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NOSPR / Bleuse / Mossakowski / A concerto for a thousand pipes

Date & Time
Thu, Jan 30, 2025, 19:30
The Belgian creator, pedagogue and organ virtuoso, Joseph Jongen, describes his 1926 composition as follows: „The Symphonie c oncertante is not an organ concerto, but rather an orchestral work in which the organ is another orchestra that takes the leading role it rightly deserves. There is no thematic or rhythmic connection between the four movements of this extensive work; the focus is set on the stylistic unity of the different movements.” His friend, Eugène Ysaÿe, also pointed out the richness... Read full text

Keywords: Subscription Concert, Symphony Concert

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Musicians

Pierre BleuseConductor
NOSPR
Karol MossakowskiOrgan

Program

Symphonie concertante, Op. 81Joseph Jongen
Symphony No. 7 in D minor, Op. 70Antonín Dvořák
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Last update: Fri, Nov 22, 2024, 12:16

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NOSPR / Schumann / Zehetmair / A concert the netherworld called for

Thu, Feb 27, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
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NOSPR / Todorov / A revolutionary symphony

Sun, Apr 27, 2025, 12:00
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
Najden Todorov (Conductor), NOSPR, Tine Thing Helseth (Trumpet)
Johann Nepomuk Hummel’s career spanned two eras – those of classicism and romanticism. As a child and teenager, he studied with Joseph Haydn and Wolfgang Amadeus Mozart. Later, he befriended Ludwig van Beethoven, and later still the young Fryderyk Chopin, the Polish composer highly valuing his compositions and finding them inspirational for his own early work. Hummel’s Concerto in E-flat major for the trumpet was composed in 1803, with Anton Weidinger, a Viennese virtuoso of the instrument, in mind. Its premiere in a New Year concert in January 1804 was a celebration of the composer being appointed Konzertmeister to Nikolaus II, Prince Esterházy's estate. The soloist is accompanied by a small orchestra consisting of flutes, clarinets, oboes, horns, timpani and strings. The mood is bright, and the virtuosic parts are suggestively combined with lyrical ones.Ludwig van Beethoven’s Symphony No. 1 in C major was composed at the same time as Hummel’s work. Its premiere to place in Vienna in 1800 and the strong impression it made helped its creator reinforce his position among the city’s musicians. Commentators pointed out the work’s innovativeness, which lay in surprising key changes, strong and unexpected rhythmical accents, as well as an increased autonomy of woodwind instruments. Paradoxically, later researchers preferred to emphasise the fact that this early work of Beethoven’s still features, quite naturally for a rather young composer, significant influence of Haydn’s and Mozart’s oeuvres. The truth lies in the middle – this is a work in which achievements of previous generations were creatively transformed by a progressively oriented composer.Oskar ŁapetaConcert duration: approximately 70 minutes
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NOSPR / Alsop / Requiem as a tribute

Thu, Mar 27, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
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NOSPR / Alsop / Season finale. A Titan

Thu, Jun 26, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
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NOSPR / Vanoosten / Traubel / A manifesto of longing. „Eternal Songs"

Fri, Mar 7, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
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NOSPR / Zagrosek / Mahler’s happiest symphony

Thu, Apr 10, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
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Piazzolla for eight cellos

Thu, Jan 9, 2025, 19:30
Narodowej Orkiestry Symfonicznej Polskiego Radia, Chamber Hall (Katowice)
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NOSPR / Runtz / In the Mediterranean sun

Sun, Oct 20, 2024, 12:00
Narodowej Orkiestry Symfonicznej Polskiego Radia, Concert Hall (Katowice)
Dawid Runtz (Conductor), NOSPR, Ewa Jabłczyńska (Guitar), Dariusz Kupiński (Guitar), Marcin Dylla (Guitar), Justyna Sobczak-Dylla (Guitar)
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
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