts. Wieniawski also gave concerts in other Belgian cities, made many trips to Paris to play, was a frequent visitor to the concert-platforms of the Hague, Amsterdam, Utrecht and other Dutch towns.
In January he went to Warsaw for three concerts, and in the same year gave several concerts in London and Manchester. The seven symphonies of Czerny began to be recorded in s. In the 21st century, two new symphonies came to light The Symphony Nr.
Czerny was a prolific composer of chamber music, normally including the piano: Trios for strings and Piano, Quintets for strings and Piano, Sonatas for Violin and Piano, and also Piano Variations with Flute, Horn and other instruments. However, there are many works without piano, including string quartets. Czerny, a devout Catholic, also composed many religious pieces. These works include a number of Masses and hymns. Czerny can be considered as a father of modern piano technique for generations of pianists, when it is taken into account that many of his students, such as Theodor Leschetizky , Franz Liszt and Theodor Kullak , also became teachers and passed on his legacy.
The US music magazine The Etude presented in its issue of April an illustration see above showing how Czerny could be considered the father of modern piano technique and the basis of an entire generation of pianists. This list can be extended to the present day: examples of 'descent' are:. Czerny wrote an essay on the correct performing of the piano sonatas of Beethoven, "On the Proper performance of all Beethoven's works for piano" Czerny's fingering is particularly worthy for attention. In fact I think that people today ought to have more respect for this excellent man"  In a letter written to Otto Jahn of 30 October , Liszt wrote: "In the twenties, when a great portion of Beethoven's creations was a kind of Sphinx, Czerny was playing Beethoven exclusively, with an understanding as excellent as his technique was efficient and effective; and, later on, he did not set himself up against some progress that had been made in technique, but contributed materially to it by his own teaching and works.
Czerny had an influential role in defining the canon of classical piano repertoire. Volume 4 of his Theoretico-Practical Piano School listed what he considered to be the most important piano works of the previous eighty years, including works of Mozart, Clementi, Chopin, Schumann, Liszt, Schubert, Mendelssohn, and works of his own.
From Czerny's death until the end of the 20th century there was a predominance of negative views about his work. But even Liszt suggested, in an letter to Otto Jahn : "It is More positive views have been offered by musicians such as Anton Kuerti  Brahms,  and Leon Botstein.
From Wikipedia, the free encyclopedia. Carl Czerny. Carl Czerny, lithograph by Josef Kriehuber , Main article: List of compositions by Carl Czerny. Czerny: Duo Concertante for flute and piano, Op. Scherzo — Allegro Molto. Andantino Grazioso. Rondo — Allegretto.
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