Antoni Wit

Biography

Born: Feb 7, 1944; Poland  
In the latter quarter of the twentieth century, Antoni Wit was often called by critics one of the most underrated conductors of his time. Indeed, he had numerous acclaimed recordings to his credit and held distinguished conducting posts in Poland, but remained largely little known until the new century. Perhaps he had unwittingly impeded his career by championing the music of many contemporary Polish composers: Penderecki, Wojciech Kilar, Read more Krysztof Meyer, Eugeniusz Knapik, and a long list of others. But then Wit's choice of repertory ultimately had been, and remains, broad, with particular focus on the works of Schumann, Brahms, Tchaikovsky, Mahler, Rachmaninov, Bartók, Prokofiev, and a spate of others. Wit has made over 100 recordings, mostly for the Naxos label. He also teaches conducting at the Warsaw-based Frédéric Chopin University of Music.
Antoni Wit was born in Krakow, Poland, February 7, 1944. He enrolled at the Krakow Academy of Music, where his most important teachers were Henryk Czyz (conducting) and Penderecki (composition). He had further training in Paris at the Ecole Normale de Musique with Pierre Dervaux, and then studied composition with Nadia Boulanger (1967-1968).
From 1967-1969 Wit was an assistant to Witold Rowicki at the Warsaw Philharmonic Orchestra. After further studies in conducting at Tanglewood with Stanislaw Skrowaczewski and Seiji Ozawa in 1973, Wit was appointed artistic director of the Pomeranian Philharmonic Orchestra (Poland), holding the post from 1974-1977.
Wit next served as director of the Krakow-based Polish Radio and Television Orchestra and Chorus from 1977-1983. During his tenure there, Wit premiered many important new works, including the Penderecki Lacrimosa (1980).
From 1983-2000 Wit served as director of the National Polish Radio Symphony Orchestra, Katowice. It was with this ensemble that Wit has made most of his recordings. His 2000 Naxos CD of Messiaen's Turangalîla Symphony, with the National Polish RSO, received the Cannes Classical Award at Midem Classique 2002.
During the 1980s and '90s, Wit also actively freelanced across the globe, conducting major orchestras in Berlin, Dresden, London, Dublin, Rome, Budapest, Barcelona, Tokyo, Montreal, and Mexico City. Wit also conducted the Orquestra Filharmónica de Gran Canaria from 1987, first as artistic director (until 1988), then as visiting conductor (1988-1992).
From 2002 Wit has served as general and artistic director of the Warsaw National Philharmonic Orchestra. Among Wit's recordings is the 2008 Naxos CD of Volume 1 of the Symphonic Poems of Mieczyslaw Karlowicz. In 2008, his Naxos recording of Penderecki's Symphony No. 7, with the Warsaw National Philharmonic Choir and the Warsaw National Philharmonic Orchestra, was nominated for a Grammy Award in the category of best choral performance. Read less

