블라디슬라프 스필만 - 영화 "피아니스트" 오리지날 레코딩

The Original Recordings of the Pianist

Wladyslaw Szpilman

1. 01. Chopin - Nocturne in C Minor
2. 02. Rachmaninoff - Prelude in G Minor op. 32,12
3. 03. Schumann - Fantasie in C Minor
4. 04. Szpilman - Concertino for piano and orchestra
5. 05. Debussy - Images, Set 1
6. 06. Szpilman - Paraphrase of a waltz by Robert Stoltz
7. 07. Albeniz - Cordoba, from 'Cantos de Espagna'
8. 08. Kreisler-Rachmaninov - Liebesleid
9. 09. Chopin - Mazurka op. 17 - No 4
10. 10. Bach-Busoni - Partita BWV 1004 Chaconne in D Minor (arr.
11. 11. Chopin - Nocturne in C Minor

1. Nocturne C# Minor
2. Prelude G# Minor Op.32, 12
3. Fantasie C Major
4. Concertino For Piano And Orchestra
5. Images, Set 1
6. Paraphrase Of A Waltz By Robert Stoltz
7. Cordoba
8. Liebesleid
9. Mazurka Op.17 - No.4
10. Partita BWV 1004 Chaconne D Minor
11. Nocturne C# Minor

피아니스트의 오리지널 레코딩
스필만 작곡,바흐,라흐마니노프,쇼팽 연주

 

Wladyslaw Szpilman

When the shells of the invading Nazis forced the closure of Polish Radio on 23 September 1939,

the last live music heard was Wladyslaw Szpilman's performance of Chopin's C sharp minor Nocturne. When broadcasting was resumed in 1945, it was again Szpilman who initiated the transmissions, with the same Chopin nocturne. (Around the same time, rather less high-mindedly, BBC television resumed an interrupted Mickey Mouse cartoon.) What happened to Szpilman in the interim formed the stuff of one of the most harrowing of all accounts of Jewish life under the Nazis, in a book published last year as The Pianist that immediately climbed to the top of the international bestseller lists --- hardly surprisingly: it is a compelling, harrowing masterpiece.
Szpilman wrote Death of a City (the initial title of his memoir) in 1945 more or less as therapy --- to put his memories down on paper and thus somehow to externalise them. In doing so he revealed that he was a masterly writer: his text matches a sharp eye for detail and for human character with a complete absence of self-pity and of sanctimony.
For the first two years of the occupation Szpilman played in the bars and cafés that continued to open for business behind the walls of the getto, sealed off from the rest of Warsaw on 15 November 1940. Szpilman records life there with dignity and dispassion. He recalls watching the SS forcing a group of prisoners out of a building:

They switched on the headlights of their car, forced their prisoners to stand in the beam, started the engines and made the men run ahead of them in the white cone of light. We heard convulsive screaming from the windows of the building, and a volley of shots from the car. The men running ahead of it fell one by one, lifted into the air by the bullets, turning somersaults and describing a circle, as if the passage from life to death consisted of an extremely difficult and complicated leap.

Time and again, chance dictated that Szpilman escape death. The end seemed finally to have come when he and his family were ordered to turn up at theUmschlagsplatz where, skirting the rotting corpses around them, they were to be herded onto trains headed for the gas chambers. Szpilman's last memory of his family is movingly understated:

At one point a boy made his way through the crowd in our direction with a box of sweets on a string round his neck. He was selling them atridiculous prices, although heaven knows what he was going to do with the money. Scraping together the last of our small change, we bought a single cream caramel. Father divided it into six parts with his penknife. That was our last meal together.

But as the Szpilmans were being crammed onto the train, one of the Jewish policemen grabbed Wladyslaw by the collar, yanked him out of the throng and refused to let him through to rejoin his family on the journey to death. Szpilman continued to avoid death's clutches, surviving against all odds, often half-starved and usually alone, hidden in obscure corners of bombed, burned or empty buildings, intermittently helped by Polish friends risking their own lives to bring him food or find him shelter: helping a Jew automatically brought a death sentence. The strangest twist in Szpilman's strange story came at its end: he was discovered by a German officer who, after Szpilman had given proof of his profession by playing that same C sharp minor Nocturne on an abandoned piano, hid him and brought him food and an eiderdown for warmth.
Not the least extraordinary aspect of Szpilman's book is the complete lack of the indignation and anger that anyone writing immediately after such years of hell might reasonably be expected to allow himself. Yet even the grim vignettes of pointless death that are studded through his text don't draw judgement --- perhaps because none was necessary:

A boy of about ten came running along the pavement. He was very pale, and so scared that he forgot to take off his cap to a German policeman coming towards him. The German stopped, pulled his revolver without a word, put it to the boy's temple and shot. The child fell to the ground, his arms flailing, went rigid and died. The policeman calmly put his revolver back in its holster and went on his way. I looked at him; he did not even have particularly brutal features, nor did he appear angry. He was a normal, placid man who had carried out one of his many minor daily duties and put it out of his mind again at once, for other and more important business awaited him.

