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Concerts with works by
Witold Lutosławski

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Upcoming Concerts

Concerts in season 2024/25 or later where works by Witold Lutosławski is performed

February 11, 2025
Artistic depiction of the event

Polish Music Scene

Tue, Feb 11, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Piotr Sałajczyk (Piano)
Piotr Sałajczyk, photo: Karolina Sałajczyk The programme of this concert is an excellent illustration of the presence of the so-called ‘Polish tradition’ in piano music. While listening to works by two twentieth-century classics, the spirit of Chopin will discreetly come through. First to be heard will be the Piano Sonata composed by the 21-year-old Witold Lutosławski, at a time when he was fascinated by the instrumental music of Karol Szymanowski. Here, the piano reveals itself to be a source of myriad tone colours. In Szymanowski’s Masques, the piano will show itself as a narrator and portraitist. Three figures – Scheherazade, Tantris (Tristan) and Don Juan – form the literary warp of a work that is enigmatic and ambiguous in its meaning. These ‘musical masks’ will be framed by miniatures from two cycles inspired by Chopin’s music: Szymanowski’s Mazurkas and Lutosławski’s Etudes. The Polish Music Scene is a programme of music organised by the National Institute of Music and Dance in collaboration with the Warsaw Philharmonic and financed by the Ministry of Culture and National Heritage. We present Polish artists and Polish compositions – particularly works not often performed. We wish to promote the performance of Polish music, inspire musicians to turn to this repertoire and generate interest among audiences in Polish musical output as broadly understood. The programme is open to instrumentalists and singers, soloists and chamber ensembles. The programmes featuring Polish music, selected via a competition, will be performed in the Chamber Music Hall of the Warsaw Philharmonic and at other concert venues around Poland.
March 16, 2025
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Tonhalle-Orchester Zürich / Víkingur Ólafsson / Paavo Järvi

Sun, Mar 16, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Tonhalle-Orchester Zürich, Víkingur Ólafsson (Piano), Paavo Järvi (Conductor)
Since the Elbphilharmonie opened, Estonian star conductor Paavo Järvi has been one of its permanent guests, enchanting Hamburg audiences at several concerts a year. Now the conductor of the Deutsche Kammerphilharmonie Bremen again comes to the Grand Hall with his second top orchestra, the venerable Tonhalle-Orchester Zürich. They will be joined by Icelandic pianist Víkingur Ólafsson, who gave two brilliant renderings of Johann Sebastian Bach’s »Goldberg Variations« in Hamburg last season. On the programme is a new piano concerto by US composer John Adams, which was commissioned by the Elbphilharmonie among others. And the Tonhalle-Orchester Zürich tackles two of the most famous modern orchestral pieces by György Ligeti and Witold Lutosławski, who skilfully combined folk music from Hungary and Poland with a thrilling orchestral sound in the 1950s.
April 3, 2025
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NDR Elbphilharmonie Orchestra / Steven Isserlis / Elim Chan

Thu, Apr 3, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Steven Isserlis (Cello), Elim Chan (Conductor)
»I want interaction. I want people to feel something. I want them to ask questions,« explained Elim Chan in an interview. The Hong Kong-born conductor is currently one of the most sought-after musicians of her generation. The Vienna Musikverein dedicated a three-part portrait series to her in the 2022/23 season. And after Elim Chan’s debut with the Boston Symphony Orchestra in 2022, the press wrote euphorically of a »miracle of control and understanding«. In this concert, Elim Chan has a musician at her side who is one of only two living cellists to have been inducted into the Gramophone Hall of Fame and who continues to captivate audiences with his unique musicianship: Steven Isserlis. He plays Joseph Haydn’s long-lost Cello Concerto in C major, in which late Baroque solemnity is combined with the virtuosity of Viennese Classicism. The elegant lightness of the concerto conceals highly demanding passages that require a great deal of dexterity from the soloist.
April 6, 2025
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NDR Elbphilharmonie Orchestra / Steven Isserlis / Elim Chan

Sun, Apr 6, 2025, 18:30
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Steven Isserlis (Cello), Elim Chan (Conductor)
»I want interaction. I want people to feel something. I want them to ask questions,« explained Elim Chan in an interview. The Hong Kong-born conductor is currently one of the most sought-after musicians of her generation. The Vienna Musikverein dedicated a three-part portrait series to her in the 2022/23 season. And after Elim Chan’s debut with the Boston Symphony Orchestra in 2022, the press wrote euphorically of a »miracle of control and understanding«. In this concert, Elim Chan has a musician at her side who is one of only two living cellists to have been inducted into the Gramophone Hall of Fame and who continues to captivate audiences with his unique musicianship: Steven Isserlis. He plays Joseph Haydn’s long-lost Cello Concerto in C major, in which late Baroque solemnity is combined with the virtuosity of Viennese Classicism. The elegant lightness of the concerto conceals highly demanding passages that require a great deal of dexterity from the soloist.
May 13, 2025
Artistic depiction of the event

