[폴란드- 쇼팽과 클래스 메이트]Ignacy Dobrzyński,

 

Ignacy Dobrzyński

 (15 February 1807 – 9 October 1867/60세) was a Polish pianist and composer

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Dobrzyński was born in Romanów, in Volhynia, now Romaniv ukr. Романів, between the 1933-2003 it was known as Дзержинськ – Dzerżynśk)Dserschynsk, Zhytomyr Oblast, Ukraine.

He attended a Jesuit school in Romanów, then continued his education at Vinnitsa, where he graduated from the Gimnazjum Podolskie (Podole Gymnasium).

He first studied music with his father Ignacy, a violinist, composer and music director. Beginning in 1825 he studied in Warsaw with Józef Elsner, at first privately, then in 1826–28 at the Warsaw Conservatory, where he was a classmate of Frédéric Chopin's.

 

Dobrzyński toured Germany as a soloist and also conducted operas and concerts.

In 1857 he founded "Ignacy Feliks Dobrzyński's Polish Orchestra" (Orkiestra Polska Ignacego Feliksa Dobrzyńskiego), which comprised leading members of the orchestra of Warsaw's Grand Theatre. In 1858–60 he participated in a committee established to found a Music Institute. He also became a member of the Lwów Music Society. He died in Warsaw.

Polish composer Ignacy Feliks Dobrzynski was a slightly older contemporary of Chopin, and like him, also studied with Józef Elsner at the Warsaw Conservatory. Dobrzynski's initial musical training came from his father, who was a court musician in the service of Count Józef Illinski. Dobrzynski's Symphony No. 2 (1834) won a major Viennese composition competition, which helped make Dobrzynski's name in German-speaking lands; from 1847 to 1849 he conducted successful tours in the waning days of the German confederation. Although he often visited Germany and made close contacts with German musicians, the majority of Dobrzynski's career was spent in Warsaw as a composer, pianist, teacher, and conductor. Dobrzynski also aggressively pursued the idea of establishing himself in the world of opera, though most of his efforts came to naught. Although he had completed his only opera, Monbar, or The Freebooters, by 1838, Dobrzynski was unable to raise a performance

of it until 1863. .The Symphony No.1 dates from 1829.

Until the 1870s, the nineteenth-century Polish symphony was notable for its general absence. There were next-to-no opportunities for performances as there were no established symphony orchestras; the focus instead was on domestic music making, choral music, and opera. Elsner did write eight symphonies, though five of them date from the end of the eighteenth century. Dobrzyński's two symphonies are therefore unusual in the Polish context.

Unlike the Piano Concerto, the Second Symphony has managed to sustain a tenuous place in the repertoire, even if until the 1950s it was usually performed incomplete. It was published towards the end of Dobrzyński's life, in an arrangement for piano duet. Initially, given its success in Vienna, the work was known as the 'Competition' Symphony. Soon,however, it acquired a more inspiring title, Characteristic Symphony in the spirit of Polish music. As Dobrzyński composed it in the aftermath of the 1830 Uprising, its character was all-important. Consequently, each movement is linked to a Polish dance -- a polonaise, a kujawiak, a minuet/mazurka, and a krakowiak -- and this itself is unusual within the wider European context of the genre.

The ten years since the Piano Concerto had wrought dramatic changes in Dobrzyński's compositional voice. Now the music is urgent and impassioned, no doubt a reflection of the 1830s in occupied and divided Poland. The key of C minor is one declaration of intent, the forceful orchestration another. The sombre introduction, including woodwind phrases that seem to have sprung straight from the operatic stage, presents the movement's principal theme, which then opens the ensuing Allegro vivace (a woodwind motif also reappears). This polonaise is turbulent rather than stately, fixated on the principal theme, which proceeds to spend much of its time in the relative major, E flat. The key shifts in the development are interrupted by a fugal passage, while the brief return to C minor in the recapitulation is thrust aside by a switch to C major. Even though the movement is predominantly in the major key, it seems to maintain a furrowed brow as it presses forward. A final shift back to C minor for the short coda underlines the idea of the Polish spirit undeterred by misfortune.

The Minuetto alla Mazovienna is a rhythmically witty amalgam of the minuet and mazurka, complete with second-beat accents and unexpected, dance-related pauses. The Trio features a folk-based call-and-response between woodwind and solo violin, usually doubled by the violas. The mood since the symphony's opening has now eased considerably.

An exhilarating rondo completes the journey from darkness to light. This krakowiak -- when compared to its counterpart in the Piano Concerto -- is clearly more in the romantic mould. Its theme is taken from a popular song, Albośmy to jacy tacy (That's just how we are), from the Kraków region. Perhaps here Dobrzyński is doffing the cap back to Chopin, who had alluded to this melody in his Krakowiak just six years earlier. Dobrzyński quotes the tune directly, although he presents the melody initially in the minor rather than the folk tune's original major. once C major is reached, the movement races headlong, forming one of the most successful examples of a folk dance reworked in symphonic terms.