Set your preferred locations for a better search. You can sign up here.

Choral Music Concert

Date & Time
Tue, Jan 28, 2025, 19:00
Warsaw Philharmonic Choir & Bartosz Michałowski, photo: Bartek Barczyk Works in one part or more, polyphonic and polychoral, religious and secular, in Latin and in French, a cappella and with instruments… It seems impossible to create a short definition of the term ‘motet’ that would take into account all the incarnations of the genre, from the Middle Ages to the present day. The term could indicate both the composition technique, typical of this type of work, and its language or... Read full text

Keywords: Choral Music

Info & Ticket (filharmonia.pl)
Artistic depiction of the event

Musicians

Warsaw Philharmonic Choir
Bartosz MichałowskiConductor, Chorus Director

Program

Motet Jesu, meine Freude, BWV 227Johann Sebastian Bach
Motet Komm, Jesu, komm, BWV 229Johann Sebastian Bach
Motet Fürchte dich nicht, BWV 228Johann Sebastian Bach
Motet Singet dem Herrn ein neues Lied, BWV 225Johann Sebastian Bach
Motet Der Geist hilft unser Schwachheit auf, BWV 226Johann Sebastian Bach
Lobet den Herrn, alle Heiden BWV 230Johann Sebastian Bach
O Jesu Christ, meins Lebens Licht BWV 118Johann Sebastian Bach
Give feedback
Last update: Sat, Dec 7, 2024, 14:02

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event

Chamber Music Concert

Tue, Nov 26, 2024, 19:00
Filharmonia Narodowa (Warszawa)
Valentin Şerban (Violin), Sào Soulez Larivière (Viola), Tomasz Daroch (Cello), Andrzej Ciepliński (Clarinet), Gabriel Czopka (Horn), Tymoteusz Bies (Piano)
Valentin Şerban (fot. P. Andrada), Sào Soulez Larivière (fot. J. Reichardt), Tomasz Daroch (photo: Ł. Rajchert), Andrzej Ciepliński (photo: W. Grzędziński), Gabriel Czopka (photo: G. Mart), Tymoteusz Bies (photo: W. Grzędziński) An aubade is a type of love song performed – as opposed to a serenade – in the morning. George Enescu turned to this genre early in his career, in the twilight of the nineteenth century. In Enescu’s piece, three string instruments take part in delightful and lazy morning banter. Also in a mood of playfulness and life affirmation is the D major Quintet for an unusual mixture of forces, composed at the same time by the slightly older Ralph Vaughan Williams. Filled with sweet, charming melody, this work by the famous English folklore scholar was first performed in the new century and was one of the works closest to his heart. It has been several decades since the works of Ernő Dohnányi, a Hungarian immigrant condemned to long years of oblivion in his homeland, were restored to the repertoire. His first compositional achievements enthralled the ageing Johannes Brahms, and as a pianist he quickly conquered the stages of Vienna, London and Paris. His Sextet in C major, Op. 37, full of symphonic grandeur, was completed while the composer recovered from illness and first performed in 1935. Unlike his famous compatriots with folkloristic inclinations – Béla Bartók and Zoltán Kodály – whose works he promoted, Dohnányi turned to the tradition of late German romanticism in his Sextet, which also displays his characteristic humour. Event within the Romania-Poland Cultural Season 2024-2025
Info (filharmonia.pl)
Artistic depiction of the event

Chamber Music Concert

Tue, Feb 25, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Calidore String Quartet, Jeffrey Myers (Violin), Ryan Meehan (Violin), Jeremy Berry (Viola), Estelle Choi (Cello), Federico Colli (Piano)
Calidore String Quartett, photo: Marco Borgreve Franz Schubert’s biographers puzzle over why this brilliant composer, who was not fully appreciated during his lifetime, left so many incomplete scores and sketches. As in the case of his most famous unfinished work (the Symphony in B minor), it is unclear why Schubert abandoned the work he had begun in the winter of 1820 on a quartet in C minor (after all, the completed first movement promised a fine work). Happily, this was not Schubert’s last word in the genre, and the sole movement of the incomplete quartet functions today as the Quartettsatz in C minor. Thirty-five years earlier, Wolfgang Amadeus Mozart had received a commission from an enterprising Viennese publisher for a cycle of uncomplicated piano quartets, popular with amateur musicians performing at home. However, Mozart’s works stood out from similar repertoire and heralded the arrival of the great Romantic forms sometimes referred to as chamber piano concertos. One could hardly speak of amateur addressees of Robert Schumann’s Piano Quintet in E flat major, as he dedicated the work to an extremely talented pianist, his wife Clara. She was the soloist in the work’s public premiere at Leipzig’s famous Gewandhaus. The composition, which gives the pianist hardly a moment’s rest, was written at a time when the Schumanns were passionately engaged in analysing the keyboard music of Johann Sebastian Bach.
Info & Ticket (filharmonia.pl)
Artistic depiction of the event

