Tracklist 9 tracks · 33 min
- Fallen Angel - concerto for violin, piano and orchestra Mateusz Smoczyński, 202233 min
- 1 The Fall 3:02
- 2 Devil’s Whispers 5:26
- 3 Psalm 5:34
- 4 Fire 3:08
- 5 Violin Cadenza 2:51
- 6 Elegy 3:21
- 7 Piano Cadenza 4:27
- 8 Redemption 1:48
- 9 Piano Cadenza Alternate Take 3:59
In homage to Janusz Olejniczak
The idea of writing Fallen Angel was born in a conversation with Janusz Olejniczak, who, after hearing my first concerto, "Adam's Apple", at the National Philharmonic, suggested that I write a similar work for him. Composing it, I was aware that I was writing for an artist of exceptional sensitivity and the most beautiful rubato. So the piece holds lyrical passages in the spirit of Chopin and Szymanowski alongside more rhythmic sections inspired by the jazz that fascinated us both.
Fallen Angel develops the aesthetic begun in "Adam's Apple", weaving the influence of "maximalist minimalism" together with improvisational freedom. The "fallen angel" of the title is a play on words that refers to the title of a piece by the American composer John Adams, "Must the Devil Have All the Good Tunes?", and at the same time a musical story about the fragility and the falls of exceptional people.
On the album the piano part is played by Dominik Wania, an artist who joins jazz, improvised music and contemporary classical music in a remarkable way. I am glad that it was he who accepted my invitation to record "Fallen Angel", bringing his inimitable, outstanding touch to the concerto. We are accompanied in masterly fashion by the Polish Radio Orchestra in Warsaw under Michał Klauza. Thank you.
Reviews 2
- The Soundtrack Of My Life
[…] The music is, not surprisingly, absolutely delightful, full of beautiful melodic themes, dramatic developments and virtuosic deliveries by both Smoczynski and Wania, which are most prominent during the two solo cadenzas. […]
Adam Baruch 28 January 2026 Full review → - Jazz Forum
[…] “Fallen Angel”, like “Adam’s Apple”, looks for inspiration in earlier epochs. The references to the history of the solo concerto and of the symphonic poem are plain to read. One can also feel the influence of composers of the past — Chopin, Szymanowski, Stravinsky, Scriabin. It has to be said that Smoczyński the composer carries off this fusion of different genres and styles with great deftness. For all its display of sweep, the form unfolds freely, without strain. The web of historical references stays invisible. Someone unacquainted with the art of the old masters might well think that this music came into being with no effort at all, just like that, on a momentary inspiration. That deceptive impression of lightness is the mark of truly great works, and proof that Smoczyński is in his element in the composer’s craft. […]
Aleksandra Andrearczyk 12/2025 · December 2025 translated from Polish
