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Chopin Songs
Chopin Songs
Olga Pasichnyk
Born in Ukraine, Olga Pasichnyk (Pasiecznik)
studied in her native Rivne, and at the Kiev
Natalya Pasichnyk
Born in Ukraine, Natalya Pasichnyk (Pasiecznik)
started her piano studies at the age of three. She
CHOPIN
Conservatory and Chopin Academy of Music in
Warsaw. In 1992 she became a soloist of the
Warsaw Chamber Opera. She has sung major rôles
went on to study at a special boarding school for
musically inclined children, continued her musical
education at the L’viv Conservatory, finished
Complete Songs
in operas ranging from Monteverdi to Tchaikovsky,
Debussy and the contemporary, appearing
postgraduate studies at the Chopin Academy of
Music in Warsaw and was awarded her solo A Maiden’s Wish • Springtime • The Sad River
throughout Europe, in Australia, Canada, Japan, diploma at the Royal College of Music in
and the United States. She has performed at Stockholm. Natalya has since performed as a
numerous concerts and international music festivals soloist and chamber musician all over the world. Olga Pasichnyk, Soprano • Natalya Pasichnyk, Piano
in famous concert halls and theatres, including the She is a prizewinner of the Nordic Piano
Opéra National de Paris, Théâtre des Champs- Competition (Denmark), the World Piano
Élysées, Théâtre Châtelet, Salle Pleyel (Paris), Competition (USA), and the International Piano
Concertgebouw (Amsterdam), Konzerthaus Berlin, Competition Umberto Micheli (Italy). She has
Auditorio Nacional de Música (Madrid), made many recordings for radio and television and
Bayerische Staatsoper, Palais des Beaux-Arts, commercial recordings for OPUS 111, Pro Musica
Théâtre Royal de la Monnaie (Brussels), Theater an Camerata, Musicon, and True Truck Production.
der Wien, Bregenzer Festspiele (Austria), Grand Her latest solo recording, “The Fourth Dimension”
Théâtre de Genève, Finnish National Opera and with music of Bach and Messiaen was awarded five
Flemish Opera. Throughout her career she has stars in 21st Century Music Magazine. She has
collaborated with leading orchestras working with distinguished conductors such as Minkowski, Jacobs, Ono, collaborated with many conductors and one of
Nelson and Oramo. Olga Pasichnyk was a prizewinner at s’Hertogenbosch in 1994, the Mirjam Helin International them, Yevgeny Svetlanov, wrote about her that she
Singing Competition in Helsinki in 1999, and The Queen Elisabeth International Music Competition in Belgium in “masters the instrument in an extraordinary way. It
2000, where she took both the Oratorio Prize and Audience Prize. She has twice been awarded the Polish Fryderyk is as if such problems as technique, sound palette
for the best solo recordings of 1997 and 2004 (Szymanowski and Lutosl̀awski). Other prizes and awards include and interpretation do not exist for her. All of it
Orfeusz (Warsaw Autumn Festival prize) in 1999, Golden Cross of Merit of Poland (2001) and A. Hiolski’s prize sounds very convincing”.
for the best female opera rôle of 2004 (Mélisande in Debussy’s Pelléas et Mélisande with Polish National Opera).
In 2005 she was nominated by the international opera magazine Opernwelt as the best opera singer of the 2004/2005
season for her performance as Almirena in Handel’s Rinaldo. In 2006 she won a Münchner Opernfestspiele prize.
8.572499 5 6 8.572499
572499bk Chopin US 23/8/10 12:49 Page 2
Fryderyk Chopin (1810–1849) Fryderyk Chopin (1810–1849) rzeka (The Sad River, 1831), as well as the wistful lyrical lament Nie ma czego trzeba (Nothing I Need is
Complete Songs Complete Songs dumkas Czary (Enchantment, 1830), Poseĺ (The Here, 1845). The latter two songs are also dumkas,
Messenger, 1831) and Wiosna (Springtime, 1838), with reflecting the fact that Zaleski was particularly
Fryderyk Chopin’s name is synonymous with the piano: Over the following years Chopin wrote most of the their colourful hints of modality, illustrate this use of interested in Ukrainian nationalism. The triple-time
of the some 230 works that he composed, including compositions for which he is best-known today, Slavic idioms (a dumka is originally a Ukrainian term Âliczny chĺopiec is another example of a kujawiak.
Seventeen Songs, Op. 74 41:47 (among many other forms) études, sonatas, waltzes, including the Sonata in B flat minor, the 24 Préludes, referring to a melancholy or poignant ballad, but came to Piosnka litewska (A Lithuanian Song, 1831) is a setting
.
1 No. 1 Zyczenie (A Maiden’s Wish) Stefan Witwicki (1801–1847) 1:43 preludes, nocturnes and concertos, nearly all were Op. 28 and the second set of Études. In 1838 he fell in be used by a range of Eastern European composers). of another Polish poet, Ludwik Osiƒski (1775–1838). A
2 No. 2 Wiosna (Springtime) Stefan Witwicki 1:52 written for that instrument. It is perhaps for this reason love with the writer George Sand, and they spent the The Polish-Lithuanian poet Adam Mickiewicz Professor at the University of Warsaw, he had taken part
3 No. 3 Smutna rzeka (The Sad River) Stefan Witwicki 3:27 that his songs have been so often overlooked. In them winter in Majorca, but he quickly became ill and was (1798–1855) is one of the so-called ‘Three Bards’, in the 1794 KoÊciuszko Uprising against the Russians.
