1. Overture in D major
Concerto for violin & orchestra No. 2 in D, Op 21
2. I. Allegro marciale
3. II. Adagio, piu tosto andante
4. III. Rondo. Allegretto
Symphony in B flat major, Op. 2-3
5. I. Adagio – Allegro
6. II. Adagio
7. III. Menuet
8. IV. Vivace

Dominika Falger (violin)
Henryk Wieniawski Lublin Philharmonic
Piotr Wijatkowski – conductor

This is an interesting and very worthwhile disc. Karol Lipinski (1790-1861) may have been a minor composer, but his music is very enjoyable, and the Violin Concerto “Concerto Militaire” of 1825, which was a favorite of Wieniawski, will excite the fancy of Romantic violin fans everywhere. The piece contains a colorful potpourri of Central European battle tunes arranged for violin and orchestra. As might be expected, the scoring includes lots of trumpets and drums, with a busy piccolo providing a touch of added brilliance on top. It’s really very ear-catching and it certainly deserves a place in the repertoire of modern performers.

Dominika Falger is not a world-class virtuoso, but she acquits herself more than respectably, with confident double-stops and a warm, dusky basic timbre. Only some thinness in her violin’s upper register and some occasional intonation problems betray her otherwise solid technique. The very natural balances (no spotlighting at all) may exaggerate this impression, but it wouldn’t do to make too big a fuss. This is a good performance of a very entertaining work.

Both the Overture and the Symphony, which date from 1814 and 1810 respectively, turn out to be surprisingly memorable as well. The Symphony, lightly scored but beautifully written for the woodwinds, openly recalls Beethoven’s Second in its second-movement Adagio, but otherwise a sort of Polish Schubert might come to mind. In particular, in both works Lipinski has the habit of moving freely between the major and minor modes, and this gives his melodies unusual appeal and prevents them from sounding generic. All of the music here is very well played by the Lublin Philharmonic under Piotr Wijatkowski, with distinguished contributions from all sections and a lively hand at the helm. Excellent sonics round out a most unusual and attractive production. --- David Hurwitz, classicstoday.com

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CD1 - Violin Concerto No. 1; Rondo Alla Polacca; Variations

1. Rondo alla Polacca, Op. 13 in E major

Violin Concerto No. 1, Op. 14 in F sharp minor
2. Allegro maestoso
3. Adagio
4. Adagio. Allegro vivace

5. Variations de Bravoure sur une Romance militaire, Op. 22 in D major

CD2 – Violin concertos 2, 3 & 4

Violin Concerto No. 2, op. 21 in D major – Concerto militaire
6. Allegro marziale
7. Adagio
8. Rondo

9. Violin Concerto No. 3, op. 24 in E minor – Allegro

10. Violin Concerto No. 4, op. 32 in A major – Allegro

Albrecht Laurent Breuninger – violin
Polish Radio Symphony Orchestra
Wojciech Rajski – conductor

Karol Jozef Lipinski (30 October 1790 – 16 December 1861) was a Polish virtuoso violinist and composer.

Lipinski was born in Radzyn Podlaski. In 1810 he became the first violin and two years later the conductor of the opera orchestra at Lwów (now Lviv, Ukraine). In 1817 he went to Italy in the hope of hearing Niccolò Paganini. The two met in Milan, met daily to play, and even performed two concerts together in April 1818, which added immensely to Lipinski’s reputation. Paganini dedicated his Burlesque Variations on “La Carnaval de Venise”, Op. 10 for unaccompanied violin to Lipinski. Later, in 1827, Lipinski returned the honour by dedicating his “Three Caprices for Violin” to Paganini.

In 1818 on his return to Germany he stopped in Trieste to receive instruction from Dr Mazzurana, a very elderly former pupil of Giuseppe Tartini; Mazzurana was ninety years old, and could no longer play himself, but gave his criticism of Lipiński’s performance of one of Tartini’s sonatas.

In 1820 he travelled to Berlin where he met Louis Spohr, and to Russia. In 1829 he went to Warsaw, and played a series of concerts with Paganini that summer that were attended by the nineteen-year-old Frédéric Chopin. However, a rivalry developed between Lipinski and Paganini which destroyed their friendship. Thereafter, whenever Paganini was asked who the greatest violinist was, he would say “I don’t know who the greatest is, but Lipinski is certainly the second greatest”. ---last.fm

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1. I Li Marinari 	
2. II La Serenata 	
3. III La Danza. Tarantella Napoletana 	
4. IV L'orgia. Arietta 	
5. V La Pastorella Dell'Alpi. Tyrolese 	
6. VI La Regata Veneziana 	
Trois Caprices pour violin solo op. 29 	
7. Kaprys E-moll Op. 29 Nr 1. Allegro Non Troppo 	
8. Kaprys Es-dur op. 29 nr 2. Allegretto 	
9. Kaprys D-dur op. 29 nr 3. Allegro Vivo 	
Fantasia And Variations On Sonnambula By Bellini, For Violin & Accompaniment, Op. 23 	
10. I Introduzione 	
11. II Tema 	
12. III Var. I 	
13. IV Var. II 	
14. V Var. III 	
15. VI Var. IV 	
16. VII Var. V 	
Trois Melodies Italiennes De L'Opera Parisina Par Vincenzo Bellini Pour Violin Avec Accompagnement De Piano (Dresden, S.D.) 	
17. III Allegro

