Oberek. Transription for Three Accordions. Publisher: PWM Edition Wojciech Kilar, Grażyna Bacewicz and Witold Lutosławski, who performed these works in. After completing her studies in Warsaw (), Grażyna Bacewicz, the most outstanding 20th century Grażyna Bacewicz (Poland) – G. Bacewicz – Oberek no. Grażyna Bacewicz: Oberek No. 2, for violin and piano – Play streams in full or download MP3 from Classical Archives (), the largest and.

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Born in Lodz inBacewicz was both a composer and a renowned violin virtuoso, and a more than decent pianist as well. What was extremely important were the roots — the folk music.

Polish folk material is used a few times in this dance-like “Vivace”. Melody lead in double-stops — bars She wrote pedagogic pieces so terribly needed at that time. He emphasized her ability to express herself in almost every musical form from the symphonic cycle to the instrumental miniature, at the same time creating unique style which was impossible to falsify, just as the most versatile masters of the past [10].

Not only does the accompaniment have to complete chords, but also underline these accents. The characteristic feature of this impulsive dance is that the rhythm in 2 4 and there are lots ofwith syncopations which brings the accent in bars to the weaker part of it.

We can see inspiration in 2 nd theme of the 3 rd movement. The label was born early — after her first international success inwhen she won first prize for her Woodwind Quintet in a competition organized by an association supporting women working as freelancers [6]. And she was indeed, because no female composers up until her times had been so outstanding, and in the romantic period they never left the living room [21].


In ancient post-war times my output was labeled as neoclassical.

Grażyna Bacewicz – Oberek No. 2, for violin and piano – Classical Archives

Views Read Edit View history. Chodkowski, 2nd edition Warszawa: I have attained it in a way of development not revolution [2]. Repetitions of melodic and rhythmic schemes are characteristic of this bzcewicz — we can imagine dancers performing rotating figures.

In addition, Bacewicz received awards for lifetime achievement. While the figure of female virtuoso was not something new in the 20 th century, the figure of a female composer was surprising. Melody is lead in double-stops where one of the sounds is constantly repeated and it sounds almost like a bourdon:.

Bar 26 and This is especially apparent in the Quintet No 1, in which her music sounds equally idiomatic and at ease with itself in the itchy folk dance of the second movement as it does in the intense, mournful slow movement that follows it, and in the crunchy, ringing harmony of the Quartet for Four Violins. Tritons in the accompaniment — bars This page was last edited on 2 Septemberat There are, like in the original folk dance, irregular accents on second and third beat in a bar.

There are also elements of contemporary composition techniques. These are more modernist in outlook, more experimental, sometimes to monumental effect. For ten years I have been watching a certain phenomenon in our musical environment that concerns me I bacesicz for writing about myself and I have to confess, that with every year that passes by, a bigger astonishment overwhelms me.

Show 25 25 50 All. The composer juxtaposes keys without modulation — e. Championed by musicians from her native Poland and elsewhereincluding Krystian Zimerman, this pioneering composer seems to be beginning to win the international profile she deserves, at least on disc. Muzyka ludowa Kobiety w muzyce Muzyka polska.


She wrote for strings and piano as a singer might write for bacewiccz own voice: She proved that composing is not only the domain of men! This demanded an overt connection to the lives and experiences of “the masses”, which usually meant a simplified language and often the use of native folk tunes.

This work is in 3 4 and tempo presto. Rhythmic scheme used in “Polish Caprice”.

Oberek 1: violin-piano

Composition finally became her only occupation fromthe year in which she suffered serious injuries in a car accident Lein On the centenary of her birth, Polish Post issued a stamp, with a portrait of the artist. But she was not content with what she had developed — she combined her favorite classical forms with sonoristic techniques, she made liberal use of dodecaphony, she used controlled aleatory and folk music, from whose rhythms and melodies she drew inspiration.

This is not a material that leads, as the composers of Young Poland were afraid of, to backwardness of the music and to its stagnation.

That composer, who avoided the most extreme means of the contemporary avant-garde, succeeded in creating a separate, autonomic artistic phenomenon, naturally combining certain contemporary achievements with the aforementioned aesthetic attitude.