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Biography

Born: Feb 7, 1944; Poland  
In the latter quarter of the twentieth century, Antoni Wit was often called by critics one of the most underrated conductors of his time. Indeed, he had numerous acclaimed recordings to his credit and held distinguished conducting posts in Poland, but remained largely little known until the new century. Perhaps he had unwittingly impeded his career by championing the music of many contemporary Polish composers: Penderecki, Wojciech Kilar, Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Selig sind, die da Leid tragen
II. Denn alles Fleisch es ist wie Gras
III. Herr, lehre doch mich
IV. Wie lieblich sind deine Wohnungen
V. Ihr habt nun Traurigkeit
VI. Denn wir haben hie keine bleibende Statt
VII. Selig sind die Toten
I. Allegro agitato
II. Andante sostenuto
III. Allegro con fuoco
I. Preludium: Allegro moderato
II. Polka: Allegretto grazioso
III. Minuetto: Allegro giusto
IV. Romance: Andante con moto
V. Finale: Presto
Andante -
Piu animato -
Andante -
Allegro con brio -
Vivo
I. Maestoso
II. Adagio
III. Rondo: Allegro non troppo
I. Allegro non troppo
II. Allegro appassionato
III. Andante
IV. Allegretto grazioso
I. Allegro non troppo e molto maestoso - Allegro con spirito
II. Andantino semplice - Prestissimo - Tempo I
III. Allegro con fuoco
I. Allegramente
II. Adagio assai
III. Presto
I. Andante - Allegro
II. Tema con variazioni
III. Allegro ma non troppo
I. Andante un poco maestro - Allegro molto vivace
II. Larghetto
III. Scherzo: Molto vivace
IV. Allegro animato e grazioso
I. Ziemlich langsam - Lebhaft
II. Romanze: Ziemlich langsam
III. Scherzo: Lebhaft
IV. Langsam - Lebhaft
Nacht (Night) -
Sonnenaufgang (Sunrise) -
Der Anstieg (The Ascent) -
Eintritt in den Wald (Entry into the Wood) -
Wanderung neben dem Bache (Wandering by the Stream) -
Am Wasserfall (At the Waterfall) -
Erscheinung (Apparition) -
Auf blumigen Wiesen (On Flowering Meadows) -
Auf der Alm (On the Alpine Pasture) -
Durch Dickicht und Gestrupp auf Irrwegen (Straying through Thicket and Undergrowth) -
Auf dem Gletscher (On the Glacier) -
Gefahrvolle Augenblicke (Dangerous Moments) -
Auf dem Gipfel (On the Summit) -
Vision -
Nebel steigen auf (Mists rise) -
Die Sonne verdustert sich allmahlich (The Sun gradually darkens) -
Elegie -
Stille vor der Sturm (Calm before the Storm) -
Gewitter und Sturm, Abstieg (Thunder and Storm, Descent) -
Sonnenuntergang (Sunset) -
Ausklang (Final Sounds) -
Nacht (Night)
I. Allegro non troppo
II. Andantino quasi allegretto
III. Molto moderato e maestoso - Allegro non troppo
I. Allegro moderato
II. Romance: Andante non troppo
III. Allegro con fuoco: Allegro moderato
I. Nocturne
II. Scherzo
III. Passacaglia
IV. Burlesque
I. Andantino: Andante assai
II. Scherzo: Vivacissimo
III. Moderato - Allegro moderato - Moderato - Piu tranquillo
I. Andante - Allegro con anima
II. Andante cantabile, con alcuna licenza
III. Valse: Allegro moderato
IV. Finale: Andante maestoso-Allegro vivo
I. Smrt Andrijova (Death of Andrij)
II. Smrt Ostapova (The Death of Ostap)
III. Proroctvi a smrt Tarase Bulby (The Prophecy and Death of Taras Bulba)
No. 1. Starodavny (Old-Time Dance)
No. 2. Pozehnany (Blessed)
No. 3. Dymak (A Blacksmith's Dance)
No. 4. Starodavny (Old-Time Dance)
No. 5. Celadensky (From Celadra)
No. 6. Pilky (Saw Dance)
No. 1. Kozich (Fur Coat)
No. 2. Kalamajka
No. 3. Trojky (Threes)
No. 4. Silnice (Road)
No. 5. Rozek (Little Corner)
No. 1. Aria
No. 2. Menuetto I
No. 3. Menuetto II
I. Passacaglia
II. Larghetto
I. Allegro molto
II. Vivace
I. Notturno: Adagio
II. Scherzo: Vivacissimo
III. Serenade: Tempo di valse
IV. Abschied: Larghetto
Uvod (Introduction)
Gospodi pomiluj (Kyrie) (Soprano, Chorus)
Slava (Gloria) (Soprano, Tenor, Chorus)
Veruju (Credo) (Tenor, Bass, Chorus)
Svet (Sanctus) (Soprano, Alto, Tenor, Bass, Chorus)
Agnece Bozij (Agnus Dei) (Soloists, Chorus)
- [organ solo]
Intrada
I. Allegretto
II. Andante
III. Moderato
IV. Allegretto
V. Andante con moto
Lento -
Vivace -
Meno mosso -
Vivo -
Tempo I (Lento) -
Vivo -
Lento (Tempo I)
I. Andante - Allegro
II. Andante non troppo
III. Vivace - Molto meno mosso - Tempo I
IV. Allegro maestoso - Allegro ben moderato
Prologue -
Intermezzo (Scenenmusik)
Ouverture
Part I: I. Szene im Garten (Faust, Gretchen, Mephistopheles, Marthe)
Part I: II. Gretchen vor dem Bild der Mater Dolorosa (Gretchen)
Part I: III. Szene im Dom (Boser Geist, Gretchen, Choir)
