Review on 🎶 Exquisite Symphony: Monbar's No Characteristic Overture Unveiled by Shawn Jimenez

Although Dobrzynski may have been among hundreds of obscure composers, he was undoubtedly a competent artist and master craftsman. Unlike his contemporary Frederic Chopin, whose music generally reflects this strong overt inclination towards Polish nationalism, united by a unique style, Dobrzynski seems to have a muted effect of 'Polishness', at least in his Piano Concerto. Written in 1824 - some three years before he began studying with the teacher Chopin Elsner (an advocate of Polish nationalism, history books tell us), his Piano Concerto is full of early 19th-century characteristics, displaying brilliant bravura passages and technique around the to feed listeners. a voracious audience that preferred technical and dramatic spectacle at concerts. While this recording is stunningly melodic and engaging, Dobzhinsky's single concerto of (dare I say) over forty minutes would not be enough for an easy and enjoyable listening experience were it not for the extraordinary versatility and brilliant performance of Emilian Mady, the pianist on this recording , would be recording. Fans of piano concertos will surely remember that the same piano concerto was last released (2012) with Howard Shelley as the soloist on the National Institute Frederick Chopin label. Although Howard Shelley is world famous for his interpretation of early romantic piano music, which I greatly admire, a comparison of the two Dobzhinsky players is not possible as I do not know the latter of the two recordings. I find it a bit ironic that on the one hand we have an excellent English pianist playing a concert for a Polish label and on the other hand an excellent Polish pianist presenting a concert for an English label. However, Madej is definitely an excellent actress. . From the liner notes we learn that parts of the original score were reused for the present recording. (It is not clear why the original score was hacked and who was responsible for the revision). In addition, Madi appears to have been responsible for introducing the cadence heard in the finale. Madi's performance beautifully reveals everything Dobzhinsky originally intended, leaving us with an accomplished soloist who combines 'liveliness and at times youthful faux pas with lyrically decorative expression' in the opening section. The second movement, marked 'andante espressivo', contains some passages of lyrical beauty and I must say that the interpretation is adequate; the finale of the rondo maintains the serene energy of transition to mountain. Dobzhinsky's Second Symphony, composed a decade later, bears all the hallmarks that contribute to that wild passion of Polish nationalism that prevailed in the 1830s, conveyed so well in the key of C minor. With "heavy orchestration”, "dark intro”, woodwinds appear out of nowhere and introduce the main theme; "stormy polonaise", trumpet and trombone parts etc. etc., the symphony is equally pleasing to the listener. In contrast to his Second Symphony, Dobzhinsky's overture to the opera Monbar or Flibuster, also composed in the 1830s, follows an operatic influence, surprisingly not Polish, but German and Italian in character. The Polish Radio Symphony Orchestra conducted by Lukasz Borowicz deserves the highest praise. Over the years, Chandos has made outstanding recordings available to serious music lovers, and this is no exception. If this latest "crystal clear" release is too obscure, don't let that put you off. This is a great addition to a fascinating library of rare early Romantic music from Poland.