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The history of world music knows many examples of revival from non-existence and of rediscovery of both compositional legacy and names of composers themselves. Such phenomena also include the output and figure of Giedymin Prosper Rodkiewicz. Until recently, Rodkiewicz was not widely known to musicologists or music lovers, and yet he was an outstanding composer, and his oeuvre survived thanks to a fortunate coincidence. The composer's oeuvre, comprising around 75 pieces, is devoted entirely to piano and is particularly rich in miniatures. This output, as evidenced by the dedications on the pages of Rodkiewicz's works, reflects, like in a mirror, the world of the wealthy landed gentry who filled artistic salons, so popular in the 19th century. Likewise, the genres favored by the composer reflect the existence of the upper echelons of the society of his era. All the pieces presented on the album are discographic premieres. Their arrangement can be considered symbolic: the gallery of the composer's opuses opens with Waltz No. 2 in D flat major, Op. 24 and ends with Waltz No. 3 in A flat major, Op. 33. Undoubtedly, Giedymin Rodkiewicz could not fail to pay due tribute to this genre, which so definitely established it's position in the 19th century Europe.
The history of world music knows many examples of revival from non-existence and of rediscovery of both compositional legacy and names of composers themselves. Such phenomena also include the output and figure of Giedymin Prosper Rodkiewicz. Until recently, Rodkiewicz was not widely known to musicologists or music lovers, and yet he was an outstanding composer, and his oeuvre survived thanks to a fortunate coincidence. The composer's oeuvre, comprising around 75 pieces, is devoted entirely to piano and is particularly rich in miniatures. This output, as evidenced by the dedications on the pages of Rodkiewicz's works, reflects, like in a mirror, the world of the wealthy landed gentry who filled artistic salons, so popular in the 19th century. Likewise, the genres favored by the composer reflect the existence of the upper echelons of the society of his era. All the pieces presented on the album are discographic premieres. Their arrangement can be considered symbolic: the gallery of the composer's opuses opens with Waltz No. 2 in D flat major, Op. 24 and ends with Waltz No. 3 in A flat major, Op. 33. Undoubtedly, Giedymin Rodkiewicz could not fail to pay due tribute to this genre, which so definitely established it's position in the 19th century Europe.
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The history of world music knows many examples of revival from non-existence and of rediscovery of both compositional legacy and names of composers themselves. Such phenomena also include the output and figure of Giedymin Prosper Rodkiewicz. Until recently, Rodkiewicz was not widely known to musicologists or music lovers, and yet he was an outstanding composer, and his oeuvre survived thanks to a fortunate coincidence. The composer's oeuvre, comprising around 75 pieces, is devoted entirely to piano and is particularly rich in miniatures. This output, as evidenced by the dedications on the pages of Rodkiewicz's works, reflects, like in a mirror, the world of the wealthy landed gentry who filled artistic salons, so popular in the 19th century. Likewise, the genres favored by the composer reflect the existence of the upper echelons of the society of his era. All the pieces presented on the album are discographic premieres. Their arrangement can be considered symbolic: the gallery of the composer's opuses opens with Waltz No. 2 in D flat major, Op. 24 and ends with Waltz No. 3 in A flat major, Op. 33. Undoubtedly, Giedymin Rodkiewicz could not fail to pay due tribute to this genre, which so definitely established it's position in the 19th century Europe.
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