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January 18, 2025

Symphonic Concert

Sat, Jan 18, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Paul Goodwin (Conductor), Lydia Teuscher (Soprano), Ingrida Gápová (Soprano), Benjamin Hulett (Tenor), Bartosz Michałowski (Chorus Director)

Paul Goodwin, photo: Carmel Bach Festival There are various surprising types of silence and just as many intriguing attempts to ‘soundtrack’ it. One of the earliest examples of the concert overture – a work in its own right, not preceding a larger form – Felix Mendelssohn-Bartholdy's Calm Sea and Prosperous Voyage was inspired by the poetry of Johann Wolfgang von Goethe and begins (contrary to appearances) with the negative experience of powerlessness and stillness. After all, for sailors, silence at sea means a lack of wind and a break in the voyage. Fortunately, in this colourful symphonic tale, the ending of which is betrayed by the work’s title, everything ends with a safe return to port. Three decades ago, the opposite of silence – the experience of a storm – provided the impulse for Eric Whitacre to compose Cloudburst, a composition for choir, piano and percussion that is a celebration in sound of the energy released in nature. To mark the 400th anniversary of the invention of the printing press by Johannes Gutenberg, Felix Mendelssohn-Bartholdy composed a monumental cantata for three soloists, choir, organ and orchestra, posthumously referred to as his Symphony No. 2 ‘Lobgesang’ (‘Song of Praise’). An expansive three-movement sinfonia is followed by a series of vocal and instrumental segments to texts taken from the Bible, perhaps Gutenberg’s most famous publication.

Info (filharmonia.pl)

January 17, 2025

Symphonic Concert

Fri, Jan 17, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Paul Goodwin, photo: Carmel Bach Festival There are various surprising types of silence and just as many intriguing attempts to ‘soundtrack’ it. One of the earliest examples of the concert overture – a work in its own right, not preceding a larger form – Felix Mendelssohn-Bartholdy's Calm Sea and Prosperous Voyage was inspired by the poetry of Johann Wolfgang von Goethe and begins (contrary to appearances) with the negative experience of powerlessness and stillness. After all, for sailors, silence at sea means a lack of wind and a break in the voyage. Fortunately, in this colourful symphonic tale, the ending of which is betrayed by the work’s title, everything ends with a safe return to port. Three decades ago, the opposite of silence – the experience of a storm – provided the impulse for Eric Whitacre to compose Cloudburst, a composition for choir, piano and percussion that is a celebration in sound of the energy released in nature. To mark the 400th anniversary of the invention of the printing press by Johannes Gutenberg, Felix Mendelssohn-Bartholdy composed a monumental cantata for three soloists, choir, organ and orchestra, posthumously referred to as his Symphony No. 2 ‘Lobgesang’ (‘Song of Praise’). An expansive three-movement sinfonia is followed by a series of vocal and instrumental segments to texts taken from the Bible, perhaps Gutenberg’s most famous publication.

Info (filharmonia.pl)

December 19, 2024

Concert of Christmas Carols

Thu, Dec 19, 2024, 19:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Choir, Bartosz Michałowski (Conductor), Bartosz Michałowski (Chorus Director), soloists from the Warsaw Philharmonic Choir, Urszula Bozik (Soprano), Monika Dobrzyńska-Krysiak (Soprano), Kinga Jaskowska (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

Info (filharmonia.pl)

December 17, 2024

Concert of Christmas Carols

Tue, Dec 17, 2024, 19:00

Filharmonia Narodowa, Concert Hall (Warszawa)

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

Info (filharmonia.pl)

December 14, 2024

Symphonic Concert

Sat, Dec 14, 2024, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

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.

Info (filharmonia.pl)

December 13, 2024

Symphonic Concert

Fri, Dec 13, 2024, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

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.

Info (filharmonia.pl)

November 30, 2024

Symphonic Concert

Sat, Nov 30, 2024, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Władysław Skoraczewski Artos Choir at the Teatr Wielki – Polish National Opera, Maxime Pascal (Conductor), Andrew Staples (Tenor), Judith Chemla (Reciting voice), Bartosz Michałowski (Director of the Warsaw Philharmonic Choir), Danuta Chmurska (Director of the Artos Choir)