4 No. 4 Hulanka (Revelry) Stefan Witwicki 2:25 the piano shares the spotlight with the singer, yet they diagnosed with consumption. He recovered, but his whose work was thought to give perfect expression to The final four songs on this disc are arrangements of
5 No. 5 Gdzie lubi (Where She Loves) Stefan Witwicki 1:01 possess the same combination of delicacy, power and health remained delicate and prone to relapses. In 1847 Polish nationalism. Also living in Paris, he was visited mazurkas by Chopin, an apt choice, given that so many
6 No. 6 Precz z moich oczu (Out of my sight) Adam Mickiewicz (1798–1855) 3:04 beauty as his greatest works. his relationship with Sand ended, and a year later he by Chopin in 1848, when the composer played the piano of his songs are based on dance forms. The famous
Chopin was born in Żelazowa Wola, near Warsaw, gave his last recital in Paris before leaving for Britain. for him. Chopin’s two settings of Mickiewicz are singer Pauline Viardot (1821–1910), a close friend of
7 No. 7 Poseĺ (The Messenger) Stefan Witwicki 2:20 on 1st March 1810, the only son of Nicolas and Justyna He spent the summer staying in Scotland with a former separated by ten years: the declamatory Precz z moich Chopin’s for many years (and indeed of nearly all the
8 No. 8 Âliczny chĺopiec (A Gorgeous Young Man) Bohdan Zaleski (1802–1886) 2:42 Chopin. He grew up in a world rich with culture and pupil, Jane Stirling, but returned to France in November oczu (Out of my sight) dates from 1827, while the important musical figures of the day) made twelve
.
9 No. 9 Melodia (Z gór, gdzie dzwigali) (A Melody: From the mountains) 2:41 learning, and his parents encouraged his artistic of that year. His illness had returned, and he felt unable liltingly beautiful love song Moja pieszczotka (My transcriptions of his mazurkas for use in her concerts,
Zygmunt Krasiƒski (1812–1859) aspirations. His prodigious musical talents were evident to give lessons. In 1849 it finally overtook him, and he darling) was written in 1837. Another of the ‘Three setting them to poems by Louis Pomey. They showcased
0 No. 10 Wojak (The Soldier) Stefan Witwicki 2:14 from an early age – he gave his first public recital in died on 17th October in Paris. Bards’, Zygmunt Krasiƒski (1812–1859), is represented Viardot’s celebrated three-octave range and vocal
! No. 11 Dwojaki koniec (A Twofold End) Bohdan Zaleski 2:23 1818 – and before long he was being touted as the new The poet Stefan Witwicki (1801–1847) was a friend on this disc by a single setting: Melodia (A Melody, agility, and were tremendously successful with
@ No. 12 Moja pieszczotka (My darling) Adam Mickiewicz 2:03 Mozart, performing at aristocratic salons across Poland. of Chopin’s, and a member of the same circle of Polish 1847), which was the last song Chopin ever wrote. Like audiences. Chopin himself was apparently very pleased
# No. 13 Nie ma czego trzeba (Nothing I Need is Here) Bohdan Zaleski 3:06 His reputation grew steadily, fed by two well-received emigrés in Paris, where he arrived in 1832. Like many of Witwicki and Mickiewicz, the aristocratic Krasiƒski with them, particularly as they brought his mazurkas to
$ No. 14 PierÊcieƒ (The Ring) Stefan Witwicki 1:37 concerts in Vienna, but by 1830 the young musician was his compatriots he was interested in ideals of Polish lived in Paris, and had several friends in common with greater public attention. Seize-ans (Sixteen Years) is
depressed, and yearning to leave Warsaw for the more nationalism, an issue that also concerned Chopin. The Chopin. adapted from the Mazurka in A flat major, Op. 50 No. 2,
% No. 15 Narzeczony (The Fiancé) Stefan Witwicki 2:06 cosmopolitan atmosphere of the larger European composer set several of his lyrics, beginning around Another friend of Mickiewicz’s, also living in Aime-moi (Love Me) is taken from the Mazurka in D
^ No. 16 Piosnka litewska (A Lithuanian Song) Ludwik Osiƒski (1775–1838) 1:57 capitals. 1829 with Życzenie (A Maiden’s Wish) and Gdzie lubi France, was the Polish-Ukrainian poet Bohdan Zaleski major, Op. 33 No. 2, L’oiselet (The Little Bird) from the
& No. 17 Âpiew z mogiĺy – Leci liÊcie z drzewa (Song from the Gravemound) 5:06 He arrived in Vienna for a second time in November (Where She Loves). As with many of Chopin’s songs, (1802–1886). Heavily influenced by folk themes, Mazurka in A minor, Op. 68 No. 2 and Coquette (The
Wincenty Pol (1807–1872), reconstructed by Julian Fontana 1830, shortly before the ill-fated November Uprising, in Życzenie is modelled on one of Poland’s traditional Zaleski was very active in a number of nationalist Flirt) from the Mazurka in B flat major, Op. 7 No. 1.
