Keywords: Subscription Concert, Symphony Concert
| Paavo Järvi | Conductor |
| Janine Jansen | Violin |
| Violin concerto in D major op. 61 | Ludwig van Beethoven |
| Symphony No. 4 in C minor D 417 ›Tragische‹ | Franz Schubert |
These events are similar in terms of concept, place, musicians or the program.
The (co)creators of the works to be presented in this concert share an American connection. Bach’s Passacaglia and Fugue in C minor, written for the organ, was arranged for an orchestra by the exquisite conductor Leopold Stokowski, who spent most of his life in the United States, leading such ensembles as the famous Philadelphia Orchestra. In 1940, it was with them that he recorded the soundtrack for Walt Disney’s Fantasia, which has since become a legend, having prepared the symphonic version of the famous Toccata and Fugue in D minor for this purpose in particular (he was awarded an honorary Oscar for his achievements). Allegedly – due to the similarity of their surnames – he was often mistaken with Zygmunt Stojowski, who left Europe for the States at the beginning of the 20th century and remained there until his death in 1946. On the other side of the pond, the latter was chair of the piano department at the New York Institute of Musical Art, also teaching at the Von Ende School of Music. The Violin Concerto in G minor, Op. 22, is an early composition of his, created at the end of the 19th century. Unusually expressive, it is imbued with the Romantic spirit, its violin part glimmering with brilliant virtuosity. Henryk Wars – known in the States as Henry Vars – is predominantly recognised in his homeland as a pioneer of Polish jazz, composer of film music, and author of such smash hits as Miłość ci wszystko wybaczy, Umówiłem się z nią na dziewiątą and Zimny drań. His outstanding symphonic pieces were only discovered in the late 1990s. Among those, there was the exquisite Symphony No. 1 (1949), which blends the late-Romantic sense of drama, flawless instrumentation and a cinematic scope.Agnieszka Nowok-ZychConcert duration (intermission included): approximately 90 minutes
If Dvořák, Kisielewski and Britten could meet – would they find a common language? Certainly so, only that would be neither Czech, nor Polish, nor English, but the language of humour and classical proportions.The Carnival Overture is its composer’s declaration of faith in the vital power of ethnic music. Remarkably, it is the central part of the “Nature – Life – Love” trilogy. Dvořák did not approach folk themes with a scholarly studiosity. Instead, seeking inspiration in their rhythms and melodies, he created an exuberant vision of his homeland’s folklore. The Slavic pulse in Dvořák’s work was so strong that it forced its way into scores, even when, having crossed the Atlantic, the composer decided to write national music for the Americans – this might be the reason why the Symphony No. 9 “From the New World” seems to resonate with Prague nostalgia more than with echoes of the prairies. Humour is probably the most important aesthetic value in music composed by the erudite, author and politician, Stefan Kisielewski. Similarly to Dvořák, while drawing from ethnic traditions, the Polish composer also carefully listened to town life: both the sounds of its fairs and its everyday rhythm. The Fun-Fair, self-identifying in its subtitle as a single-act ballet with prologue, paints a sonic cityscape within a neoclassical framework.Benjamin Britten’s works also show an unshakable faith in the power of musical tradition. There is no dearth of tributes to the Englishman’s excellent predecessors in his oeuvre, one of the most beautiful testimonies to his faith in the heritage of British culture being The Young Person’s Guide to the Orchestra. The piece is a cycle of variations on a very short theme from Abdelazer by the Baroque master Henry Purcell. The promise made in the title of the work is fulfilled in a pedantic presentation of each section of the orchestra and every family of instruments. The whole is intricate enough to have proven worthy of a prologue to one of Wes Anderson’s films (Moonrise Kingdom, 2012).Krzysztof SiwońConcert duration: approximately 60 minutes
With song, he delved into the abyss, To the bottom of the world’s beginning– Kalevala, ed. Elias Lönnrot Edvard Grieg and Jean Sibelius are not only prominent representatives of late Romanticism, but also captivating storytellers and guides among the myths and tales of the Northern nations. In their works, legends emerging from the darkness of the past are painted with vivid colours and become filled with a modern emotionality. Slightly older of the two, Edvard Grieg, born to a family of Scottish descent in the Norwegian town of Bergen, studied in Germany and maintained contacts with numerous Danish artists. His Suite in Olden Style “From Holberg’s Time” is also one of Danish origin – the piece was commissioned to celebrate Ludvig Holberg’s, a writer dubbed “Molier of the North”, birth anniversary. The work balances between free stylistic inspiration and a tribute to Baroque