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Twelve Songs Op. 22

for Voice and Piano

Countries of delivery:

  • Cat. no. 8857

  • ISBN ISSN: M-2740-0043-1

 

''The Songs to words by Catulle Mendes, Op. 22, do not resemble Paderewskis earlier vocal composition at all, such as Songs to words by Adam Asnyk, Op. 7, or Songs to words by Adam Mickiewicz, Op. 18, these works being a little ''Moniuszko-like'', very Polish, with a simple, diatonic accompaniment. In the Op. 22 Songs, Paderewski approached French compositional styles, and perhaps for the first time in Polish music, before Szymanowski and Eugeniusz Morawski, he consciously drew on the patterns of the ''Paris'' tradition, increasingly frequently used in contemporary European music. The Op. 22 Songs are, as it were, 'symphonised'' poems with a vocal part. The composer, sensitive to poetical nuances, deepens, enlarges and sublimates the expression of the word, which vibrates melodically, ''falls into'' the prepared harmonic course and explains it. Paderewski enriched Mendess dark poetic images with colours sometimes brighter and lighter, at the same time using an extensive gamut of harmonic means in the piano part; among them we find chromaticisms absent in the earlier songs, a chorale sound (La nonne, Le ciel est tres-bas), fourth-fifth chords in a favourite fourth-second arrangement (Dans la foret), seventh-second chords and chords with major seventh as well as self-evident sound symbols: ''glassy'' being reflected in the cold sound of arpeggiated chords of the augmented triad in the song Lune froide, while a repeated and melodically accented interval of the tritone is a sign of emptiness in the song Viduité. The piano part, e.g. in the song Dans la foret brings to mind the present-day cluster technique, manifested in the stratification of chords consisting of up to eight-note diatonic cluster (bars 20-22). Paderewski employs intensification of the chord components even in the lowest piano octave, in spite of the aliquot character of the sound and the principle of instrumentation resulting from it, and he employs a four-note chord in a close harmony of two second chords placed at the distance of a fourth (La nonne, bars 53, 55, 57, 59, 76, 78). The expressive force of the Songs to words by Mendes is evident also in all sorts of metrorhythmic (bold changes of the metre, fairly frequent accentuation on weak beats) and dynamic tensions as well as in the original colouring and nuances of the vocal part.


  • Series: Canto
  • Language of edition: eng, pol
  • Language of text: fre
  • Number of pages: 84
  • Cover: softcover
  • No. of edition: 2
  • Published: 2003
  • Type: solo part (vocal) + accompaniment
  • Size: N4 vertical (235x305 mm)


Table of contents:

Paderewski Ignacy Jan

 Dans la forét

Paderewski Ignacy Jan

 Elle marche d'un pas distrait

Paderewski Ignacy Jan

 L'amour fatal

Paderewski Ignacy Jan

 L'ennemie

Paderewski Ignacy Jan

 La nonne

Paderewski Ignacy Jan

 Le ciel est trés bas

Paderewski Ignacy Jan

 Lune froide

Paderewski Ignacy Jan

 Naguére

Paderewski Ignacy Jan

 Querelleuse

Paderewski Ignacy Jan

 Ton coeur est d'or pur

Paderewski Ignacy Jan

 Un jeune pátre

Paderewski Ignacy Jan

 Viduité
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