which the Poles rebelled against Russian rule. This event dance forms, the mazurka, hinting at his nationalist organizations, including the Slavonic Society and the Although Chopin’s songs have remained largely in
* Czary (Enchantment) Stefan Witwicki 1:45 seems to have had a profound effect on Chopin, sympathies. The kujawiak, krakowiak and oberek are Polish Democratic Society. Chopin was a personal the shadow of his more famous compositions for piano,
( Dumka Bohdan Zaleski 1:35 cementing his commitment to the ideals of Polish also represented in this selection, and are used in a friend; indeed, Zaleski’s wife was a pupil of his betwen their mournful beauty and delicate lyricism make them
nationalism. A year later, after the uprising had been variety of ways – sometimes the songs move between 1843 and 1844. Chopin set four of Zaleski’s poems, all eminently deserving of wider acclaim.
) Seize-ans (Sixteen) Louis Pomey (1835–1901) * 3:28 quashed, he travelled to Paris, where he would remain them for different sections, as in Âpiew z mogiĺy (Song of which are presented on this disc: Dumka (A Dumka,
for much of the rest of his life. It was in the French from the Gravemound, 1836), a dramatic and mournful 1840), Âliczny chĺopiec (A Gorgeous Young Man,
(arr. Pauline Viardot-García from Mazurka No. 31 in A flat major, Op. 50, No. 2) capital that he came to the attention of many of the most setting of a narrative poem by Wincenty Pol 1841), Dwojaki koniec (A Twofold End, 1845) and the Caroline Waight
¡ Aime-moi (Love me) Louis Pomey * 2:37 important and influential musical figures of the day, (1807–1872), whereas other examples, such as the
(arr. Pauline Viardot-García from Mazurka No. 23 in D major, Op. 33, No. 2) including the composers Franz Liszt, Robert Schumann cheerful drinking song Hulanka (Revelry, 1830), focus
™ L’oiselet (The Little Bird) Louis Pomey * 3:20 and Ferdinand Hiller, the critic François-Joseph Fétis, on just one (in this case, the oberek). PierÊcieƒ (The
(arr. Pauline Viardot-García from Mazurka No. 47 in A minor, Op. 68, No. 2) and the pianist Frédéric Kalkbrenner, who helped to Ring, 1836), also a setting of Witwicki, is an example of
£ Coquette Louis Pomey * 2:31 arrange his first recital in the city. Despite the success of a kujawiak, while the duple time section of Âpiew z
(arr. Pauline Viardot-García from Mazurka No. 5 in B flat major, Op. 7, No. 1) this performance, subsequent large-scale public concerts mogiĺy evokes the krakowiak. Many of the Witwicki
became increasingly few and far between, as Chopin settings also use elements of traditional folk-music to
* edited by Jerome Rose
devoted more and more time to teaching and composing. conjure up a sense of Polishness. The dirge-like Smutna
Fryderyk Chopin (1810–1849) Fryderyk Chopin (1810–1849) rzeka (The Sad River, 1831), as well as the wistful lyrical lament Nie ma czego trzeba (Nothing I Need is
Complete Songs Complete Songs dumkas Czary (Enchantment, 1830), Poseĺ (The Here, 1845). The latter two songs are also dumkas,
Messenger, 1831) and Wiosna (Springtime, 1838), with reflecting the fact that Zaleski was particularly
Fryderyk Chopin’s name is synonymous with the piano: Over the following years Chopin wrote most of the their colourful hints of modality, illustrate this use of interested in Ukrainian nationalism. The triple-time
of the some 230 works that he composed, including compositions for which he is best-known today, Slavic idioms (a dumka is originally a Ukrainian term Âliczny chĺopiec is another example of a kujawiak.
Seventeen Songs, Op. 74 41:47 (among many other forms) études, sonatas, waltzes, including the Sonata in B flat minor, the 24 Préludes, referring to a melancholy or poignant ballad, but came to Piosnka litewska (A Lithuanian Song, 1831) is a setting
.
1 No. 1 Zyczenie (A Maiden’s Wish) Stefan Witwicki (1801–1847) 1:43 preludes, nocturnes and concertos, nearly all were Op. 28 and the second set of Études. In 1838 he fell in be used by a range of Eastern European composers). of another Polish poet, Ludwik Osiƒski (1775–1838). A
2 No. 2 Wiosna (Springtime) Stefan Witwicki 1:52 written for that instrument. It is perhaps for this reason love with the writer George Sand, and they spent the The Polish-Lithuanian poet Adam Mickiewicz Professor at the University of Warsaw, he had taken part
3 No. 3 Smutna rzeka (The Sad River) Stefan Witwicki 3:27 that his songs have been so often overlooked. In them winter in Majorca, but he quickly became ill and was (1798–1855) is one of the so-called ‘Three Bards’, in the 1794 KoÊciuszko Uprising against the Russians.
