Milosz Magin was created in Lodz in 1929. On the Warsaw Conservatory he examined piano under Margerita Trombini-Kasuro and had taken structure lessons from Jan Maklakiewicz and Kazimierz Sikorski (Grazyna Bacewicz, Andrzej Panufnik and Kazimierz Serocki had been also Sikorski learners). Magin graduated in 1957, with awards in both piano and structure. Because of travel limitations in Communist Poland, Magin’s concertizing was limited to Poland and Russia. In 1957, he gained the Vianna da Mota piano competition in Lisbon (he also gained prizes on the Chopin Competition in Warsaw as well as the Concours Long-Thibaud in Paris). Benefiting from his international publicity, Magin, together with his wife, Idalia Skonieczna, also a pianist, requested permission to visit abroad. Authorization was granted, as well as the Magins remaining Poland, eventually determining to stay in the Western. After a yr in Portugal, and sojourns in Britain and Germany, they resolved in Paris, in 1960. Sadly, in 1963, traveling house after a concert, Magin was seriously injured in an automobile crash; furthermore to life-threatening stress, his remaining wrist was damaged and all sense lost in another of his fingertips. Undaunted, he fought his in the past to fitness. By 1968, Magin acquired a lot regained his prior type that he could record, for Decca, the entire functions of Chopin — a critically acclaimed established that was chosen for re-issue on Compact disc. He was also a conductor, and a experienced violinist and cellist. Barely amazingly, he was a devoted teacher, wanting to talk about his vast understanding of the piano repertoire (specially the functions of Chopin and functionality design. Magin’s music certainly has a right to be better known. It really is generally tonal, though openly admitting plenty of dissonance to provide a lot of his result an invigorating, biting tang. Despite a particular eclecticism, which, normally, indicates Polish motifs and moods, Magin’s tone of voice like a composer is fairly distinctive. A author of impressive wit and appeal, Magin also had written music of amazing dignity and depth, and a global that embraced Gorecki’s Third Symphony also needs to react to Magin’s deceptively basic but profoundly shifting Stabat Mater, for strings and timpani (a preferred Magin mixture). His Musique des morts of 1965 was the result of the car incident of 2 yrs previously: he “wished to recreate the musical visions I experienced during [his] ambulance trip to medical center” when he was “within an intermediate condition between existence and loss of life.” And in addition, the piano features prominently in his catalogue: you can find five functions for piano and orchestra, including three concertos, and a sigificant number of solo-piano items, four essential sonatas, and many suites, exemplified from the Polish Triptych of 1967 — comprising three dance motions, the last which can be a ferociously thrilling Oberek. You can find four additional concertos, two for violin and one each for clarinet and cello, aswell as additional orchestral functions, including a Polish Rhapsody (1963), a ballet, Bazyliszek (1964), two symphonies, both have scored for strings just (1969 and 1988), and an Adagio, once again for strings and timpani. Hardly any of this result is normally available on Compact disc. A couple of two Polskie Nagrania discs, one documented by Isabelle Oehmichen as well as the various other by Magin himself. Magin passed away in 1999; he was buried next to Chopin’s tomb on the Père Lachaise cemetery in Paris.