Maxime Pascal, photo: Nieto ‘Awakening of cheerful feelings on arrival in the countryside’ – that is the title of the first movement (Allegro non troppo) of Ludwig van Beethoven’s Sixth Symphony. As we learn from letters he sent to the publisher Breitkopf & Härtel in 1808, the composer had serious doubts about whether the individual movements of the work should be given names containing such unambiguous pictorial suggestions. In the end, he not only retained them, but found it necessary to include next to the work’s title Pastoral Symphony, or Recollection of Life in the Countryside a caveat in brackets: An expression of feelings rather than painting. The composer’s joy and affirmative attitude to nature – the rustling of leaves, the murmur of streams, the singing of birds, the thunder, lightning and rain all translated into sound in this programmatic work – still leave no one indifferent today, delighting listeners with the deep connection to nature. André Gide’s poetic play Perséphone, written in the spirit of French Parnassianism, is based on a theme taken from Homer’s Hymn to Demeter. The Nobel Prize-winning text caught the attention of the famous dancer Ida Rubinstein, who asked Igor Stravinsky to write music to it. Out of the planned ‘symphonic ballet’ arose a genre combining dance, mime, singing and recitation in an orchestral setting. It was premiered without much fanfare on the stage of the Paris Opera on 30 April 1934. Many years later, Stravinsky's melodrama attracted the interest of many choreographers, including Frederick Ashton, George Balanchine, Janine Charrat, Martha Graham, and in 2012 Peter Sellars directed this production at the Teatro Real in Madrid. Today, this work is not infrequently performed in a concert version, which the Warsaw Philharmonic ensembles, with renowned artists and the Artos children’s choir, will present on our stage for the first time. Judith Chemla will perform the part of Persephone in Stravinsky's piece, replacing Marina Hands.

Info (filharmonia.pl)

November 29, 2024

Symphonic Concert

Fri, Nov 29, 2024, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Maxime Pascal, photo: Nieto ‘Awakening of cheerful feelings on arrival in the countryside’ – that is the title of the first movement (Allegro non troppo) of Ludwig van Beethoven’s Sixth Symphony. As we learn from letters he sent to the publisher Breitkopf & Härtel in 1808, the composer had serious doubts about whether the individual movements of the work should be given names containing such unambiguous pictorial suggestions. In the end, he not only retained them, but found it necessary to include next to the work’s title Pastoral Symphony, or Recollection of Life in the Countryside a caveat in brackets: An expression of feelings rather than painting. The composer’s joy and affirmative attitude to nature – the rustling of leaves, the murmur of streams, the singing of birds, the thunder, lightning and rain all translated into sound in this programmatic work – still leave no one indifferent today, delighting listeners with the deep connection to nature. André Gide’s poetic play Perséphone, written in the spirit of French Parnassianism, is based on a theme taken from Homer’s Hymn to Demeter. The Nobel Prize-winning text caught the attention of the famous dancer Ida Rubinstein, who asked Igor Stravinsky to write music to it. Out of the planned ‘symphonic ballet’ arose a genre combining dance, mime, singing and recitation in an orchestral setting. It was premiered without much fanfare on the stage of the Paris Opera on 30 April 1934. Many years later, Stravinsky's melodrama attracted the interest of many choreographers, including Frederick Ashton, George Balanchine, Janine Charrat, Martha Graham, and in 2012 Peter Sellars directed this production at the Teatro Real in Madrid. Today, this work is not infrequently performed in a concert version, which the Warsaw Philharmonic ensembles, with renowned artists and the Artos children’s choir, will present on our stage for the first time. Judith Chemla will perform the part of Persephone in Stravinsky's piece, replacing Marina Hands.

Info (filharmonia.pl)

Symphonic Concert

Sat, Nov 30, 2024, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Maxime Pascal, photo: Nieto ‘Awakening of cheerful feelings on arrival in the countryside’ – that is the title of the first movement (Allegro non troppo) of Ludwig van Beethoven’s Sixth Symphony. As we learn from letters he sent to the publisher Breitkopf & Härtel in 1808, the composer had serious doubts about whether the individual movements of the work should be given names containing such unambiguous pictorial suggestions. In the end, he not only retained them, but found it necessary to include next to the work’s title Pastoral Symphony, or Recollection of Life in the Countryside a caveat in brackets: An expression of feelings rather than painting. The composer’s joy and affirmative attitude to nature – the rustling of leaves, the murmur of streams, the singing of birds, the thunder, lightning and rain all translated into sound in this programmatic work – still leave no one indifferent today, delighting listeners with the deep connection to nature. André Gide’s poetic play Perséphone, written in the spirit of French Parnassianism, is based on a theme taken from Homer’s Hymn to Demeter. The Nobel Prize-winning text caught the attention of the famous dancer Ida Rubinstein, who asked Igor Stravinsky to write music to it. Out of the planned ‘symphonic ballet’ arose a genre combining dance, mime, singing and recitation in an orchestral setting. It was premiered without much fanfare on the stage of the Paris Opera on 30 April 1934. Many years later, Stravinsky's melodrama attracted the interest of many choreographers, including Frederick Ashton, George Balanchine, Janine Charrat, Martha Graham, and in 2012 Peter Sellars directed this production at the Teatro Real in Madrid. Today, this work is not infrequently performed in a concert version, which the Warsaw Philharmonic ensembles, with renowned artists and the Artos children’s choir, will present on our stage for the first time. Judith Chemla will perform the part of Persephone in Stravinsky's piece, replacing Marina Hands.

Info (filharmonia.pl)