VINCENT P. SKOWRONSKI: Skowronski Plays! Avec et Sans *Live in Concert*

Vincent P. Skowronski

Skowronski Plays! Avec et Sans *Live in Concert*

© 2004 Skowronski: Classical Recordings

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AVEC ET SANS offers the frantic, daring, on edge Neo-Romantic virtuosity of Ysaÿe and Prokofieff plus the ethereal, urbane French repose of Ravel spiced by the musical wit, irreverence and sarcasm of Satie. The Schumann is simply what it is ---Schumann.

notes

"VINCENT P. SKOWRONSKI, concert violinist and Master Teacher of that instrument, once again provides evidence with his new LIVE recording, Avec et Sans, that a violin
in the hands of a master musician can create an aura of musical magic. So it is no surprise that Skowronski's technical mastery of the instrument along with his often mystical ability to communicate gleam forth in these performances. Of course, what Skowronski recording would be complete without the collaboration of the fabulous Japanese pianist, Ms. Saori Chiba." --Chicago DAILY HERALD
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This recording produced by Skowronski: Classical Recordings represents the best of two musical worlds:
works for violin WITH piano accompaniment [AVEC], and [SANS], works for violin WITHOUT piano accompaniment.
Yet another stunning success for violinist Vincent P.
Skowronski, this thoroughly enjoyable disc has earned
the endorsement from Chicago's Daily Herald as one of its Award Winning TOP TEN BEST CLASSICAL CDs of 2004!

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SANS--- "Le Grande Sonate" No.1 in G Minor for Solo Violin, written in 1923 by the famous Belgian violinist and composer Eugène Ysaÿe, is a fiendishly difficult and treacherous composition. It is indubitably a "monster endeavor" fit for only the bravest and most daring of violinists. The first from a set of six solo sonatas from Ysaÿe's Opus 27, the G Minor looms in the shadow of J.S. Bach's ghost as it clearly reveals the Baroque Giant's influence over Ysaÿe's writing of this particular four movement work, i.e., the expansive and prodigious second movement Fugue. Vincent P. Skowronski is certainly equal to every formidable challenge presented to him throughout this test and effortlessly tosses the listener a well colored, splendidly interpreted "tour de force" virtuosic performance. BRAVO, MR. SKOWRONSKI!

The Sonata in D Major for Solo Violin written in 1947 by Sergei Prokofieff --his only such work for unaccompanied violin-- is, safe to say, not quite on par with the carnivorous and often times overwhelming Ysaÿe No.1 but,......on this CD, it definitely receives a first-class, intense and powerfully commanding presentation from Mr. Skowronski. The Solo Sonata opens with a military-like Moderato (quell surprise), follows with a pleasingly bucolic Theme with Five Variations and ends by means of a zealous if not somewhat bruising, Finalè con brio. A hearty borscht and sour cream addition to Avec et Sans, this Skowronski rendition is a no-doubt-about-it bravura,
thumbs up knockout.

AVEC--- Skowronski's program continues with Prokofieff's March from his opera, The Love of Three Oranges,
composed in 1919. The March was subsequently "borrowed" from the opera by Jascha Heifetz and later scored for violin AND piano under Heifetz' guidance in 1927. This gritty little transcription inserted here perfectly "hits the spot" as it provides a welcome "twist" to the recital's proceedings. Skowronski moves ahead and introduces a settling calm to his program entering Maurice Ravel's musically picturesque Pavane for a Deceased Princess for his next selection.

The Pavane, written for orchestra in 1899, brought Maurice Ravel instant notoriety and, for quite a number of years to follow, was his most readily identifiable composition (although it is offered here as a transcription for violin and piano dating from 1927). Unfortunately, the music world's beloved Pavane was unceremoniuosly deposed as Ravel's "signature piece" --some 75 years after the fact-- by the composer's own rapturous and beguiling, Bolero. Note: Bolero gained international popularity after it became the seductive soundtrack for the hugely successful Hollywood film, 10.
Nevertheless, Ravel's lugubrious Pavane pour une Infante Dèfunte still retains its cherished place in the hearts of countless sentimental violinists as one of the diaphanous mementos left from the era of French Impressionism. The
panache and èlan which Mr. Skowronski exhibits while he navigates the entire work is spellbinding. And the sound that he draws from his beautiful Guarneri filius Andrea is absolutely gorgeous. Without a doubt, this performance is a slam dunk, "must have" item not only for the admirers of Ravel but also for the admirers of Skowronski.