Polish Music Scene

Tue, May 13, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
FudalaRot Duo, Wojciech Fudala (Cello), Michał Rot (Piano)
FudalaRot Duo, photo: from the ensemble's archive Fryderyk Chopin composed the Grand Duo concertant in E major for cello and piano in collaboration with an acquaintance of his, the French cellist Auguste Franchomme, at the turn of 1832 and 1833. This instrumental duo, extremely popular in its day, represents the virtuoso-sentimental style brillant and is a paraphrase of themes from Giacomo Meyerbeer’s opera Robert le diable. Karol Szymanowski’s Sonata in D minor, Op. 9 for violin and piano was written in Berlin in 1904. It is regarded as one of the first works of his early creative period, in which the characteristics of his individual style were fully revealed. In contrast, Roxana’s Song, from the opera King Roger, completed 20 years later, is an ecstatic vocalisation of a distinctly oriental character. Grave for cello and piano was composed by Witold Lutosławski in 1981, in memory of musicologist Stefan Jarociński. In this piece, he used motifs from Claude Debussy’s opera Pelléas et Mélisande. Mieczyslaw Weinberg’s Sonata No. 2 in G minor, Op. 63 for cello and piano was composed in 1959 at the request of the famous Russian cellist Mstislav Rostropovich, who was a friend of the composer. This three-movement work, representing the neoclassical style, is characterised by a wealth of melodic invention and expressive means. The Polish Music Scene is a programme of music organised by the National Institute of Music and Dance in collaboration with the Warsaw Philharmonic and financed by the Ministry of Culture and National Heritage. We present Polish artists and Polish compositions – particularly works not often performed. We wish to promote the performance of Polish music, inspire musicians to turn to this repertoire and generate interest among audiences in Polish musical output as broadly understood. The programme is open to instrumentalists and singers, soloists and chamber ensembles. The programmes featuring Polish music, selected via a competition, will be performed in the Chamber Music Hall of the Warsaw Philharmonic and at other concert venues around Poland.
June 3, 2025
Artistic depiction of the event

Polish Music Scene

Tue, Jun 3, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Nemesis Quartet, Łukasz Dyczko (Soprano saxophone), Oskar Rzążewski (Alto saxophone), Karol Mastalerz (Tenor Saxophone), Wojciech Chałupka (Baritone saxophone)
Nemesis Quartet, photo: Alina Birjuk Today’s concert in the Polish Music Scene series offers a synthesis of Classical forces with Romantic and twentieth-century repertoire strongly rooted in romanticism. A small ensemble of wind instruments (Harmonie) was typical of music primarily from the eighteenth century, becoming less common in the following century with the expansion of works for string instruments or mixed forces, often with piano. Thus the nineteenth-century saxophone in a quartet line-up is a kind of link between the historical type of performance ensemble and more recent repertoire, the main thread of which consists of dances and the melodies of Polish folk songs. Alongside Chopin’s Mazurkas (de rigueur in such a concert), we will hear an early krakowiak by Zygmunt Noskowski and compositions by his most distinguished pupils: mazurkas by Karol Szymanowski and Ludomir Różycki. There will also be Szymon Laks’s Quartet No. 3, an emanation of the folk trend in neoclassicism, and a miniature by Lutosławski. A very interesting item on the programme is the virtuosic Fantasia on themes from Moniuszko’s Halka by the still too rarely performed Józef Nowakowski. This saxophone take on such diverse repertoire is certainly worth listening to! The Polish Music Scene is a programme of music organised by the National Institute of Music and Dance in collaboration with the Warsaw Philharmonic and financed by the Ministry of Culture and National Heritage. We present Polish artists and Polish compositions – particularly works not often performed. We wish to promote the performance of Polish music, inspire musicians to turn to this repertoire and generate interest among audiences in Polish musical output as broadly understood. The programme is open to instrumentalists and singers, soloists and chamber ensembles. The programmes featuring Polish music, selected via a competition, will be performed in the Chamber Music Hall of the Warsaw Philharmonic and at other concert venues around Poland.