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Henryk Wieniawski

The Polish violinist who made mazurka and polonaise violin showpieces

Who he was

Henryk Wieniawski (1835–1880) was born in Lublin, Poland, and entered the Paris Conservatoire at eight, studying with Lambert Massart and taking first prize in 1846. He then toured with his brother Józef, who played piano. In 1860 he became court soloist and violin professor in Saint Petersburg and stayed twelve years; in 1875 he succeeded Vieuxtemps in Brussels, until illness cut the work short. He died in Moscow in 1880, aged forty-four.

His place

He belonged to the generation of virtuosos after Paganini, whose concerts had to be carried by their own music. He put Polish dance into the violinist's core repertoire, and the polonaise, mazurka and kujawiak became vehicles for bowing, double stops and singing tone rather than mere national labels. Teaching in Russia and Belgium, he carried the French school into both, and his students helped form the later Russian violin school. His catalogue is small, and almost all of it is still in use.

What to hear

One caveat: the tracks filed under Wieniawski here are all piano music, mostly by his brother Józef, under one family name. Use them to hear the dance idiom the family shared, then check it against the violin originals.

Listen for the mazurka accent. In the Eight Mazurkas Op. 23 the weight often falls on the second or third beat; hear how that differs from a waltz. Then for the turning bass. Valse de concert No. 1 keeps the left hand rotating under arpeggios, and the speed must be held from below. Next, breath inside runs: Etude de concert No. 2 keeps running high in the treble, and the phrase still needs air. Finally, where ornaments sit. In the Nocturne Op. 37 they brush past the long line without taking a beat.

Key works

Influence

His teaching carried French technique into Russia and Belgium, and his shadow is still in violin training. He made national dance a legitimate recital item. The Wieniawski Competition has been held in Warsaw since 1935. Most students today play his studies before his concerto, and that order is his arrangement.

Listen in the library

8 Mazurkas, Op.23C118:29《八首玛祖卡》Op.23——钢琴录音,听第二、三拍的加重与舞步的落点(C1)DetailsValse de concert No.1, Op.3C15:49《第一华丽圆舞曲》Op.3——快速琶音与旋转低音,听速度怎样被撑住(C1)DetailsEtude de concert No.2, Op.36C16:49《第二音乐会练习曲》Op.36——高音区连续跑动,听技巧里怎样安排呼吸(C1)DetailsNocturne, Op.37C17:46《夜曲》Op.37——歌唱性长句,听装饰音怎样不切断旋律(C1)Details

All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).

Sources

  • 维尼亚夫斯基生平、巴黎音乐学院与圣彼得堡教职,参 The New Grove Dictionary of Music and Musicians 的 Wieniawski, Henryk 条目;本文为原创表述
  • 十九世纪小提琴炫技传统与波兰舞曲的演奏惯例,参通行小提琴史研究;实例说明为本站听辨提示

Used for fact-checking only; all prose is original.