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Warsaw Philharmonic Orchestra

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Gustav Mahler

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January 31, 2025

Symphonic Concert

Fri, Jan 31, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Jacek Kaspszyk (Conductor), Michael Nagy (Bariton)

Michael Nagy, photo: Gisela Schenker Biographers of Gustav Mahler have vied with one another to produce increasingly daring readings of his work through the prism of events in the composer’s life. A rewarding object for comparative analysis is his youthful four-movement cycle Lieder eines fahrenden Gesellen, originally composed for voice and piano. Full of paradoxes, darkness and fantasy, these songs to the composer’s own words impose autobiographical associations from the very title of the work. In it, Mahler reveals himself to be an insatiable romantic wanderer – a tragic witness to his beloved’s wedding. The work Der Ring ohne Worte does not appear in the catalogue of Richard Wagner’s oeuvre. Although the title may evoke associations with Romantic piano miniatures (songs without words), it is an extensive symphonic ‘synopsis’ of Der Ring des Nibelungen, written by American conductor Lorin Maazel, who died a decade ago. His ambitious aim was to condense the instrumental music from each movement of the great Wagnerian cycle in the right proportions and in such a way as to avoid adding bridges or modulations and to preserve the chronology of events. The result was a work lasting 70 minutes uninterrupted, which begins with the prelude to Das Rheingold and ends with the final notes of Götterdämmerung.

Info & Ticket (filharmonia.pl)

February 1, 2025

Symphonic Concert

Sat, Feb 1, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Jacek Kaspszyk (Conductor), Michael Nagy (Bariton)

Michael Nagy, photo: Gisela Schenker Biographers of Gustav Mahler have vied with one another to produce increasingly daring readings of his work through the prism of events in the composer’s life. A rewarding object for comparative analysis is his youthful four-movement cycle Lieder eines fahrenden Gesellen, originally composed for voice and piano. Full of paradoxes, darkness and fantasy, these songs to the composer’s own words impose autobiographical associations from the very title of the work. In it, Mahler reveals himself to be an insatiable romantic wanderer – a tragic witness to his beloved’s wedding. The work Der Ring ohne Worte does not appear in the catalogue of Richard Wagner’s oeuvre. Although the title may evoke associations with Romantic piano miniatures (songs without words), it is an extensive symphonic ‘synopsis’ of Der Ring des Nibelungen, written by American conductor Lorin Maazel, who died a decade ago. His ambitious aim was to condense the instrumental music from each movement of the great Wagnerian cycle in the right proportions and in such a way as to avoid adding bridges or modulations and to preserve the chronology of events. The result was a work lasting 70 minutes uninterrupted, which begins with the prelude to Das Rheingold and ends with the final notes of Götterdämmerung.

Info & Ticket (filharmonia.pl)

May 23, 2025

Symphonic Concert

Fri, May 23, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

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!

Info & Ticket (filharmonia.pl)

May 24, 2025

Symphonic Concert

Sat, May 24, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

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!

Info & Ticket (filharmonia.pl)

Symphonic Concert

Michael Nagy, photo: Gisela Schenker Biographers of Gustav Mahler have vied with one another to produce increasingly daring readings of his work through the prism of events in the composer’s life. A rewarding object for comparative analysis is his youthful four-movement cycle Lieder eines fahrenden Gesellen, originally composed for voice and piano. Full of paradoxes, darkness and fantasy, these songs to the composer’s own words impose autobiographical associations from the very title of the work. In it, Mahler reveals himself to be an insatiable romantic wanderer – a tragic witness to his beloved’s wedding. The work Der Ring ohne Worte does not appear in the catalogue of Richard Wagner’s oeuvre. Although the title may evoke associations with Romantic piano miniatures (songs without words), it is an extensive symphonic ‘synopsis’ of Der Ring des Nibelungen, written by American conductor Lorin Maazel, who died a decade ago. His ambitious aim was to condense the instrumental music from each movement of the great Wagnerian cycle in the right proportions and in such a way as to avoid adding bridges or modulations and to preserve the chronology of events. The result was a work lasting 70 minutes uninterrupted, which begins with the prelude to Das Rheingold and ends with the final notes of Götterdämmerung.

Symphonic Concert

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!

Symphonic Concert