Juliusz Zarębski (1854-1885)
Complete Works Volume 5 – Works without Opus Numbers
Grande Fantaisie JZBO.11 (1876)
A Piece without title in F sharp minor JZBO.14 (?)
The Newly Blossomed Tree JZBO.2 (c.1869)
Andante ma non troppo JZBO.1 (c.1869)
Romance sans paroles JZBO.5 (c.1870)
Overture to the opera Maria after Malczewski for piano 4 hands JZBO.7 (1871)
Adieu JZBO.4 (c.1870)
Piotr Sałajczyk (piano)
Joanna Freszel (soprano)
Grzegorz Biegas (piano 4 hands)
rec. 2022, Concert Hall of the Karol Szymanowski Academy of Music, Katowice
Dux 1972 [58]
In 2017 Dux released the complete published works for piano solo and duet by the short lived Polish composer Juliusz Zarębski in a four CD set (review). I can only echo Stephen Greenbank’s pleasure with that excellent set that accounts for the first four volumes of the complete works and leads nicely to volume five containing the unpublished works. I won’t reiterate the brief biographical notes from that review; as pianist Piotr Sałajczyk writes in his booklet notes little is known of his early life in any case though the manuscripts’ dedications to parents and sister hint at happy early family life.
Zarębski expert Ryszard Daniel Golianek, who published a complete catalogue of Zarębski’s works back in 2002, returns to provide additional notes in this volume. Some 15 works remain in manuscript at collections in Warsaw and Weimar, catalogued as JZBO.1 to 15 – JZBO meaning Juliusz Zarębski bez Opus (without opus number) – and of these only seven are in a performable condition. The earliest date from Zarębski’s mid teens and include his only surviving song the newly blossomed trees (imslp lists another song Acacia dated 1880 but no source is given for that). It is a setting of words by Adam Mickiewicz telling of one who is blinded to the beauty of Spring through grief and loss. Zarębski captures the melancholy mood very well in its four verses and while the melody is beautiful much of the interest lies in the piano; just occasionally one’s attention is drawn more to the accompaniment than the singer. Joanna Freszel and Piotr Sałajczyk shape its phrases perfectly and quality performances throughout the recital make strong cases for the other works here. The Andante non troppo opens with an introduction that leads to A flat before a sudden change brings us to the main theme in A minor. This theme sings over a chordal accompaniment that could sound clumsy in less secure hands and this lyrical outer section bookends a faster virtuoso section announced by a dramatic cadenza. Romance sans paroles and Adieu followed about a year later and are more Chopin like in their figuration; the nocturnal romance has an interesting allegro vivace at its heart whose wild, driven character is emphasised by the duple against triple rhythms of its opening. Adieu, in F minor like the Romance sans paroles, is also somewhat nocturnal with its it left hand melody accompanied by flowing arabesques and octaves in the right hand. Undoubtedly beautiful and with some delicate moments one wonders if an older Zarębski would have held some of the figuration in reserve for the reprise.Sałajczyk is joined by pianist Grzegorz Biegas for the overture to a planned opera based on Antoni Malinowski’s epic poem Maria. The opera never appeared and this four hand arrangement of the overture is all that survives; a shame as there is some swashbuckling stuff here. Echoes of Wagner or Meyerbeer ring through the exciting chordal entries in the central allegro vivace and there is plenty of genuine melodic and dramatic impact.
Not all of these unpublished works are from Zarębski’s early years. The Grande Fantaisie was written while he was studying under Liszt and the Hungarian master can be heard in all of its rhapsodic, virtuosic glory. Golianek is confident that this is a piece described in reports by composers Alexander Borodin and Władisław Zelenski and thought lost; Zarębski evidently enjoyed playing it and it seems to have made a favourable impression. The inscription on the manuscript’s title page describes it as a piece of an agitated character with an amorous intermezzo which is accurate but hardly does justice to this 22 minute work. The fantasy opens with a presto which has an impassioned octave theme accompanied by a swirling torrent of triplet figuration. The mood changes, becoming more impish and we are treated to more virtuoso flourishes before the amorous intermezzo makes its appearance. The gorgeous writing in the intermezzo is perhaps where I heard the influence of Liszt most strongly; shades of the Sonata in B minor or the Benediction de Dieu dans la solitude hover over the delicate writing of this extended section. Eventually the temperature rises and a further virtuoso section bursts out, full of octaves and high-wire writing before an almost cheeky octave figure signals a return to the intermezzo. Fanfares introduce the final march section that wraps up the fantasy decisively; as a final nod to Liszt, this time in his use of metamorphoses of themes, the march tune is a variation of a theme from the intermezzo. The Grande Fantaisie was published alongside the Piece without title in 2005 and it would make an interesting and welcome addition to a recital. The Piece without title is a lyrical song without words whose texture is generally clearer and than his earlier works and features more mature writing; its opening simplicity belies the yearning passion of its later bars though it ends peacefully.
Sound, presentation and performances are all exemplary. Sałajczyk has a real feel for this music and whilst he has technique to burn he is as impressive in more reflective music – I was spellbound in much of the intermezzo of the fantasy. In his opening notes he describes these volumes as the composer’s complete oeuvre; that may be true of the piano music but there is still the marvellous Piano quintet for the series to be truly complete. Could any of the unpublished works be completed? There is mention of a piano trio and who knows, perhaps op.21 and op.33, the contents of which are currently unknown, may be discovered. Future possibilities notwithstanding this is a terrific release, bringing us a more complete picture of this composer, befriended by Liszt and of whom Borodin wrote As a pianist, Zarębski is devilishly talented, but also as a composer. In general, a dazzling future awaits him. A great shame that tuberculosis denied him that future.
Rob Challinor
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