Death of a City was published in Poland in 1946 and soon suppressed by the Communists because, as Wolf Biermann surmises in an Epilogue to The Pianist, it "contained too many painful truths about the collaboration of defeated Russians, Poles, Ukrainians, Latvians and Jews with the German Nazis". More likely, it was Szpilman's record of the suffering of the Jews that required silencing – after all, the Jews could hardly expect a warmer welcome in Stalin's empire than in Hitler's: when Stalin died, in March 1953, he was already assembling the transport for his own eastwards "resettlement" of the Jews, and his own death prevented would probably have been a second Holocaust. And so it was only after the collapse of the Soviet bloc that, thanks to the efforts of Szpilman's son, publication became possible.
Szpilman's initial training as a pianist was in the Chopin School of Music in Warsaw under Josef Smidowicz and Aleksander Michalowski, both of them former students of Liszt. In 1931 he enrolled at the Akademie der Künste in Berlin, studying piano under two of the most distinguished players of the day, Arthur Schnabel and Leonid Kreuzer, and composition under Franz Schreker, the renowned composer of Der ferne Klangand other similarly successful operas. On his return to Poland in 1933 he formed a highly successful duo with the violinist Bronislaw Gimpel that formed the basis, 29 years later, of the Warsaw Piano Quintet, whose tours soon earned it a reputation as an ensemble of world standing; Szpilman played with the Quintet until 1986.

Szpilman's own early compositions include a violin concerto and a symphonic suite, The Life of Machines, and when the Nazis invaded he was engaged on a Concertino for piano and orchestra --- a jazz-flavoured, Gershwinesque piece remarkably good-natured for the circumstances of its origin. The score went with him from hiding-place to hiding-place before he had to sacrifice it to survival; he reconstructed it after the War. His light music was particularly successful: for decades the Poles sang tunes from his three musicals, 50---60 children's songs and 600-odd chansons as they went about the business of their daily lives.
A CD released in 1998 by the German label Alina (run by Szpilman's son, Andrzej) testifies to both his fluency as a composer and his excellence as a pianist --- and it includes an archive recording of that life-saving Chopin nocturne. Six more CDs of Szpilman as both performer and composer are scheduled for release in Poland in the autumn. With luck his last-minute fame as a writer will bring his music the wider currency he would have wished for it during his lifetime.

MARTIN ANDERSON Independent, 14 August 2000

Wladyslaw Szpilman, pianist and composer, born 5.December.1911, Sosnowiec, Poland; married Halina Grzecznarowski, 2 sons; died Warsaw, 6 July 2000.

출처  http://www.szpilman.net/

Wladyslaw Szpilman (블라디슬로프 스필만)

- 생년월일: 1911년 - 2000년 7월 6일 
- 출 생 지: 폴란드

1911년 폴란드 소스노빅에서 탄생. 어려서부터 프란츠 리스트의 제자인 죠셉 스미도비크와 알렉산더 미칼롭스키와 함께 피아노를 배웠다. 1931년 스필만은 베를린으로 떠나 레오니드 크루저의 지도하에 음악아카데미에서 음악공부를 하게 된다. 이 시기에 그는 '바이올린 협주곡'을 작곡하고 피아노소곡 '기계의 인생'을 비롯 수많은 피아노 연주곡을 작곡했다. 이 곡들은 그의 고국 폴란드에 커다란 영예를 가져다주었다. 그는 급속도로 인정받는 작곡가이자 피아니스트로 성장한다.

1935년 스필만은 수도 바르샤바에 있는 국영라디오 방송국에서 일을 시작한다. 1939년 9월, 그가 피아노 연주를 하던 방송국이 독일군의 폭격을 맞는다. 이때부터 그는 6년 동안 전쟁의 공포 속에서 피난생활을 지속하다가 기적처럼 독일장교의 도움으로 대학살에서 살아남는다. 1945년 전쟁이 끝난 뒤, 스필만이 6년 전 중단했던 쇼팽의 야상곡을 연주하면서 폴란드 국영라디오 방송은 다시 시작된다. 1946년, 자신의 경험을 쓴 회고록 <죽음의 도시>를 출판하지만 공산정권에 의해 판금 당한다. 그는 다시 음악인으로 이름을 알리기 시작했고 유럽과 미국전역을 걸쳐 콘서트를 열었다. 그가 작곡한 수많은 곡들은 폴란드에서 엄청난 인기를 얻었다. 또한 1950년대부터는 어린이를 위한 음악을 작곡하기 시작했는데 이로 인해 1955년에 폴란드 작곡가 협회로부터 상을 받기도 했다.

1961년 . 스필만은 같은 민족이 자신의 회고록을 영화로 만든다는 것에 대해 기쁨을 감추지 않았다. 그리고 그는 영화가 촬영되기 전 2000년 7월 6일 88세의 나이로 세상폴란드 대중음악가 연맹을 위해 소폿에서 국제음악제를 개최한 스필만은 1964년 폴란드 작곡가협회의 멤버로 선출된다. 1998년 한번도 아버지로부터 전쟁에 대한 이야기를 듣지 못했던 그의 아들 안드레이는 아버지의 회고록을 발견하고 이를 전세계에 공개한다. 이 책은 출판되자마자 성공을 거두며 라는 제명으로 전세계에 번역, 출판된다. 스필만의 책은 유대인거주지역에서 일어난 생생하고 역동적인 삶의 보고서이자 그 자신의 경이로운 탈출과 생존에 관한 보고서이다. 강렬한 주제의식, 입체감 넘치는 인물들과 감정들로 가득 찬 이 책은 로만 폴란스키 감독에게 커다란 영감을 불러일으켰다. 로만 폴란스키는 책을 읽기 전 스필만과 두 번의 만남을 가졌고 2000년 초, 세 번째 만났을 때 그에게 책의 영화화를 이야기했다을 떠났다.