本文是波兰作曲家Henryk Wieniawski介绍，波兰作曲家Henryk Wieniawski出生于1835年浪漫主义音乐出现的时期。他是个小提琴天才。1843年，他有机会成为巴黎音乐学院的一员。该机构接受了维涅夫斯基的波兰身份和他不符合条件的年龄(当时他只有9岁)，因为他才华出众。毕业后，他花了很长一段时间和哥哥一起参加巡演，并演出了几场独奏会。本篇旧金山论文代写文章由美国论文人EducationRen教育网整理，供大家参考阅读。
The Polish composer Henryk Wieniawski was born in 1835 during the advent of romantic music. He was a child prodigy as a violinist. In 1843, he got the opportunity to be a part of Paris Conservatoire. The institution accepted Wieniawski’s Polish identity and his ineligible age (he was only nine years old at that point of time) for his exceptional talent. He spent a significant period of time after graduation in tours along with the company of his brother and performed several recitals.
Wieniawski inherited the passion for music from his mother who happened to be an adept piano player. He already shined as a student of music and began his career as a composer from 1850. He performed in multiple concerts in Russia and Europe when he was accompanied by his brother Jozef. The audience quickly started to recognize this virtuoso for his inimitable talent and became the follower of his compositions. At the age of 18, he composed and performed the Polonaise and the Violin Concerto No. 1 in D major and F sharp minor respectively. Notably, the critics appreciated his technical supremacy for the Violin Concerto No. 1 in F sharp minor, which also created a huge impact on the audiences in Europe.
Nevertheless, he evolved as a musician eventually and restructured his skill in 1860. His new musical incorporation was noted in the Violin Concerto No. 2 in 1862. He left Russia in 1872 and started doing an international tour. Slowly, his health began to deteriorate after 1878 and in 1880 he died.The era of romantic music is marked as from 1780 to 1910 tentatively. However, the late 18th century also witnessed the advent of impressionism. The culmination of romantic and impressionist influences can be seen in the creations of Wieniawski. Some of the eminent precursors of Wieniawski were Karol Lipiński, Henrich Wilhelm Ernst, Henri Vieuxtemps and NiccoloPaganini. The romantic urge in music in the 18th century was originality. The audience wanted to connect with the music without understanding the technical complication of a composition.
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