Par ZELENSKI WLADYSLAW. Wladyslaw Zelenski had the Six Character Pieces for piano, op. 17 ready around 1871, although it is quite possible that he composed them earlier, even in 1864. Such is indicated by the opus number. At that time he was giving opus numbers to works in chronological order of composition. This set is dedicated to Auguste Auspitz-Kolár, a pianist whom Zelenski could have met on one of his trips to Vienna. The composer published these works in 1872, with Gotthard of Vienna, in two books under the common title Sechs Charakterstücke. The present edition is based on Ludwig Doblinger?s Viennese edition (cat. no. 1221 comprises the Praeludium, Promenade and Tanz, cat. no. 1222 the Canon, Scherzo and Abschied). The compositions collected in Zelenski?s opus 17 have been unjustly forgotten. Their undeniable qualities include advanced harmonies and expressive melodic writing, as well as a wide range of textural means and composition techniques. Quite ?densely? written, these miniatures may prove challenging, but the right fingering eliminates many difficulties of performance. The second book of Wladyslaw Zelenski?s Six Character Pieces contains three miniatures: Canon, Scherzo and Farewell. They manifest characteristic features of the composer?s style, such as the use of counterpoint and a rich, organ-like texture. The Canon, with its emotional charge and build-up of tension, brings to mind miniatures from the brilliant piano cycles of Robert Schumann. A very simple phrase is imitated canonically between the top voice and the two bottom voices, passing through different keys. A touch of finesse is added by the triplet figuration in the middle plan. The next miniature is a classic Scherzo in ABA form. The outer sections, with an imitated theme, are in G minor. With its rather ominous, perhaps somewhat tragic, character, it contrasts with the middle section, Un poco più tranquillo, in the parallel key of G major, which clearly represents a more luminous, dance-like episode in this set of works. The title Farewell given to the last piece in opus 17 may stir associations with Ludwig van Beethoven?s only programme sonata, Les Adieux. This miniature is far more expansive and texturally richer than the other works in this set. The virtuosic elements are of the highest order, not overwhelming the composition, but emphasising its powerful emotional charge. Each of these miniatures can function as a separate work, but when played as two three-part cycles they fall into logical wholes, in which the climax is reached in the last, most elaborate piece. Yet a performance of all six works from both books, so the whole of Zelenski?s opus 17, allows us to discern an even larger cyclical form, developed in an equally deliberate way. - Anna Miernik/ Répertoire / Piano

Par ZELENSKI WLADYSLAW. The Piano Sonata in G minor, op. 5, Wladyslaw Zelenski?s first important composition, was written in Kraków under the guidance of Franciszek Mirecki ? a conservative composer and teacher who was a pupil of Johann Nepomuk Hummel. It was probably Mirecki who brought about the publication of his 22-year-old pupil?s work by the esteemed Milan firm of Ricordi in 1859. That publication generated interest among Polish music critics, who discerned the young composer?s talent, the work?s ambitious conception and the European (German, to be precise) inspirations, distinguishing this composition among Polish music of that period. The Sonata is distinguished by its expressiveness and virtuosity, skilfully combining Beethovenian in¬spirations with references to the legacy of Chopin. It constitutes a key component of Polish pianism from the second half of the nineteenth century, worthy of the attention of musicians and music lovers alike. / Date parution : 2022-12-12/ Répertoire / Piano

Par ZIELINSKI BERNARD. 3 - 5 mn / Niveau : Difficile à Très Difficile / Répertoire / Percussions, Caisse Claire et Tambour, Solo

Par ZIELINSKI BERNARD / ELSAYARY A.. 2’20’’ / Niveau : Elémentaire / Répertoire / Caisse Claire, Cymbale et Piano

Caisse Claire - Ou Tambour Ou Batterie. Par ZIELINSKI-RABIE. for snare drum/ Répertoire / Caisse Claire ou Tambour ou Batterie

Par ZIELINSKI BERNARD / ELSAYARY A.. 2’17’’ / Niveau : Préparatoire / Répertoire / Batterie et Piano

Par ZIELINSKI BERNARD / ELSAYARY A.. 1'56'' / Niveau : Préparatoire / Répertoire / Caisse Claire, Cymbale et Piano

Par ZIELINSKI BERNARD / ELSAYARY A.. 2'47'' / Niveau : Préparatoire / Répertoire / Percussions et Piano

Caisse Claire - Ou Tambour. Par ZIELINSKI-LUC. 5 Episodes (Le Divertissement des Baguettes; Rendez à Lenglet ce qui appartient à Lenglet!; Biper Marche; L'Accent chantant; Mystere et Boule de Gomme) for snare drum and bass drum/ Répertoire / Caisse Claire ou Tambour et Grosse Caisse

Par ZIELINSKI BERNARD / ELSAYARY A.. 2'05'' / Niveau : Préparatoire / Répertoire / Percussions et Piano

Par ZIELINSKI BERNARD / NIERENBERGER M.. Hommage à pei (cycle 1 et 2) (3'30'') pour caisse claire, cymbale, grosse caisse (1 executant) et piano. Par Nierenberger aux editions Leduc. Partition / Livre de chansons pour Batterie/ Répertoire / Caisse Claire, Cymbale, Grosse Caisse et Piano

Par ZIELINSKI BERNARD / ELSAYARY A.. 2’20’’ / Niveau : Débutant / Répertoire / Batterie et Piano

La partition Mandarins de Zielinski-Nierenberger a été composée pour Percussions et plus particulièrement pour Caisse Claire, Grosse Caisse, Cymbale, Hi-Hat Et Piano. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Caisse Claire, Grosse Caisse, Cymbale, Hi-Hat Et Piano / Partition