4 No. 4 Hulanka (Revelry) Stefan Witwicki 2:25 the piano shares the spotlight with the singer, yet they diagnosed with consumption. He recovered, but his whose work was thought to give perfect expression to The final four songs on this disc are arrangements of
5 No. 5 Gdzie lubi (Where She Loves) Stefan Witwicki 1:01 possess the same combination of delicacy, power and health remained delicate and prone to relapses. In 1847 Polish nationalism. Also living in Paris, he was visited mazurkas by Chopin, an apt choice, given that so many
6 No. 6 Precz z moich oczu (Out of my sight) Adam Mickiewicz (1798–1855) 3:04 beauty as his greatest works. his relationship with Sand ended, and a year later he by Chopin in 1848, when the composer played the piano of his songs are based on dance forms. The famous
Chopin was born in Żelazowa Wola, near Warsaw, gave his last recital in Paris before leaving for Britain. for him. Chopin’s two settings of Mickiewicz are singer Pauline Viardot (1821–1910), a close friend of
7 No. 7 Poseĺ (The Messenger) Stefan Witwicki 2:20 on 1st March 1810, the only son of Nicolas and Justyna He spent the summer staying in Scotland with a former separated by ten years: the declamatory Precz z moich Chopin’s for many years (and indeed of nearly all the
8 No. 8 Âliczny chĺopiec (A Gorgeous Young Man) Bohdan Zaleski (1802–1886) 2:42 Chopin. He grew up in a world rich with culture and pupil, Jane Stirling, but returned to France in November oczu (Out of my sight) dates from 1827, while the important musical figures of the day) made twelve
.
9 No. 9 Melodia (Z gór, gdzie dzwigali) (A Melody: From the mountains) 2:41 learning, and his parents encouraged his artistic of that year. His illness had returned, and he felt unable liltingly beautiful love song Moja pieszczotka (My transcriptions of his mazurkas for use in her concerts,
Zygmunt Krasiƒski (1812–1859) aspirations. His prodigious musical talents were evident to give lessons. In 1849 it finally overtook him, and he darling) was written in 1837. Another of the ‘Three setting them to poems by Louis Pomey. They showcased
0 No. 10 Wojak (The Soldier) Stefan Witwicki 2:14 from an early age – he gave his first public recital in died on 17th October in Paris. Bards’, Zygmunt Krasiƒski (1812–1859), is represented Viardot’s celebrated three-octave range and vocal
! No. 11 Dwojaki koniec (A Twofold End) Bohdan Zaleski 2:23 1818 – and before long he was being touted as the new The poet Stefan Witwicki (1801–1847) was a friend on this disc by a single setting: Melodia (A Melody, agility, and were tremendously successful with
@ No. 12 Moja pieszczotka (My darling) Adam Mickiewicz 2:03 Mozart, performing at aristocratic salons across Poland. of Chopin’s, and a member of the same circle of Polish 1847), which was the last song Chopin ever wrote. Like audiences. Chopin himself was apparently very pleased
# No. 13 Nie ma czego trzeba (Nothing I Need is Here) Bohdan Zaleski 3:06 His reputation grew steadily, fed by two well-received emigrés in Paris, where he arrived in 1832. Like many of Witwicki and Mickiewicz, the aristocratic Krasiƒski with them, particularly as they brought his mazurkas to
$ No. 14 PierÊcieƒ (The Ring) Stefan Witwicki 1:37 concerts in Vienna, but by 1830 the young musician was his compatriots he was interested in ideals of Polish lived in Paris, and had several friends in common with greater public attention. Seize-ans (Sixteen Years) is
depressed, and yearning to leave Warsaw for the more nationalism, an issue that also concerned Chopin. The Chopin. adapted from the Mazurka in A flat major, Op. 50 No. 2,
% No. 15 Narzeczony (The Fiancé) Stefan Witwicki 2:06 cosmopolitan atmosphere of the larger European composer set several of his lyrics, beginning around Another friend of Mickiewicz’s, also living in Aime-moi (Love Me) is taken from the Mazurka in D
^ No. 16 Piosnka litewska (A Lithuanian Song) Ludwik Osiƒski (1775–1838) 1:57 capitals. 1829 with Życzenie (A Maiden’s Wish) and Gdzie lubi France, was the Polish-Ukrainian poet Bohdan Zaleski major, Op. 33 No. 2, L’oiselet (The Little Bird) from the
& No. 17 Âpiew z mogiĺy – Leci liÊcie z drzewa (Song from the Gravemound) 5:06 He arrived in Vienna for a second time in November (Where She Loves). As with many of Chopin’s songs, (1802–1886). Heavily influenced by folk themes, Mazurka in A minor, Op. 68 No. 2 and Coquette (The
Wincenty Pol (1807–1872), reconstructed by Julian Fontana 1830, shortly before the ill-fated November Uprising, in Życzenie is modelled on one of Poland’s traditional Zaleski was very active in a number of nationalist Flirt) from the Mazurka in B flat major, Op. 7 No. 1.
which the Poles rebelled against Russian rule. This event dance forms, the mazurka, hinting at his nationalist organizations, including the Slavonic Society and the Although Chopin’s songs have remained largely in
* Czary (Enchantment) Stefan Witwicki 1:45 seems to have had a profound effect on Chopin, sympathies. The kujawiak, krakowiak and oberek are Polish Democratic Society. Chopin was a personal the shadow of his more famous compositions for piano,
( Dumka Bohdan Zaleski 1:35 cementing his commitment to the ideals of Polish also represented in this selection, and are used in a friend; indeed, Zaleski’s wife was a pupil of his betwen their mournful beauty and delicate lyricism make them
nationalism. A year later, after the uprising had been variety of ways – sometimes the songs move between 1843 and 1844. Chopin set four of Zaleski’s poems, all eminently deserving of wider acclaim.
