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Łukasz Frant

2hits in season
2024/25 or later 4hits in
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January 29, 2025

Memoirs of a Geisha and other gems of cinematography

Wed, Jan 29, 2025, 19:30

Narodowej Orkiestry Symfonicznej Polskiego Radia, Chamber Hall (Katowice)

Katarzyna Jawor (Violin), Karolina Szefer-Trocha (Violin), Dawid Jadamus (Viola), Łukasz Frant (Cello), Joanna Galon-Frant (Piano)

This is the essence of chamber musicianship – we play what we like. We play for pleasure - our own and that of our listeners. The idea of chamber music is summarised in the Italian term da camera, which means playing for a chamber, a room, or a small hall. It denotes semi-private, intimate music. It is lovely when such a mood is carried into the concert hall. Today, there is an opportunity to do so because we love the tunes we already know, and there are plenty of them here. Most listeners will recognise Sting's Roxanne, Satie's Gnosienne or Barber's Adagio. Exactly like in the programme Name That Tune, after two sounds, we will already know what's coming next. Concert hall goers, on the other hand, will once again be seduced by gripping Schubert's Andante or Arvo Pärt's Fratres. Lovers of cinematic melodramas will get a handful of John Williams tunes, while refined musical gourmets will get Glass's Mishima, Vasks' Meditation and Schnittke's waltz. Not a single note goes to waste here! Adam Suprynowicz

Info (nospr.org.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)

January 9, 2025

Piazzolla for eight cellos

Thu, Jan 9, 2025, 19:30

Narodowej Orkiestry Symfonicznej Polskiego Radia, Chamber Hall (Katowice)

Łukasz Frant (Cello), Adam Krzeszowiec (Cello), Natalia Kurzac-Kotula (Cello), Karolina Nowak-Waloszczyk (Cello), Roman Hałoń (Cello), Bogusław Zaremba (Cello), Magdalena Czech (Cello), Anna Tumidajska (Cello), Norbert Pióro (Cello), Michał Hałoń (Cello), Alicja Szydłowska (Cello), Wiktoria Zorychta (Cello), Anna Krzeszowiec (Piano)

That many cellos? Whoever heard of such a thing? And yet, the repertoire for cello ensembles continues to grow. It is not only about elaborations but also brand new songs because bands are still being formed, and they must have something to play. Where did this come from? If one were to look back in the history of music, an association with viola consorts comes to mind. In the Renaissance and Baroque periods, this was the name given to ensembles of related instruments of different sizes and scales, which evolved into the violins, violas, cellos and double basses we know today so well. However, music for ensembles of violins or violas alone exists today in marginal quantities. At the same time, cello groups are flourishing! In this way, cellists make up for themselves years of existence in the shadow of violinists. Their instrument has an extensive scale, which is very friendly to our ears and similar to the human voice. The sound of the cello has a warm and dark, deep tone. Its singing impresses us. The singing of five, six, or eight cellos is already a real choir, especially when they are NOSPR cellos ... Adam Suprynowicz Concert duration: approximately 90 minutes

Info (nospr.org.pl)

December 12, 2024

Stars of the Polish avant-garde / Penderecki, Górecki, Panufnik

Thu, Dec 12, 2024, 19:30

Narodowej Orkiestry Symfonicznej Polskiego Radia, Chamber Hall (Katowice)

Aleksander Daszkiewicz (Violin), Beata Ogryzek (Violin), Nikola Frankiewicz (Violin), Katarzyna Jawor (Violin), Maria Strzelczyk (Violin), Krzysztof Katana (Violin), Dawid Jadamus (Viola), Maria Shetty (Viola), Adam Brakowski (Viola), Łukasz Frant (Cello), Michał Hałoń (Cello), Krzysztof Firlus (Double bass)

Krzysztof Penderecki and Henryk Mikołaj Górecki, stars of the avant-garde 'Polish school' in the 1960s, turned to the classical music tradition in the following decade. The compositions present in the concert programme, however, do not involve this evolution of styles – they are simply stylisations. Górecki's Three Pieces is a masterwork response to the then head of the PWM Edition, Tadeusz Ochlewski's accusation that avant-garde composers cannot write melodies. Penderecki's suite is made up of compositions for two films: Passacagliato the Sigismund Chapel, directed by Zbigniew Bochenek (1968) and The Saragossa Manuscript by Wojciech Jerzy Has (1964). Andrzej Panufnik's Arbor Cosmica was born out of a love for trees. The composer viewed them as the embodiment of aesthetic notions of beauty, harmony, strength and order. How eco-friendly and up-to-date it sounds! Adam Suprynowicz Concert duration: approximately 100 minutes

Info (nospr.org.pl)