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Concert of Christmas Carols

Date & Time
Thu, Dec 19, 2024, 19:00
Concert of Christmas Carols at the Warsaw Philharmonic, photo: DELUGA.art Although carols have become a fixture in the musical landscape of winter, we still know little about the origins of music-making over the Christmas period. Numerous internet sources give the oldest mention of carols as being a supposed directive issued by Telesphorus, bishop of Rome, in 129 AD specifying the performance of a ‘Hymn of the Angels’ during a festive mass. Some commentators have even gone so far as to... Read full text

Keywords: Choral Music, Vocal Music, online streaming

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Last update: Wed, Dec 18, 2024, 11:31

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Concert of Christmas Carols

Tue, Dec 17, 2024, 19:00
Warsaw Philharmonic Choir, Bartosz Michałowski (Conductor), Bartosz Michałowski (Chorus Director), soloists from the Warsaw Philharmonic Choir, Urszula Bozik (Soprano), Monika Dobrzyńska-Krysiak (Soprano), Justyna Jedynak-Obłoza (Soprano), Michalina Kraska (Soprano), Anastazja Marusiak (Soprano), Ewelina Siedlecka-Kosińska (Soprano), Samitra Suwannarit (Soprano), Ewa Wołoszkiewicz (Soprano), Martyna Jankowska (Alto), Zuzanna Kozłowska (Alto), Aleksandra Pawluczuk (Alto), Paweł Kucharczyk (Tenor), Roman Perucki (Organ)
Concert of Christmas Carols at the Warsaw Philharmonic, photo: DELUGA.art Although carols have become a fixture in the musical landscape of winter, we still know little about the origins of music-making over the Christmas period. Numerous internet sources give the oldest mention of carols as being a supposed directive issued by Telesphorus, bishop of Rome, in 129 AD specifying the performance of a ‘Hymn of the Angels’ during a festive mass. Some commentators have even gone so far as to mention the title of the carol which Pope Telesphorus had in mind, overlooking the fact that Christmas services have only been held in the Roman Church since the fourth century, while the song they cite is usually dated to the eighteenth (not the second) century. Although a final answer seems unlikely, the search for the oldest carol continues, attesting to the role which the subject of Christmas has played down the centuries – both in official liturgical songs and in music-making in the home. As every year, this will be evoked for listeners by the Warsaw Philharmonic Choir. During the traditional Christmas concerts, the choir – often accompanied by soloist and instrumentalists – will perform a programme comprising carols old and new, from home and abroad. The repertoire of the December concerts alters slightly each year and offers a unique glance at the wealth of music linked to one of the most important Christian feasts. Bartłomiej Gembicki
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Christmas concert: "Fantasia on Christmas Carols"

Sun, Dec 22, 2024, 20:00
This year, the traditional Advent concert on the fourth Sunday of Advent will enchant you with an absolute highlight in one of Berlin's most beautiful churches: the Magaliesberg Children's Choir South Africa will support the Junge Chor of the Deutsche Oper Berlin and the Kammersymphonie Berlin at the annual musical festival for the whole family. Take a moment to pause and reflect, away from the Christmas hustle and bustle. Let yourself be inspired by the puristic motto of the English composer Ralph Vaughan Williams, who collected old southern English folk songs for his 1912 work ‘Fantasia on Christmas Carols’: ‘The most beautiful occupation is that with the human voice and some of the best melodies in the world.’ Listen to works by Michael Praetorius, George Frederic Handel, Benjamin Britten, Ralph Vaughan Williams, Sir David Valentine Willcocks and others. Experience a wonderful prelude to Christmas in the Apostel-Paulus-Kirche in Berlin.
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Closing Concert in the 2024/2025 Season