) Seize-ans (Sixteen) Louis Pomey (1835–1901) * 3:28 quashed, he travelled to Paris, where he would remain them for different sections, as in Âpiew z mogiĺy (Song of which are presented on this disc: Dumka (A Dumka,
for much of the rest of his life. It was in the French from the Gravemound, 1836), a dramatic and mournful 1840), Âliczny chĺopiec (A Gorgeous Young Man,
(arr. Pauline Viardot-García from Mazurka No. 31 in A flat major, Op. 50, No. 2) capital that he came to the attention of many of the most setting of a narrative poem by Wincenty Pol 1841), Dwojaki koniec (A Twofold End, 1845) and the Caroline Waight
¡ Aime-moi (Love me) Louis Pomey * 2:37 important and influential musical figures of the day, (1807–1872), whereas other examples, such as the
(arr. Pauline Viardot-García from Mazurka No. 23 in D major, Op. 33, No. 2) including the composers Franz Liszt, Robert Schumann cheerful drinking song Hulanka (Revelry, 1830), focus
™ L’oiselet (The Little Bird) Louis Pomey * 3:20 and Ferdinand Hiller, the critic François-Joseph Fétis, on just one (in this case, the oberek). PierÊcieƒ (The
(arr. Pauline Viardot-García from Mazurka No. 47 in A minor, Op. 68, No. 2) and the pianist Frédéric Kalkbrenner, who helped to Ring, 1836), also a setting of Witwicki, is an example of
£ Coquette Louis Pomey * 2:31 arrange his first recital in the city. Despite the success of a kujawiak, while the duple time section of Âpiew z
(arr. Pauline Viardot-García from Mazurka No. 5 in B flat major, Op. 7, No. 1) this performance, subsequent large-scale public concerts mogiĺy evokes the krakowiak. Many of the Witwicki
became increasingly few and far between, as Chopin settings also use elements of traditional folk-music to
* edited by Jerome Rose
devoted more and more time to teaching and composing. conjure up a sense of Polishness. The dirge-like Smutna
Fryderyk Chopin (1810–1849) Fryderyk Chopin (1810–1849) rzeka (The Sad River, 1831), as well as the wistful lyrical lament Nie ma czego trzeba (Nothing I Need is
Complete Songs Complete Songs dumkas Czary (Enchantment, 1830), Poseĺ (The Here, 1845). The latter two songs are also dumkas,
Messenger, 1831) and Wiosna (Springtime, 1838), with reflecting the fact that Zaleski was particularly
Fryderyk Chopin’s name is synonymous with the piano: Over the following years Chopin wrote most of the their colourful hints of modality, illustrate this use of interested in Ukrainian nationalism. The triple-time
of the some 230 works that he composed, including compositions for which he is best-known today, Slavic idioms (a dumka is originally a Ukrainian term Âliczny chĺopiec is another example of a kujawiak.
Seventeen Songs, Op. 74 41:47 (among many other forms) études, sonatas, waltzes, including the Sonata in B flat minor, the 24 Préludes, referring to a melancholy or poignant ballad, but came to Piosnka litewska (A Lithuanian Song, 1831) is a setting
.
1 No. 1 Zyczenie (A Maiden’s Wish) Stefan Witwicki (1801–1847) 1:43 preludes, nocturnes and concertos, nearly all were Op. 28 and the second set of Études. In 1838 he fell in be used by a range of Eastern European composers). of another Polish poet, Ludwik Osiƒski (1775–1838). A
2 No. 2 Wiosna (Springtime) Stefan Witwicki 1:52 written for that instrument. It is perhaps for this reason love with the writer George Sand, and they spent the The Polish-Lithuanian poet Adam Mickiewicz Professor at the University of Warsaw, he had taken part
3 No. 3 Smutna rzeka (The Sad River) Stefan Witwicki 3:27 that his songs have been so often overlooked. In them winter in Majorca, but he quickly became ill and was (1798–1855) is one of the so-called ‘Three Bards’, in the 1794 KoÊciuszko Uprising against the Russians.