forms. Nevertheless, in music written to scenes from Henrik Ibsen’s Peer Gynt, the wigged key yields to distinct emotions enchanted in the music.The first of two suites contains some of the most suggestive themes in Romanticism, with which Grieg awakens mountain monsters, trolls and kobolds within the orchestra (In the Hall of the Mountain King) and evokes Arabic and African motives, very popular at the time. (Anitra’s Dance, Morning). The Lemminkäinen Suite is a piece inspired by the Kalevala, a Finnish epic built from a compilation of folk songs of the North. Thanks to Sibelius’ imagination, the fantastical, dense and gripping poetic narrative is transformed into a nearly impressionist fresco, the death of a mythical trifler becoming just as moving as the dramatic fates of characters in Thomas Mann’s novels.Krzysztof SiwońConcert duration: approximately 70 minutes
Music by the Czech composer Bohuslav Martinů is not appreciated enough today, though in the last century his oeuvre – particularly the 1940s New York period – was artistically celebrated. The dynamic and rapid 1945 scherzo for orchestra Thunderbolt P-47 H. 309 is a good case in point – rooted in the convention of a symphonic poem, it satisfies all the requirements of program music and leaves no doubt as to extramusical contexts. It is difficult not to hear the roar of American fighter aircraft, heralding the Allies’ victory.The master’s neoclassical style was taken up by one of his Moravian compatriots, whom Martinů met in New York in 1947: Jan Novák. Fascinated by his mentor’s clear message and musical discipline, in mid-1950s Novák wrote the Philharomonic Dances, in which he paid tribute to the composing techniques he learned in America and focused on the colour of the sound and formal clarity of the piece. Nevertheless, the Moravian line of composers subscribing to the program idea of composing and clear musical narration was born earlier. One of its leading representatives was Leoš Janáček, extremely well versed in Moravian folk music. His first mature work – the 1891 Lachian Dances – is a postromantic study of Moravian folklore. The Ancient Dance it begins with is based on the region’s endemic melodies, while the Blacksmith provides a sonic description of a blacksmith’s craft. Full of humour, the suite from the 1921 three-act opera The Cunning Little Vixen is, in turn, an expression of the composer’s adoration for nature, broadly understood. Maria Wilczek-KrupaConcert duration: approximately 70 minutes
It is not often that we can encounter Balkan folklore in such a spectacular form. Jakov Gotovac’s style is that of late romanticism, but he approaches folk tradition with love. This is why the Serbian kolo can be heard as early as in the first, truculent, chord of the 1927 Symphonic Dance poem. A similar flame is what characterizes the extreme movements of the Concierto andaluz for four guitars and orchestra by Joaquin Rodrigo, although the heart of this piece beats to the rhythm of the Spanish bolero. The dance is not a fast one, but it is pugnacious and lively. The central Adagio brings to mind images of the South – those who know Andalusia will hear the smell of olive groves and see the azure waves reflecting the Mediterranean sun. That was how the blind marqués de los Jardines de Aranjuez heard his fatherland in 1967.It is also under the Spanish sky that the finale of the symphonic evening, contained within the sounds of the ballet suite from Jules Massenet’s grand opera Le Cid, will take place. Seventeenth-century France was impressed by Pierre Corneille’s play about the medieval Castilian knight – similar success was achieved 200 years later by Massenet’s piece based on it (after the 1885 premiere, the opera was performed for 50 consecutive evenings. It was from Corneille and Massenet that the French took the famous and apt phrase: “beautiful like The Cid”.Maria Wilczek-KrupaConcert duration: approximately 70 minutes
Although the organ is traditionally associated with sacred music and grand concerts, it can also be a fascinating complement to less typical chamber settings. The untypical combinations in this year’s organ concert series provide unique sounds and new, unexpected combinations. The result? We become more open to new interpretational possibilities and free experimenting. True to its "geographical" name, the alpine horn was often used in the Alps as a shepherd's instrument, its sound echoing through mountain valleys, serving both as a means of communication and in folk music. Hence the presence of such pieces as the traditional melody In den Alpen in the programme. This will be completed by the pastoral compositions by Leopold Mozart and Anton Zimmermann, Arcangelo Corelli’s baroque concerto arranged by Francesco Di Lernia, and contemporary compositions by Arvo Pärt and Giovanni D’Aquila. This diverse repertoire will take listeners on a journey across eras and musical styles, towards discoveries of new, surprising sounds. Alexandra KozowiczConcert duration: approximately 80 minutes
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