Sat, Jun 14, 2025, 18:00
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Krzysztof Urbański (Conductor), Sophia Brommer (Soprano), Sophie Harmsen (Mezzo-Soprano), Martin Platz (Tenor), Andrew Moore (Bass-Bariton), Bartosz Michałowski (Chorus Director)
Krzysztof Urbański, photo: Marco Borggreve Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.
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Sat, Apr 26, 2025, 18:00
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Anna Sułkowska-Migoń (Conductor), Andrzej Ciepliński (Clarinet), Bartosz Michałowski (Chorus Director)
Anna Sułkowska-Migoń, photo: Joanna Gałuszka The contemplative nature of much of Ralph Vaughan Williams’s work is said to stem from his love of poetry. After his teacher introduced him to the visionary work of Walt Whitman, the collection Leaves of Grass became the composer’s ‘constant companion’ and the inspiration for Toward the Unknown Region, a song for choir and orchestra first performed in Leeds in 1907. One critic at the time hailed Williams as the leading British composer of the new generation. Futurist poetry, meanwhile, would suit the character of Carl Nielsen’s Clarinet Concerto. This work reveals the complex nature of the instrument, which, according to the composer, ‘can be at the same time warm-hearted and completely hysterical, as mild as balsam, and screaming like a tram-car on poorly-greased rails’. Having befriended the members of the Copenhagen Brass Quintet, he wished to compose a musical portrait for each of them, in the form of a solo concerto. Perhaps it was the broad phrases of Felix Mendelssohn-Bartholdy’s symphonic writing that led observers to associate many of his works with the landscapes of the countries he visited. His Symphony No. 3 in A minor, for example, supposedly evokes the dense fog-shrouded mountain landscapes of Scotland, which the composer visited in 1829. Yet the composer himself did not refer to such inspirations after completing the long journey of several years to completing this work, which received its Scottish nickname from well-meaning listeners.
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Symphonic Concert

Sat, May 24, 2025, 18:00
Warsaw Philharmonic Orchestra, Christoph König (Conductor)
Christoph König, photo: Christian Wind Who doesn’t like riddles? The history of music is full of them. Suffice it to mention mediaeval and Renaissance canons or Baroque rhetorical figures hidden on various levels of a score. There are also musical-philosophical puzzles for which there is no simple solution. Perhaps this kind of test was what Gustav Mahler had in mind when he wrote in a letter to an Austrian writer and musicologist: ‘My Sixth will pose riddles that only a generation that has absorbed and digested my first five symphonies may hope to solve’. Seemingly classical, in four movements, it is a monumental symphony in every respect. Written for the largest ensemble of the composer’s purely instrumental works, the Symphony No. 6 in A minor demands huge commitment from the performers and conductor, but does not spare the listener in any respect either. We do not find here too many of the catchy melodies familiar from Mahler’s previous works. There is another unsolved riddle associated with this work, concerning the order in which the movements should be played. Originally, the gloomy first movement was to be followed by the frenzied Scherzo and then the melancholic Andante moderato. However, the score published on the basis of the version from the first performance had the two inner movements switched by the composer. It was only after Mahler’s death that his wife Alma pointed out that the original order was correct!
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Symphonic Concert

Sat, Dec 14, 2024, 18:00
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Łukasz Borowicz (Conductor), Emanuel Ax (Piano), Bartosz Michałowski (Chorus Director)
Łukasz Borowicz, photo: Ksawery Zamoyski As he stated years ago, Emanuel Ax prefers concerts to competitions. Although he took part in numerous piano competitions in his youth, he decided to consistently refuse to serve on competition juries, as he was terrified of having to eliminate participants. He comes from a Jewish family with Polish roots. He was born in Lviv, and attended his first music school on Miodowa Street in Warsaw, before continuing his studies at the famous Juilliard School in New York. He has received multiple Grammy awards, including alongside Isaac Stern and Yo-Yo Ma. He returns to Warsaw with Ludwig van Beethoven’s last, monumental and groundbreaking Piano Concerto. This work earned the nickname ‘Emperor’ in unclear circumstances, but – in the words of Donald Francis Tovey – to the composer’s ‘profound if posthumous disgust’. The Piano Concerto No. 5 in E flat major was written in 1809, at a difficult time of conflict between Austria and France, and occupied a special place in Beethoven’s oeuvre; commentators have discerned in the work not only a truly imperial character, but also an apotheosis of musical military symbolism. Almost a century later, Franz Schreker’s Schwanensang for mixed choir and orchestra to words by the librettist and poet Dora Leen, who died in Auschwitz, was premiered in Vienna. And in 1911 Grzegorz Fitelberg presented Warsaw audiences with ‘a work, the like of which had never been written by any Pole’, as its author Karol Szymanowski modestly said of his Symphony No. 2 – the pinnacle achievement of his youth.
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Christmas Concert