4 No. 4 Hulanka (Revelry) Stefan Witwicki 2:25 the piano shares the spotlight with the singer, yet they diagnosed with consumption. He recovered, but his whose work was thought to give perfect expression to The final four songs on this disc are arrangements of
5 No. 5 Gdzie lubi (Where She Loves) Stefan Witwicki 1:01 possess the same combination of delicacy, power and health remained delicate and prone to relapses. In 1847 Polish nationalism. Also living in Paris, he was visited mazurkas by Chopin, an apt choice, given that so many
6 No. 6 Precz z moich oczu (Out of my sight) Adam Mickiewicz (1798–1855) 3:04 beauty as his greatest works. his relationship with Sand ended, and a year later he by Chopin in 1848, when the composer played the piano of his songs are based on dance forms. The famous
Chopin was born in Żelazowa Wola, near Warsaw, gave his last recital in Paris before leaving for Britain. for him. Chopin’s two settings of Mickiewicz are singer Pauline Viardot (1821–1910), a close friend of
7 No. 7 Poseĺ (The Messenger) Stefan Witwicki 2:20 on 1st March 1810, the only son of Nicolas and Justyna He spent the summer staying in Scotland with a former separated by ten years: the declamatory Precz z moich Chopin’s for many years (and indeed of nearly all the
8 No. 8 Âliczny chĺopiec (A Gorgeous Young Man) Bohdan Zaleski (1802–1886) 2:42 Chopin. He grew up in a world rich with culture and pupil, Jane Stirling, but returned to France in November oczu (Out of my sight) dates from 1827, while the important musical figures of the day) made twelve
.
9 No. 9 Melodia (Z gór, gdzie dzwigali) (A Melody: From the mountains) 2:41 learning, and his parents encouraged his artistic of that year. His illness had returned, and he felt unable liltingly beautiful love song Moja pieszczotka (My transcriptions of his mazurkas for use in her concerts,
Zygmunt Krasiƒski (1812–1859) aspirations. His prodigious musical talents were evident to give lessons. In 1849 it finally overtook him, and he darling) was written in 1837. Another of the ‘Three setting them to poems by Louis Pomey. They showcased
0 No. 10 Wojak (The Soldier) Stefan Witwicki 2:14 from an early age – he gave his first public recital in died on 17th October in Paris. Bards’, Zygmunt Krasiƒski (1812–1859), is represented Viardot’s celebrated three-octave range and vocal
! No. 11 Dwojaki koniec (A Twofold End) Bohdan Zaleski 2:23 1818 – and before long he was being touted as the new The poet Stefan Witwicki (1801–1847) was a friend on this disc by a single setting: Melodia (A Melody, agility, and were tremendously successful with
@ No. 12 Moja pieszczotka (My darling) Adam Mickiewicz 2:03 Mozart, performing at aristocratic salons across Poland. of Chopin’s, and a member of the same circle of Polish 1847), which was the last song Chopin ever wrote. Like audiences. Chopin himself was apparently very pleased
# No. 13 Nie ma czego trzeba (Nothing I Need is Here) Bohdan Zaleski 3:06 His reputation grew steadily, fed by two well-received emigrés in Paris, where he arrived in 1832. Like many of Witwicki and Mickiewicz, the aristocratic Krasiƒski with them, particularly as they brought his mazurkas to
$ No. 14 PierÊcieƒ (The Ring) Stefan Witwicki 1:37 concerts in Vienna, but by 1830 the young musician was his compatriots he was interested in ideals of Polish lived in Paris, and had several friends in common with greater public attention. Seize-ans (Sixteen Years) is
depressed, and yearning to leave Warsaw for the more nationalism, an issue that also concerned Chopin. The Chopin. adapted from the Mazurka in A flat major, Op. 50 No. 2,
% No. 15 Narzeczony (The Fiancé) Stefan Witwicki 2:06 cosmopolitan atmosphere of the larger European composer set several of his lyrics, beginning around Another friend of Mickiewicz’s, also living in Aime-moi (Love Me) is taken from the Mazurka in D
^ No. 16 Piosnka litewska (A Lithuanian Song) Ludwik Osiƒski (1775–1838) 1:57 capitals. 1829 with Życzenie (A Maiden’s Wish) and Gdzie lubi France, was the Polish-Ukrainian poet Bohdan Zaleski major, Op. 33 No. 2, L’oiselet (The Little Bird) from the
& No. 17 Âpiew z mogiĺy – Leci liÊcie z drzewa (Song from the Gravemound) 5:06 He arrived in Vienna for a second time in November (Where She Loves). As with many of Chopin’s songs, (1802–1886). Heavily influenced by folk themes, Mazurka in A minor, Op. 68 No. 2 and Coquette (The
Wincenty Pol (1807–1872), reconstructed by Julian Fontana 1830, shortly before the ill-fated November Uprising, in Życzenie is modelled on one of Poland’s traditional Zaleski was very active in a number of nationalist Flirt) from the Mazurka in B flat major, Op. 7 No. 1.
which the Poles rebelled against Russian rule. This event dance forms, the mazurka, hinting at his nationalist organizations, including the Slavonic Society and the Although Chopin’s songs have remained largely in
* Czary (Enchantment) Stefan Witwicki 1:45 seems to have had a profound effect on Chopin, sympathies. The kujawiak, krakowiak and oberek are Polish Democratic Society. Chopin was a personal the shadow of his more famous compositions for piano,
( Dumka Bohdan Zaleski 1:35 cementing his commitment to the ideals of Polish also represented in this selection, and are used in a friend; indeed, Zaleski’s wife was a pupil of his betwen their mournful beauty and delicate lyricism make them
nationalism. A year later, after the uprising had been variety of ways – sometimes the songs move between 1843 and 1844. Chopin set four of Zaleski’s poems, all eminently deserving of wider acclaim.
