STEFAN BOLESŁAW PORADOWSKI (1902-1967): Symphony No. 3, Op. 29, Violin Concerto, Op. 70, Double Bass Concerto, Op. 26.

Description: This recording is the result of the determination of Łukasz Borowicz and the Poznań Philharmonic to rescue Poradowski's music from the undeserved oblivion into which it had fallen since the 1960s. Poradowski was quite prolific - there are eight symphonies and works in most other genres - and a composer of real substance and originality in a broadly neo-romantic, tonal idiom. The influence of the early 20th century modernist movement in Poland, and especially that of Szymanowski, is obvious, but this symphony particularly evokes direct comparison with Vítězslav Novák and especially Josef Suk. The first movement begins with a solemn introduction like a chorale or hymn. The main allegro bursts in with a first subject of splendid scale and magnificent exuberance, contrasting with a lyrical second subject, sweeping and grand. An energetically surging development of these themes leads to a final section which concludes the movement with imposing finality. The powerful slow movement is a grandly ceremonial funeral march, and here more than ever the kinship with the Suk of Asrael and Ripening is unmistakable. There is also a strange but distinct resemblance to the great funeral march slow movement of Khachaturian's 2nd Symphony (which was written around 14 years later). Punctuated by towering climaxes, the procession finally recedes into the shadowy recesses of some vast vaulted space, making way for the volcanic opening of the finale, which immediately gives way to a raucously energetic dance in oberek rhythm, with lively counterpoint and fugato writing. The Double Bass Concerto dates from around the same time, but is more conventionally neo-romantic. The central Adagio shares something of the weighty, oppressive gloom of the symphony’s slow movement, the soloist intoning an eloquent lament. Cast in traditional 3-movement form, the concerto's outer movements are lively virtuoso vehicles, the finale in particular suggesting what the result might have been had Szymanowski ever felt moved to write a concerto for this instrument. An extended reminiscence of the slow movement and a demanding, impassioned cadenza precede a return to the vigorous opening material which brings this appealing concerto to a suitably exciting close. The Violin Concerto dates from decades later, and marks a definite stylistic evolution on the part of the composer. Classically proportioned and still basically tonal, its harmonic language is nonetheless more modern, and there are suggestions of greater modernity in texture and orchestration, which remains as exquisitely judged and transparent as ever. Poradowski developed some interest in dodecaphony over the years, but while this may be felt in some intervallic relationships in the harmony, this is not a dodecaphonic work, and the origins of its idiom, and its technical demands, can clearly be heard as deriving from Szymanowski's concerti. The first movement is vigorous and virtuosic, with an extended cadenza, while the influence of Shostakovich is to be felt in the dark-toned slow movement. The finale is lively and boisterous, the soloist leading the dance with abandon. Marcin Suszycki (violin), Piotr Czerwiński (double bass), Poznań Philharmonic Orchestra; Łukasz Borowicz.