Chamber Music Concert

Tue, Mar 4, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Vision String Quartet, Florian Willeitner (Violin), Daniel Stoll (Violin), Sander Stuart (Viola), Leonard Disselhorst (Cello)
Vision String Quartet, photo: Harald Hoffmann Accustomed to the most canonical output by avant-garde composers, we sometimes react with amazement to their youthful works, which often attest to their perfect mastery of the principles of composition with which they were about to dramatically break. Such is undoubtedly the case with Langsamer Satz, a work without opus number for string quartet by Anton Webern. According to the critics, this lyrically atmospheric work, in the spirit of late romanticism, conveys the mood of the mountain trek on which the composer supposedly fell in love with his cousin and future wife, Wilhelmina Mörtl. Enchanted by the aura of Paris, Grażyna Bacewicz returned from her second stay in the French capital having composed there her String Quartet No. 3. This work is characterised by passionate vitality and a wealth of development techniques in the outer movements and a bold departure from the tonal path in the slow movement. Before Johannes Brahms considered any of his string quartets suitable for public consumption, he apparently destroyed some 20 youthful essays in the genre. His admiration for Ludwig van Beethoven’s quartets bordered on a paralysing creative phobia. The Quartet in C minor from Op. 51, sent to his publisher after years of work and revision, turned out to be one of the most groundbreaking works in his oeuvre. Even if it does contain discernible elements of the Beethovenian spirit, Brahms managed to keep a rein on them.
Info & Ticket (filharmonia.pl)
Artistic depiction of the event

Oratorio Music Concert

Sat, Mar 29, 2025, 18:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Władysław Skoraczewski Artos Choir at the Teatr Wielki – Polish National Opera, Jan Willem de Vriend (Conductor), Dorota Szczepańska (Soprano), Jess Dandy (Alto), Laurence Kilsby (Tenor), Halvor Festervoll Melien (Bariton), Karol Kozłowski (Tenor), Karol Kozłowski (Ewangelista), Lars Johansson Brissman (Bariton), Lars Johansson Brissman (Vox Christi), Bartosz Michałowski (Director of the Warsaw Philharmonic Choir), Danuta Chmurska (Director of the Artos Choir)
Jan Willem de Vriend, photo: Emelie Schäfer In the midst of the inevitable disputes over the most important achievement in Johann Sebastian Bach’s oeuvre, the St Matthew Passion keeps cropping up. As English musician and scholar John Butt has noted, it is curious that a masterpiece whose emotional charge reaches the limit of human endurance was written in a secondary German centre as Leipzig was in the eighteenth century. Not all those attending the Good Friday Lutheran services during which the Passions were performed in the Saxon city necessarily appreciated the massive scale of Bach’s work, together with its subtle drama. Today’s reception of the Passion would probably infuriate both the Leipzig townspeople and the composer himself. It is difficult to count all its contemporary performances and recordings, let alone the attempts at scientific interpretations of the symbols hidden on various levels of the score. Numerous statements from present-day listeners echo the conviction of the timelessness of the arias, recitatives and choruses from the St Matthew Passion, which, as it turns out, appeal not only to believers, since Bach employed almost every available means of sound painting to tell a profoundly human story about the fragility of life, love, betrayal, violence and loss.
Info & Ticket (filharmonia.pl)
Artistic depiction of the event

Oratorio Music Concert

Sun, Mar 30, 2025, 18:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Władysław Skoraczewski Artos Choir at the Teatr Wielki – Polish National Opera, Jan Willem de Vriend (Conductor), Dorota Szczepańska (Soprano), Jess Dandy (Alto), Laurence Kilsby (Tenor), Halvor Festervoll Melien (Bariton), Karol Kozłowski (Tenor), Karol Kozłowski (Ewangelista), Lars Johansson Brissman (Bariton), Lars Johansson Brissman (Vox Christi), Bartosz Michałowski (Director of the Warsaw Philharmonic Choir), Danuta Chmurska (Director of the Artos Choir)
Jan Willem de Vriend, photo: Emelie Schäfer In the midst of the inevitable disputes over the most important achievement in Johann Sebastian Bach’s oeuvre, the St Matthew Passion keeps cropping up. As English musician and scholar John Butt has noted, it is curious that a masterpiece whose emotional charge reaches the limit of human endurance was written in a secondary German centre as Leipzig was in the eighteenth century. Not all those attending the Good Friday Lutheran services during which the Passions were performed in the Saxon city necessarily appreciated the massive scale of Bach’s work, together with its subtle drama. Today’s reception of the Passion would probably infuriate both the Leipzig townspeople and the composer himself. It is difficult to count all its contemporary performances and recordings, let alone the attempts at scientific interpretations of the symbols hidden on various levels of the score. Numerous statements from present-day listeners echo the conviction of the timelessness of the arias, recitatives and choruses from the St Matthew Passion, which, as it turns out, appeal not only to believers, since Bach employed almost every available means of sound painting to tell a profoundly human story about the fragility of life, love, betrayal, violence and loss.
Info & Ticket (filharmonia.pl)
Artistic depiction of the event