) Seize-ans (Sixteen) Louis Pomey (1835–1901) * 3:28 quashed, he travelled to Paris, where he would remain them for different sections, as in Âpiew z mogiĺy (Song of which are presented on this disc: Dumka (A Dumka,
for much of the rest of his life. It was in the French from the Gravemound, 1836), a dramatic and mournful 1840), Âliczny chĺopiec (A Gorgeous Young Man,
(arr. Pauline Viardot-García from Mazurka No. 31 in A flat major, Op. 50, No. 2) capital that he came to the attention of many of the most setting of a narrative poem by Wincenty Pol 1841), Dwojaki koniec (A Twofold End, 1845) and the Caroline Waight
¡ Aime-moi (Love me) Louis Pomey * 2:37 important and influential musical figures of the day, (1807–1872), whereas other examples, such as the
(arr. Pauline Viardot-García from Mazurka No. 23 in D major, Op. 33, No. 2) including the composers Franz Liszt, Robert Schumann cheerful drinking song Hulanka (Revelry, 1830), focus
™ L’oiselet (The Little Bird) Louis Pomey * 3:20 and Ferdinand Hiller, the critic François-Joseph Fétis, on just one (in this case, the oberek). PierÊcieƒ (The
(arr. Pauline Viardot-García from Mazurka No. 47 in A minor, Op. 68, No. 2) and the pianist Frédéric Kalkbrenner, who helped to Ring, 1836), also a setting of Witwicki, is an example of
£ Coquette Louis Pomey * 2:31 arrange his first recital in the city. Despite the success of a kujawiak, while the duple time section of Âpiew z
(arr. Pauline Viardot-García from Mazurka No. 5 in B flat major, Op. 7, No. 1) this performance, subsequent large-scale public concerts mogiĺy evokes the krakowiak. Many of the Witwicki
became increasingly few and far between, as Chopin settings also use elements of traditional folk-music to
* edited by Jerome Rose
devoted more and more time to teaching and composing. conjure up a sense of Polishness. The dirge-like Smutna
Olga Pasichnyk
Born in Ukraine, Olga Pasichnyk (Pasiecznik)
studied in her native Rivne, and at the Kiev
Natalya Pasichnyk
Born in Ukraine, Natalya Pasichnyk (Pasiecznik)
started her piano studies at the age of three. She
CHOPIN
Conservatory and Chopin Academy of Music in
Warsaw. In 1992 she became a soloist of the
Warsaw Chamber Opera. She has sung major rôles
went on to study at a special boarding school for
musically inclined children, continued her musical
education at the L’viv Conservatory, finished
Complete Songs
in operas ranging from Monteverdi to Tchaikovsky,
Debussy and the contemporary, appearing
postgraduate studies at the Chopin Academy of
Music in Warsaw and was awarded her solo A Maiden’s Wish • Springtime • The Sad River
throughout Europe, in Australia, Canada, Japan, diploma at the Royal College of Music in
and the United States. She has performed at Stockholm. Natalya has since performed as a
numerous concerts and international music festivals soloist and chamber musician all over the world. Olga Pasichnyk, Soprano • Natalya Pasichnyk, Piano
in famous concert halls and theatres, including the She is a prizewinner of the Nordic Piano
Opéra National de Paris, Théâtre des Champs- Competition (Denmark), the World Piano
Élysées, Théâtre Châtelet, Salle Pleyel (Paris), Competition (USA), and the International Piano
Concertgebouw (Amsterdam), Konzerthaus Berlin, Competition Umberto Micheli (Italy). She has
Auditorio Nacional de Música (Madrid), made many recordings for radio and television and
Bayerische Staatsoper, Palais des Beaux-Arts, commercial recordings for OPUS 111, Pro Musica
Théâtre Royal de la Monnaie (Brussels), Theater an Camerata, Musicon, and True Truck Production.
der Wien, Bregenzer Festspiele (Austria), Grand Her latest solo recording, “The Fourth Dimension”
Théâtre de Genève, Finnish National Opera and with music of Bach and Messiaen was awarded five
Flemish Opera. Throughout her career she has stars in 21st Century Music Magazine. She has
collaborated with leading orchestras working with distinguished conductors such as Minkowski, Jacobs, Ono, collaborated with many conductors and one of
Nelson and Oramo. Olga Pasichnyk was a prizewinner at s’Hertogenbosch in 1994, the Mirjam Helin International them, Yevgeny Svetlanov, wrote about her that she
Singing Competition in Helsinki in 1999, and The Queen Elisabeth International Music Competition in Belgium in “masters the instrument in an extraordinary way. It
2000, where she took both the Oratorio Prize and Audience Prize. She has twice been awarded the Polish Fryderyk is as if such problems as technique, sound palette
for the best solo recordings of 1997 and 2004 (Szymanowski and Lutosl̀awski). Other prizes and awards include and interpretation do not exist for her. All of it
Orfeusz (Warsaw Autumn Festival prize) in 1999, Golden Cross of Merit of Poland (2001) and A. Hiolski’s prize sounds very convincing”.
for the best female opera rôle of 2004 (Mélisande in Debussy’s Pelléas et Mélisande with Polish National Opera).
In 2005 she was nominated by the international opera magazine Opernwelt as the best opera singer of the 2004/2005
season for her performance as Almirena in Handel’s Rinaldo. In 2006 she won a Münchner Opernfestspiele prize.
