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Polish Music Scene

Tue, Jan 21, 2025, 19:00

Filharmonia Narodowa, Chamber Music Hall (Warszawa)

Réversion Ensemble, Izabela Kozak (Violin), Gabriela Kubarska (Violin), Szymon Stochniol (Viola), Monika Hartmann (Cello)

Réversion Ensemble, photo: Karolina Sałajczyk Polish composers first became interested in the string quartet genre in the late eighteenth century. We were not pioneers in the field. Western Europe had already been enjoying chamber music for thirty years; on Polish soil, meanwhile, salon music was yet to become popular. At that time, the heart of musical Europe was beating in Vienna and German cities, so whoever wanted to keep up with the masters had to turn their eyes and ears to the West. Polish composers also flocked to the musical centre of Europe. As is evident from the chamber music of composers of the first half of the nineteenth century – Józef Elsner, Franciszek Lessel, Karol Kurpiński and Stanisław Moniuszko – this was a period not of slavish imitation, but of active and creative dialogue with the latest musical achievements. Agnieszka Topolska 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.

Info (filharmonia.pl)

January 14, 2025

Polish Music Scene

Tue, Jan 14, 2025, 19:00

Filharmonia Narodowa, Chamber Music Hall (Warszawa)

Metropolis Piano Quartet, Sulamita Ślubowska (Violin), Dawid Jadamus (Viola), Łukasz Frant (Cello), Joanna Galon-Frant (Piano)

Metropolis Piano Quartet, photo: Grzesiek Mart These three realisations of the piano quartet, a rare genre in chamber music, by Polish composers – Józef Deszczyński (Quartet for Piano, Violin, Viola and Cello, Op. 39, published in 1828), Zygmunt Noskowski (Piano Quartet, Op. 8, 1876) and Aleksander Tansman (Suite-divertissement, 1929) – have in common not only the fact that they were forgotten works for most of the twentieth century, but also that when they returned to the repertoire in the new century, they proved a revelation for critics and audiences. Despite their different times of composition and purpose (Deszczyński's Quartet was written as a salon piece, while the works by Noskowski and Tansman were to be performed in the concert hall), all three works are characterised by an excellent mastery of form and technique. They were written by composers who were all accomplished instrumentalists, as is evident from their masterful handling of the difficult piano and string textures. Finally, all three composers encoded a message of Polishness in their quartets: Deszczyński by introducing a polonaise, Noskowski with a krakowiak, Tansman by evoking the echo of a native lullaby. Magdalena Dziadek 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.

Info (filharmonia.pl)

November 12, 2024

Polish Music Scene

Tue, Nov 12, 2024, 19:00

Filharmonia Narodowa, Chamber Music Hall (Warszawa)

Paweł Gusnar (Saxophon), Krzysztof Herdzin (Piano)

Krzysztof Herdzin (photo: Kuba Majerczyk), Paweł Gusnar (photo: Artist's archive) Jazz and film. It was here that Komeda’s talent manifested itself most fully. The pianist’s compositions thrilled audiences in his own performances (in concerts and films) and over the decades established the canon of Polish jazz. It is worth remembering their context: it is in his music for the cinema that we find the source of the characteristic narrative quality of Komeda’s music. The lullabies – from the films Two Men and a Wardrobe and Rosemary’s Baby – show his compositional path from an early Polanski study to a Hollywood hit. Interesting are the themes linked to lyrics, be they an original part of the song (‘Before the Day Rises’) or a later addition (‘Without Tomorrow You Can’t Live’ and ‘It’s Not Bad’ from Goodbye, Till Tomorrow, as well as the ‘Grey Carol’ from the theatre music for Breakfast at Tiffany’s). Even the masterpieces from the Astigmatic album have cinematic roots: ‘Kattorna’ and ‘Svantetic’, the main theme and a developed motif from Cats. Finally, ‘Ballad for Bernt’, a wistful motif beautifully fused with the Masurian scenes in Knife in the Water. As a jazz theme, it works equally well. Mariusz Gradowski 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.

Info (filharmonia.pl)

Polish Music Scene

Tue, Jan 21, 2025, 19:00

Filharmonia Narodowa, Chamber Music Hall (Warszawa)

Réversion Ensemble, photo: Karolina Sałajczyk Polish composers first became interested in the string quartet genre in the late eighteenth century. We were not pioneers in the field. Western Europe had already been enjoying chamber music for thirty years; on Polish soil, meanwhile, salon music was yet to become popular. At that time, the heart of musical Europe was beating in Vienna and German cities, so whoever wanted to keep up with the masters had to turn their eyes and ears to the West. Polish composers also flocked to the musical centre of Europe. As is evident from the chamber music of composers of the first half of the nineteenth century – Józef Elsner, Franciszek Lessel, Karol Kurpiński and Stanisław Moniuszko – this was a period not of slavish imitation, but of active and creative dialogue with the latest musical achievements. Agnieszka Topolska 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.

Polish Music Scene

Tue, Jan 14, 2025, 19:00

Filharmonia Narodowa, Chamber Music Hall (Warszawa)

Metropolis Piano Quartet, photo: Grzesiek Mart These three realisations of the piano quartet, a rare genre in chamber music, by Polish composers – Józef Deszczyński (Quartet for Piano, Violin, Viola and Cello, Op. 39, published in 1828), Zygmunt Noskowski (Piano Quartet, Op. 8, 1876) and Aleksander Tansman (Suite-divertissement, 1929) – have in common not only the fact that they were forgotten works for most of the twentieth century, but also that when they returned to the repertoire in the new century, they proved a revelation for critics and audiences. Despite their different times of composition and purpose (Deszczyński's Quartet was written as a salon piece, while the works by Noskowski and Tansman were to be performed in the concert hall), all three works are characterised by an excellent mastery of form and technique. They were written by composers who were all accomplished instrumentalists, as is evident from their masterful handling of the difficult piano and string textures. Finally, all three composers encoded a message of Polishness in their quartets: Deszczyński by introducing a polonaise, Noskowski with a krakowiak, Tansman by evoking the echo of a native lullaby. Magdalena Dziadek 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.

Polish Music Scene

Tue, Nov 12, 2024, 19:00

Filharmonia Narodowa, Chamber Music Hall (Warszawa)

Krzysztof Herdzin (photo: Kuba Majerczyk), Paweł Gusnar (photo: Artist's archive) Jazz and film. It was here that Komeda’s talent manifested itself most fully. The pianist’s compositions thrilled audiences in his own performances (in concerts and films) and over the decades established the canon of Polish jazz. It is worth remembering their context: it is in his music for the cinema that we find the source of the characteristic narrative quality of Komeda’s music. The lullabies – from the films Two Men and a Wardrobe and Rosemary’s Baby – show his compositional path from an early Polanski study to a Hollywood hit. Interesting are the themes linked to lyrics, be they an original part of the song (‘Before the Day Rises’) or a later addition (‘Without Tomorrow You Can’t Live’ and ‘It’s Not Bad’ from Goodbye, Till Tomorrow, as well as the ‘Grey Carol’ from the theatre music for Breakfast at Tiffany’s). Even the masterpieces from the Astigmatic album have cinematic roots: ‘Kattorna’ and ‘Svantetic’, the main theme and a developed motif from Cats. Finally, ‘Ballad for Bernt’, a wistful motif beautifully fused with the Masurian scenes in Knife in the Water. As a jazz theme, it works equally well. Mariusz Gradowski 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.