Fri, Dec 20, 2024, 19:30
Warsaw Philharmonic Orchestra, Benjamin Bayl (Conductor), Elsa Benoit (Soprano)
Elsa Benoit, photo: James Bellorini Christmas motifs have been written into numerous pages of Western classical music, and not only on the occasion of the festivities that open the carnival season. In the second movement of George Frideric Handel’s Concerto a due cori, one can easily recognise an excerpt of the joyful, punctuated rhythm of the chorus Lift up your heads from the Messiah’s second movement, which tells the story of the life, death and resurrection of Christ. Johann Sebastian Bach, fulfilling the demands of the Protestant liturgical calendar by the sweat of his brow, wrote many works for the Christmas season. In so doing, he also drew inspiration from Italian musicians, including the composer of the famous ‘Christmas Eve’ Concerto Grosso in G minor, Arcangelo Corelli. Bach’s showstopping solo cantata Jauchzet Gott in allen Landen suited a variety of festive occasions due to its universal, laudatory text. Its virtuosic coloratura parts require soprano and trumpet soloists of the highest calibre. Christmas themes can also be found in the text of the Credo. One of the most beautiful passages in Wolfgang Amadeus Mozart’s Mass in C minor – not without reason referred to as the ‘Great’ – is the expansive, mellifluous aria ‘Et incarnatus est’ from the Credo. Mozart wrote it with his vocally gifted wife Constanze in mind, just as years before he had penned the showstopping motet ‘Exsultate, jubilate’ for the famous Italian soprano Venanzio Rauzzini.
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Christmas Concert

Sat, Dec 21, 2024, 18:00
Warsaw Philharmonic Orchestra, Benjamin Bayl (Conductor), Elsa Benoit (Soprano)
Elsa Benoit, photo: James Bellorini Christmas motifs have been written into numerous pages of Western classical music, and not only on the occasion of the festivities that open the carnival season. In the second movement of George Frideric Handel’s Concerto a due cori, one can easily recognise an excerpt from the first part of The Messiah, devoted to the Old Testament announcements of Christ’s coming. Johann Sebastian Bach, fulfilling the demands of the Protestant liturgical calendar by the sweat of his brow, wrote many works for the Christmas season. In so doing, he also drew inspiration from Italian musicians, including the composer of the famous ‘Christmas Eve’ Concerto Grosso in G minor, Arcangelo Corelli. Bach’s showstopping solo cantata Jauchzet Gott in allen Landen suited a variety of festive occasions due to its universal, laudatory text. Its virtuosic coloratura parts require soprano and trumpet soloists of the highest calibre. Christmas themes can also be found in the text of the Credo. One of the most beautiful passages in Wolfgang Amadeus Mozart’s Mass in C minor – not without reason referred to as the ‘Great’ – is the expansive, mellifluous aria ‘Et incarnatus est’ from the Credo. Mozart wrote it with his vocally gifted wife Constanze in mind, just as years before he had penned the showstopping motet ‘Exsultate, jubilate’ for the famous Italian soprano Venanzio Rauzzini.
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Festive Christmas Concert

Sun, Dec 22, 2024, 19:00
Laeiszhalle, Großer Saal (Hamburg)
Hamburger Konzertchor, Giuseppe Verdi Chor Hamburg, Mädchenchor Hamburg, HansePhilharmonie Hamburg, Sophie-Magdalena Reuter (Soprano), Julia Baier-Tarasova (Mezzo-Soprano), Adam Sanchez (Tenor), Mike Steurenthaler (Conductor)
Four choirs come togeather in this festive Christmas concert with the HansePhilharmonie Hamburg. Under the baton of Mike Steurenthaler, they perform a programme that is as festive as it is contemplative in the Laeiszhalle Grand Hall.