8.572499 5 6 8.572499
572499bk Chopin US 23/8/10 12:49 Page 5
Olga Pasichnyk
Born in Ukraine, Olga Pasichnyk (Pasiecznik)
studied in her native Rivne, and at the Kiev
Natalya Pasichnyk
Born in Ukraine, Natalya Pasichnyk (Pasiecznik)
started her piano studies at the age of three. She
CHOPIN
Conservatory and Chopin Academy of Music in
Warsaw. In 1992 she became a soloist of the
Warsaw Chamber Opera. She has sung major rôles
went on to study at a special boarding school for
musically inclined children, continued her musical
education at the L’viv Conservatory, finished
Complete Songs
in operas ranging from Monteverdi to Tchaikovsky,
Debussy and the contemporary, appearing
postgraduate studies at the Chopin Academy of
Music in Warsaw and was awarded her solo A Maiden’s Wish • Springtime • The Sad River
throughout Europe, in Australia, Canada, Japan, diploma at the Royal College of Music in
and the United States. She has performed at Stockholm. Natalya has since performed as a
numerous concerts and international music festivals soloist and chamber musician all over the world. Olga Pasichnyk, Soprano • Natalya Pasichnyk, Piano
in famous concert halls and theatres, including the She is a prizewinner of the Nordic Piano
Opéra National de Paris, Théâtre des Champs- Competition (Denmark), the World Piano
Élysées, Théâtre Châtelet, Salle Pleyel (Paris), Competition (USA), and the International Piano
Concertgebouw (Amsterdam), Konzerthaus Berlin, Competition Umberto Micheli (Italy). She has
Auditorio Nacional de Música (Madrid), made many recordings for radio and television and
Bayerische Staatsoper, Palais des Beaux-Arts, commercial recordings for OPUS 111, Pro Musica
Théâtre Royal de la Monnaie (Brussels), Theater an Camerata, Musicon, and True Truck Production.
der Wien, Bregenzer Festspiele (Austria), Grand Her latest solo recording, “The Fourth Dimension”
Théâtre de Genève, Finnish National Opera and with music of Bach and Messiaen was awarded five
Flemish Opera. Throughout her career she has stars in 21st Century Music Magazine. She has
collaborated with leading orchestras working with distinguished conductors such as Minkowski, Jacobs, Ono, collaborated with many conductors and one of
Nelson and Oramo. Olga Pasichnyk was a prizewinner at s’Hertogenbosch in 1994, the Mirjam Helin International them, Yevgeny Svetlanov, wrote about her that she
Singing Competition in Helsinki in 1999, and The Queen Elisabeth International Music Competition in Belgium in “masters the instrument in an extraordinary way. It
2000, where she took both the Oratorio Prize and Audience Prize. She has twice been awarded the Polish Fryderyk is as if such problems as technique, sound palette
for the best solo recordings of 1997 and 2004 (Szymanowski and Lutosl̀awski). Other prizes and awards include and interpretation do not exist for her. All of it
Orfeusz (Warsaw Autumn Festival prize) in 1999, Golden Cross of Merit of Poland (2001) and A. Hiolski’s prize sounds very convincing”.
for the best female opera rôle of 2004 (Mélisande in Debussy’s Pelléas et Mélisande with Polish National Opera).
In 2005 she was nominated by the international opera magazine Opernwelt as the best opera singer of the 2004/2005
season for her performance as Almirena in Handel’s Rinaldo. In 2006 she won a Münchner Opernfestspiele prize.
8.572499 5 6 8.572499
572499rear Chopin US 23/8/10 12:50 Page 2
CMYK
Also Available
8.572335
8.572336
572499rear Chopin US 23/8/10 12:50 Page 1
NAXOS
NAXOS
Fryderyk Chopin’s name is synonymous with the piano. It is perhaps for this reason that
his songs have been so often overlooked. In them the piano shares the spotlight with the
singer, yet they possess the same combination of delicacy, power and beauty as his greatest
works. This disc brings together Chopin’s complete songs, as well as transcriptions of four 8.572499
of his mazurkas by the French singer Pauline Viardot. Graduates of the Chopin Academy
CHOPIN: Complete Songs
www.naxos.com
Printed & Assembled in USA
Disc Made in Canada
Booklet notes in English
& 2010 Naxos Rights International Ltd.
¡ Aime-moi (Love me) 2:37
(arr. Pauline Viardot-García from Mazurka No. 23 in D major, Op. 33, No. 2)
™ L’oiselet (The Little Bird) 3:20
(arr. Pauline Viardot-García from Mazurka No. 47 in A minor, Op. 68, No. 2)
£ Coquette 2:31
(arr. Pauline Viardot-García from Mazurka No. 5 in B flat major, Op. 7, No. 1)
8.572499
Producers, Engineers and Editors: Andrzej Sasin and Aleksandra Nagórko (CD Accord)
Booklet notes: Caroline Waight • Please see page 2 of the booklet for a detailed track list
Sung texts and English translations are available at www.naxos.com/libretti/572499.htm
Cover Picture: Marquerite-land 5 (© Signorina / Dreamstime.com)