Symphony No. 4 (Shimanovski) –Wikipedia

《 Symphony 4 「 Concertic symphony (Kyookyo Kyokuda Yonban Kyosou Kyookyo, French: Symphony n ° 4, Concerting symphony ) >> The work 60 is a symphony composed by Carol Shimanohusuki in the Tatra Mountains in 1932. Along with the Violin Concerto No. 2 at the same time, it is the last orchestra of Shimanovski, and it is the only piano concerto completed by Shimanovski.

Establishment [ edit ]

Shimanovski became financially difficult after retiring from the Warsaw Conservatory of Music in 1932. Therefore, in order to overcome the situation, he considered to be as a musician, and in March of the same year, he began to plan a piano concerto in Zakopane in March of the same year. Soon he came up with the idea of ​​announcing it as a fourth symphony instead of a concerto, and was completed in June.

The premiere was held in London in 1934 with a soloist with Jan Smeterlin. This work has been evaluated as a masterpiece from the life of Shimanovski, but it has increased the number of opportunities for composers to go on a performance trip outside the country, and the sarcastic Shimanovski has been overworked, resulting in a quicker life.

At the same time, Ravel and Prokofiev are influenced by neoclassical piano concertos, and have a common feature of simplicity and clarity. However, rather than giving out a rhythmic pleasure and sprinting feeling, Shimanovski’s personality is reflected in the attitude of singing a lyrical melody. It consists of the first movement with the melody beauty, the second movement like a day dream, and the end movements of the dance style, and the second and third movements are connected. In addition, the overall multiple elements retreat, and the tonality and the sense of turning are clear. The fact that the characteristics and connections of such movements also apply to Bartok’s last piano concerto is noticeable in various ways (and in both works, the idea that the pianist starts playing with both hands in the start movement. It is common.

Shimanovski refuses to be a work for Virtuoso that overwhelms the orchestra by classifying this work into a concerto symphony instead of a concerto. It also implies that there is almost no part where the orchestra is completely silent, even if the piano is silent. However, the piano is effectively treated throughout and shows its presence, especially because the gorgeous finale is a piano alone, so it is a concerto. do not have.

• The publications were published in 1932 by two piano versions from Max Esque (Ethig) in Paris (the total score is published the following year), and in 1973, a edition of the edition of the Polish Music Publisher (Shimanovski Complete Works). 。
• The self -written notes are not existed because the Warsaw National Library was burned down in the 1939 warfare.
• Despite being dedicated to the composer’s old -fashioned Altour Rubinstein, Rubinstein was hard to say that he was enthusiastic about the performance of this work, and before his lifetime, he could not establish this work repertoire. 。 (Rubinstein recorded this work after the war under the direction of Alfred Warrens Tine.)

Instrument formation [ edit ]

It consists of the following three movements. It consists of a free Sonata Allegro’s first movement, the second movement of the fantasy song, and the rhythm of ethnic dance. The second and third movements are connected by an attacker.

1. MODERATO -Tempo Commodo (Both starting and end)
2. Andante molto sostenuto
3. Allegro Non Troppo, Ma Agitato ED AnSIOSO

Play time [ edit ]

The performance time is about 25 minutes. The variation in the time required for each main sound source is as follows (the value has been roughly adopted).

Premiere in Japan [ edit ]

Motoni Iguchi, who contributed to the reception of Shimanofusuki in Japan.

references [ edit ]

• Susumu Tamura, Supervision, Japan Shimanovski Association, edited “Simanovski and Work” 32-33 pages 32-33, pp

External link [ edit ]