Thus Beethoven will be duly represented and so will the blues musicians I like, the avant garde, the obscure and the just plain different. A classic to me is a piece of music that lasts, no matter what type of music it is. My taste in music does run to the classics, but what is exactly meant by a classic to me can be a different thing. But every once in a while there will be a posting about music or a musician that could be considered outside the traditional classical designation. Most of the music discussed here is what is termed 'classical' music. Zarębski - Piano Quintet In G Minor, Opus 34.The first theme of the first movement returns in the coda and Zarębski's treatment of it results in an exuberant ending. Emotions and moods change throughout the rest of the movement as snippets of new and old material are blended together. This theme grows more impressive until it yields to material from the first movement.
After a section of trying to find its way, the music settles into another folk-like melody. Finale - Zarębski introduces the final movement with a repeat of the scherzo theme in the piano, which is a surprise to the ear. Zarębski was a late Romantic musician that knew his Liszt and Franck well, for the quintet is a cyclical work with this introduction being the most obvious example of that. The music becomes expressive in a section just before the return of the trio theme and the scherzo. As the trio seems to be winding down, the theme undergoes a short fugal treatment. String harmonics add to the charm of the trio. The scherzo returns and leads to the second trio, which shifts to G major as the trio theme is repeated in the piano to string accompaniment. The first of two trios shifts to G-flat major as the piano repeats a G-flat major figure throughout as the strings play a folk - like melody. The piano enters in octaves and adds to the rhythmic energy. The movement begins in C minor with rhythmic figures in the strings. Scherzo -The scherzo crackles with energy and continues Zarębski's wide modulations to far-off keys. The main theme is gently heard one more time, and the movement ends quietly. The recapitulation of the main theme grows ever more passionate until the tonal vagueness of the introduction to the movement returns. The themes return in a development section of passion mixed with delicacy. This second theme is an offshoot of material in the first movement. The tonality shift to G major as the piano ushers in the second theme in the strings. This theme is expanded upon by the strings. The first theme in B-flat major emerges in the low register of the first violin as the rest of the strings slowly join the piano accompaniment. Adagio -The second movement opens quietly with muted strings and quiet piano in an impressionistic tonal ambiguity. The recapitulation ends with a powerful coda. The development section takes them to far afield keys distant from the home key of G minor. Although Zarębski was a piano virtuoso of the highest order, his writing for the instrument in the quintet is as a partnership between all five instruments There are two main themes in the movement, with other secondary fragments of melody that Zarębski blends together into a flowing, passionate opening movement. The first movement begins with the solo piano playing softly as the strings enter slowly. Allegro -Although written in 1885 and dedicated to Liszt, the quintet was not published until 1931 in Poland. Most of his compositions are for the piano, but in 1885 he composed the piano quintet, the musical masterpiece of his young life. In 1883 he retired from performing due to tuberculosis, and devoted the remaining two years of his life to teaching at the Royal Conservatory of Brussels and to composition. He began his career as a virtuoso performer in 1874 and performed in many major cities in Europe. Petersburg to continue his studies and ended up in Rome as a student (and friend) of Franz Liszt. When he was sixteen he went to Vienna to study. Zarębski was a child prodigy with his mother being his first piano teacher. There are many others who are less well known, and the Polish pianist and composer Juliusz Zarębski falls into this category as he died in 1885 at the age of 31. A short list of the most famous and influential: Franz Schubert at 31, Wolfgang Mozart at 35, Georges Bizet at 37, George Gershwin at 38, and Frederic Chopin at 39. The musical world has had its share of composers who have died young.
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