Chamber Music Concert

Tue, May 20, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Quintessence, Seweryn Zapłatyński (Flute), Piotr Lis (Oboe), Grzegorz Wołczański (Clarinet), Marcin Orliński (Bassoon), Daniel Otero Carneiro (Horn)
Quintessence, photo: Wojciech Grzędziński Before the Polish Composers Union commissioned Michał Spisak to write his Quintet for flute, oboe, clarinet, horn and bassoon, he had left his homeland to hone his talent under the tutelage of the famous Nadia Boulanger in Paris. Who knows to what extent the opportunity to become acquainted with French chamber music of the first decades of the twentieth century influenced the character of this piece, full of elegance, airiness and attractive – due in large part to the forces – colour? ‘No, young man, not at all like that. More rhythm. It’s a folk dance’ – that is how Edvard Grieg supposedly admonished the young Maurice Ravel as he played one of the ageing composer’s dances. Among Grieg’s numerous arrangements of native melodies, the Four Norwegian Dances, Op. 35, originally composed for two pianos and later reworked – not only by the composer – for various forces, gained great popularity. Paul Hindemith’s modernist Kammermusik cycle, the eight pieces of which are aptly described as ‘modern Brandenburg concertos’, was intended for various combinations of instruments. Drawing on the material of the first piece, Hindemith subsequently composed a smaller work for wind quintet, termed Kleine Kammermusik. György Ligeti’s cycle of six miniatures (bagatelles) for wind quintet was first performed without the last piece (dominated by the interval of a second) in Budapest in 1953 because, as the composer himself supposedly commented, ‘totalitarianism doesn’t like dissonance’.
Info & Ticket (filharmonia.pl)
Artistic depiction of the event

Chamber Music Concert

Tue, Dec 10, 2024, 19:00
Filharmonia Narodowa, Concert Hall (ground floor) (Warszawa)
Warsaw Philharmonic Chamber Orchestra, Jan Lewtak (Art Director), Marcin Świątkiewicz (Harpsichord)
Marcin Świątkiewicz, photo: Leszek Zych In the original version of Johann Sebastian Bach’s Harpsichord Concerto in D major, BWV 1054, the solo instrument was the violin. This work was likely composed in either Köthen or Leipzig, during a period when Bach was already very familiar with the works of Antonio Vivaldi and the three-movement form of the so-called Venetian concerto. The harpsichord version of the work may have been written for the famous concerts at Leipzig’s Café Zimmermann or to provide repertoire for one of his talented sons. Since the harpsichord renaissance, to which Wanda Landowska made a major contribution in the first half of the twentieth century, many new compositions for the instrument have been written. While often turning to the musical past, they sometimes also explore the capacities of contemporary models that are being built and constantly improved. Philip Glass joined the ranks of harpsichord enthusiasts at the beginning of this century, composing a concerto in which elements of Baroque texture and motifs are combined with repetitive structures and transparent harmonies, characteristic of this American minimalist. The main aim of Swedish neo-classicist Dag Wirén’s pleasant and airy Serenade Op. 11 was, as its composer wrote, to put listeners in a cheerful mood. After all, the composer’s credo, which probably also accompanied work on this piece, was ‘I believe in God, Mozart and Carl Nielsen’. Edvard Grieg’s Holberg Suite, on the other hand, is a remarkably graceful archaisation created to celebrate the bicentenary of the birth of the writer known as the father of Danish theatre. It would be hard to find a more beautiful example of a Romantic composer ‘reinventing’ the musical past.
Info (filharmonia.pl)
Artistic depiction of the event

Chamber Concert: Baroque music

Tue, Jun 18, 2024, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Ulrich Biersack (Flute), Rie Koyama (Bassoon), Ulrich Witteler (Cello), Paul Rivinius (Piano), Johannes Bogner (Harpsichord)
»Music of human breath, it creates a world of its own, conjured up by the sorcerous forces of sounds which, summoned by an imagination rich in visions, enter and pass through our earthly bodies all the way to the soul.« (Henri Sauguet) Our chamber concert offers delightful pieces for flute and bassoon: Vivaldi‘s trio sonata in A minor is a magnificent composition full of intricate sound cascades, but also of introspective moments with expansive cantilenas. The chamber trio in F major, also baroque, was composed by Friedrich Wilhelm Zachow, who lived from 1663 to 1712 and came from a Leipzig family of town pipers: the melodic roles of flute and bassoon interact intensively on the harmonic foundation of the continuo – with expressive upswings and dynamic outbursts of virtuosity. Beethoven‘s trio is a precious early work from his Bonn days – where he confided to the Kurfürst about his early preoccupation with composing, that his muse whispered: »Just try it and jot down some of your soul‘s harmonies!« The piece was probably written around 1786 as chamber music for private use – and the passionate love for the daughter of a count‘s family might have been the impetus for the lush sounds that are interspersed throughout the otherwise very concerto-like progress of the work. Finally, Weber‘s enchanting G minor trio from 1819, when the composer was ill and obviously dealt with his mental suffering with music: the highly romantic composition is thus characterised in parts by deep melancholy, in particular in the pivotal Andante, which bears the title »Shepherd's Lament« – yet it captivates the listener with a very playful character in the framing movements.
Info (www.bamberger-symphoniker.de)