Part II: IV. Sonnenaufgang (Ariel, Choir, Faust)
Part II: V. Mitternacht (Mangel, Schuld, Sorge, Not, Faust)
Part II: VI. Fausts Tod (Mephistopheles, Lemuren, Faust, Choir)
I. March: Allegro moderato - Tempo di marcia - Trio: Meno mosso
II. Romance: Andante con moto
III. Waltz: Allegro moderato - Poco piu mosso - Tempo I
IV. Finale: Allegretto non troppo
I. Allegro moderato
II. Romance: Andante
III. Finale: Vivace assai
I. Maestoso
II. Larghetto
III. Allegretto vivace
Introduction: Largo
Theme: Allegretto
Variation 1: Brillante
Variation 2: Veloce, ma accuratamente
Variation 3: Sempre sostenuto
Variation 4: Con bravura
Variation 5: Adagio
Alla polacca
Andante spianato
Grande polonaise brillante
in unum Deum
Qui propter nos homines
Et incarnatus est
Crucifixus
Crucem tuam adoramus Domine
Et resurrexit tertia die
Et in Spiritum Sanctum
Confiteor unum baptisma
Et vitam venturi saeculi
I. Allegro maestoso
II. Romanza: Larghetto
III. Rondo: Vivace
I. Introduction: Largo non troppo
II. Air, "Juz Miesiac Zaszedl": Andantino
III. Theme de Charles Kurpinski: Allegretto
IV. Kujawiak: Vivace
I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
II. Andante moderato. Sehr gemachlich
III. In ruhig fliessender Bewegung
IV. Sehr feierlich, aber schlicht
V. Im Tempo des Scherzo. Wild herausfahrend
I. Kraftig - Entschieden
II. Tempo di menuetto
III. Comodo - Scherzando
IV. Sehr langsam - Misterioso
V. Lustig im Tempo und keck im Ausdruck
VI. Langsam - Ruhevoll - Empfunden
I. Bedachtig, nicht eilen
II. In gemachlicher Bewegung, ohne Hast
III. Ruhevoll, poco adagio
IV. Sehr behaglich
I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt (Funeral March. In Measured Tread. ...)
II. Sturmisch bewegt, mit grosster Vehemenz (Stormy, with the greatest vehemence)
III. Scherzo
IV. Adagietto
V. Rondo-Finale: Allegro
I. Allegro energico, ma non troppo. Heftig, aber markig
II. Scherzo: Wuchtig
III. Andante moderato
IV. Finale: Allegro moderato - Allegro energico
Veni, creator spiritus -
Imple superna gratia -
Infirma nostri corporis -
Tempo I: Allegro, etwas hastig -
Infirma nostri corporis -
Accende lumen sensibus -
Veni, creator spiritus -
Gloria sit Patri Domino
Poco adagio -
Piu mosso: Allegro moderato -
Waldung, sie schwankt heran -
Ewiger Wonnebrand -
Wie Felsenabgrund mir zu Fussen -
Gerettet ist das edle Glied - Hande verschlinget euch -
Jene Rosen, aus den Handen -
Uns bleibt ein Erdenrest -
Ich spur' soeben nebelnd um Felsenhoh' - Hier ist die Aussicht frei - Freudig empfangen wir -
Hochste Herrscherin der Welt! -
Dir, der Unberuhrbaren - Du schwebst zu Hohen der ewigen Reiche -
Bei der Liebe, die den Fussen -
Bei dem Bronn, zu dem schon weiland -
Bei dem hochgeweihten Orte -
Neige, neige, du Ohnegleiche -
Er uberwachst uns schon - Vom edlen Geisterchor umgeben -
Komm! Hebe dich zu hohern Spharen! - Blicket auf zum Retterblick, alle reuig Zarten -
Alles Vergangliche ist nur ein Gleichnis
Bewegt -
Scherzo -
Wiegenlied -
Adagio -
Finale
I. Allegro
II. Adagio un poco mosso
III. Rondo: Allegro
I. [Allegro moderato]
II. Finale: Allegretto con moto grazioso
I. Moderato - Tempo comodo
II. Andante molto sostenuto
III. Allegro non troppo, ma agitato ed ansioso
Tableau 1: Redyk (Driving the sheep)
Tableau 1: Scena mimiczna, zaloty" (Mimic Scene "Courtship")"
Tableau 1: Marsz zbojnicki (The Tatra Robbers' March)
Tableau 1: Scena mimiczna, Harnas i Dziewczyna" (Mimic Scene "The Harnas and the Girl")"
Tableau 1: Taniec zbojnicki - Final (The Tatra Robbers' Dance - Finale)
Tableau 2: Wesele (The Wedding)
Tableau 2: Cepiny (Entry of the Bride)
Tableau 2: Piesn siuhajow (Drinking Song)
Tableau 2: Taniec goralski (The Tatra Highlanders' Dance)
Tableau 2: Napad harnasiow - Taniec (Raid of the Harnasie - Dance)
Tableau 2: Epilog (Epilogue)
Scene 1
Scene 2
Scene 3
Andante sostenuto -
Allegro con brio -
Allegretto giocoso -
Meno mosso. Notturno. Adagio -
Allegro con brio -
Adagio -
Adagio molto sostenuto -
Andante con moto -
Adagio -
I. -
II. -
Stala matka bolejaca (Stabat mater dolorosa)
I ktoz widzac tak cierpiaca (Quis est homo qui non fleret)
O Matka, zrodlo wszechmilosci (Eia Mater, fons amoris)
Spraw, niech placze z Toba razem (Fac me tecum pie flere)
Panno slodka, racz mozolem (Virgo virginum praeciara)
Chrystus niech mi bedzie grodem (Christe, cum sit hinc exire)
Dwunastodzwieczna cytaro
Jak krzak skarlaly


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