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Johann Sebastian Bach

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January 28, 2025

Choral Music Concert

Tue, Jan 28, 2025, 19:00

Filharmonia Narodowa, Concert Hall (ground floor) (Warszawa)

Warsaw Philharmonic Choir, Bartosz Michałowski (Conductor), Bartosz Michałowski (Chorus Director)

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 function. It is also not easy to ascertain how many motets Johann Sebastian Bach wrote, not just because we do not know the exact number of his lost works, but also because of the ambiguous generic classification of his surviving legacy, with a chronology that is difficult to establish. They include at least seven works (mostly a due cori and without obbligato instrument parts) with a German text, which are numbered 225 to 230 and 1164 in Wolfgang Schmieder’s catalogue. They follow the tradition of seventeenth-century Protestant motets to biblical words and religious poetry. In Bach’s time, they were mostly performed at funerals – circumstances that did not (generally) allow for pomp and for following new fashions. They could also serve as didactic pieces. The motet Singet dem Herrn ein neues Lied, still sung after Bach’s death in St Thomas’s in Leipzig (to the delight of Wolfgang Amadeus Mozart), for example, could have been used to work with Bach’s pupils.

Info & Ticket (filharmonia.pl)

March 29, 2025

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)

March 30, 2025

Oratorio Music Concert

Sun, Mar 30, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

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)

Choral Music Concert

Tue, Jan 28, 2025, 19:00

Filharmonia Narodowa, Concert Hall (ground floor) (Warszawa)

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 function. It is also not easy to ascertain how many motets Johann Sebastian Bach wrote, not just because we do not know the exact number of his lost works, but also because of the ambiguous generic classification of his surviving legacy, with a chronology that is difficult to establish. They include at least seven works (mostly a due cori and without obbligato instrument parts) with a German text, which are numbered 225 to 230 and 1164 in Wolfgang Schmieder’s catalogue. They follow the tradition of seventeenth-century Protestant motets to biblical words and religious poetry. In Bach’s time, they were mostly performed at funerals – circumstances that did not (generally) allow for pomp and for following new fashions. They could also serve as didactic pieces. The motet Singet dem Herrn ein neues Lied, still sung after Bach’s death in St Thomas’s in Leipzig (to the delight of Wolfgang Amadeus Mozart), for example, could have been used to work with Bach’s pupils.

Oratorio Music Concert

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.

Oratorio Music Concert