Bartek Nizioł - violin
Paweł Andrzej Mazurkiewicz – piano

Karol Lipinski is mainly remembered as a virtuoso star of the Polish Violin School. He was one of a myriad of players to be deeply influenced by Paganini, and his Caprices are clearly modelled on those of the Italian. When asked who the greatest living violinist was, Paganini apparently invariably replied; I don’t know, but Lipinksi is certainly the second greatest. The Polish fiddler also shared something of Paganini’s compositional flair, even to the extent of writing comic opera.

It was opera that gave him the bulk of his opportunities, a fact dutifully reflected in the programme of this disc. Bellini and Rossini were very particular favourites and Lipinski’s craftsmanship, dexterity, and desire to embellish melodies with virtuosic panache allowed him to generate an arsenal of works for performances in salons and on concert stages. The Morceaux de salon, published in Mainz in 1842, includes six pieces culled from Rossini’s operatic oeuvre, and dished up for violin and piano in inventive and ingratiating fashion. La Serenata requires richness of tone and evenness of legato, whilst La Danza is maybe the best known – though this is a relative matter given Lipinski’s relative obscurity as a composer. It certainly reflects his liking for Rossinian humour, rhythmic snap and for communicative élan. Nevertheless L’orgia is the drollest, and La Regata Veneziana rounds out the set convincingly.

The Fantasia and Variations on Sonnambula is a typical Paganinian tester with introduction, theme, and then five variations, of which the last is by the longest. Whilst he isn’t as unremittingly high-powered or virtuosic as Paganini, in his comparable pieces, Lipinski does show here quite what a prodigious technique he must have possessed. His talent for ricochet bowing, for rapidity of articulation and also, expressively, for the generation of pathos in his material are all on show here.

The Three Caprices, Op.29 survive on the fringes of the solo repertoire. His earlier Op.10 Caprices were patterned after, and dedicated to Paganini. The later set is equally indebted and they each investigate complex points of technique, not least with regard to thematic ornamentation. Bartek Niziol is on his own here, deprived of his fine colleague Pawel Andrzej Mazurkiewicz. He plays with considerable assurance and confidence, as he does throughout this recital. However I would point to a slight limitation, at least when considering these Caprices, inasmuch as he makes them sound very much like studies and not particularly like works of art in themselves. Lipinksi was known for his promotion of cantilena and singing tone and this is what the remarkable but short-lived Russian virtuoso Yulian Sitkovetsky located in the second of the three in his recording of it. By comparison Niziol sounds tonally razory and tends to disrupt the rhythm rather too abruptly.

In fact slightly more tonal bloom, in performance and recording, might well have conveyed this sympathetic aspect of Lipinski’s art even more clearly. Nevertheless, these performances are good, and valuable, not least in restoring his art to wider circulation. ---Jonathan Woolf, musicweb-international.com

Kim był Karol Lipiński? Na to pytanie jeszcze niedawno odpowiedź byłaby jedna - skrzypkiem walczącym z samym Niccolo Paganinim o miano najwybitniejszego wirtuoza wszech czasów. A przecież była to epoka, w której prawie każdy wybitny instrumentalista również komponował. Przede wszystkim dla siebie, ale też i dla innych.

Z czasem utwory Lipińskiego - w odróżnieniu od jego legendy jako skrzypka - poszły w niepamięć. Ale w czasach, gdy szuka się coraz to nowych twórców dla wciąż nowych nagrań, odkrywa się również kompozytorów zapomnianych. Zapomnianych, bo Lipiński w swoich czasach był często grywany. Miał na swoim koncie cztery koncerty skrzypcowe. Wzorem dla kompozytora była francuska wiolinistyka - Kreutzer, Rode czy Viotti. Słychać to zwłaszcza w jego cyklach "Caprices" zebranych w opusach 3, 10, 27 i 29.

Karol Lipiński tworzył też koncertowe polonezy, ronda i wariacje. Niezwykle ważna dla twórczości Karola Lipińskiego była rola transkrypcji włoskich arii operowych - Belliniego i Rossiniego - bowiem śpiewność instrumentu była dla niego najistotniejsza. Tak jak i dla Fryderyka Chopina. Transkrypcji, a także Kaprysów w wykonaniu laureata Konkursu Wieniawskiego, Bartlomieja Nizioła, i pianisty Pawła Andrzeja Mazurkiewicza warto posłuchać, choć brakuje mi nieco ekspresji. ---Stanisław Bukowski, audio.com.pl

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