Monsieur Erik Satie, the enigmatic, feisty "Bohemian" from Montmartre, was responsible for putting together a group of composers who agreed amongst themselves to compose music "that took its subject matter and stimulus from everyday life" ---and this they did. After serious cajoling from Satie (along with encouragement from the group's now self-appointed promoter, French writer Jean Cocteau) the composers, i.e. Poulenc, Honegger, Milhaud, Durey, Auric and Tailleferre, proudly labeled themselves as Les Six. With Satie serving as their Sergeant at Arms, Les Six prospered in Paris and enjoyed more than a modicum of success elsewhere during the early 1900s due to their innovative compositions being welcomed by the concert-going public at large. Note: Some critical observers at the height of the group's acceptance had snidely suggested that the anticipated demise of Impressionism had somewhat been hastened by the success of this nouveau fraternitè. Be that as it may, Erik Satie's ONLY work for violin and piano, a mini-suite written in 1912 entitled "Things Seen to Right and Left - without glasses," is a singularly appropriate example of Satie's bourgeois attitude toward and irreverent treatment of conventional 20th Century mores and practices which were then intrinsic to music composition. Furthermore, obvious clues such as the titling of each movement, --Hypocritical Chorale --The Feeling One's Way Fugue --Muscular Fantasy....are clues that indeed lend additional credence to the existing firmament's abhorant distaste for Satie's brash, absolute commitment to utter disdain for convention. But, in light of all this, Mr. Skowronski is unnerved by Erik Satie's musical eccentricities and simply hands over a sagacious accounting of this peculiar "trinket," effectively performing it, nonetheless, with complete abandon. Rest assured, however, that in his performance of this bizarre miniature, the violinist does strictly adhere to the guidlines and directions so firmly set forth by the curmudgeon from Montmartre himself, Erik Satie, Esq.

Skowronski Plays! Avec et Sans *Live in Concert* concludes with the Sonata No.1 in A Minor by Robert Schumann. Written in 1851, this three movement Opus 105 is a rock solid entry to Avec et Sans from the golden epoch of Romanticism. Not surprisingly, the sonata clearly showcases the considerable talents and immense appeal of "vintage" Robert Schumann. Note: It must be entered at this juncture that the brilliant Japanese pianist, Ms. Saori Chiba, returns for her final contribution to Avec et Sans and that her stalwart pianism and remarkable collaborations on the AVEC section of this disc are well documented, therefore revealing a truly special, world-class performing artist. That mentioned, the Schumann Sonata begins with Chiba and Skowronski creating a plangent quality for the opening movement's exposition, just as Schumann had prescribed,.....with passion, expressively. The players continue to produce this quality right through to the very conclusion of the first movement. Then moving along with the second movement, Allegretto, the artists conjure a wistfully charming, cantabilè oasis. The Allegretto's comforting sense of tranquillo neither hints nor prepares the listener for what awaits him after the feathered, pizzicato chords which end the movement are sounded. Without hesitation, Skowronski and Chiba immediately plunge themselves into the work's crackling Finalè. Fearlessly, the duo launches an all out attack on Schumann's third movement; tempos are fleet, excitement abounds and myriad staccato rivets hit their targets with dazzling accuracy. Short on endurance, however, the Finalè inevitably spends itself and ends in a rousing, truly spectacular A Minor crash. Here is triumphant, thrilling music making at its finest!
Thank you, Mr. Skowronski and Ms. Chiba.

Program notes provided by Skowronski: Classical Recordings.

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  • AVEC et SANS -With and Without- a SPECTACULAR recording!
    author: AMERICAN RECORD GUIDE

    SKOWRONSKI, in the Ysaye Solo Sonata No.1 in G Minor, has a firmer grasp of Eugene Ysaye's elusive idiom than most violinists. His performance of Sergei Prokofieff's Solo Sonata in D Major is revelatory. Ms. Saori Chiba's collaboration at the keyboard adds splendid support in the works for violin and piano. All in all, a very fine recital by these artists.

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