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Classical concerts featuring
Piotr Sałajczyk

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Upcoming Concerts

Concerts featuring Piotr Sałajczyk in season 2024/25 or later

February 11, 2025
Artistic depiction of the event

Polish Music Scene

Tue, Feb 11, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Piotr Sałajczyk (Piano)
Piotr Sałajczyk, photo: Karolina Sałajczyk The programme of this concert is an excellent illustration of the presence of the so-called ‘Polish tradition’ in piano music. While listening to works by two twentieth-century classics, the spirit of Chopin will discreetly come through. First to be heard will be the Piano Sonata composed by the 21-year-old Witold Lutosławski, at a time when he was fascinated by the instrumental music of Karol Szymanowski. Here, the piano reveals itself to be a source of myriad tone colours. In Szymanowski’s Masques, the piano will show itself as a narrator and portraitist. Three figures – Scheherazade, Tantris (Tristan) and Don Juan – form the literary warp of a work that is enigmatic and ambiguous in its meaning. These ‘musical masks’ will be framed by miniatures from two cycles inspired by Chopin’s music: Szymanowski’s Mazurkas and Lutosławski’s Etudes. 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.
April 3, 2025
Artistic depiction of the event

Music as light as a feather

Thu, Apr 3, 2025, 19:30
Maciej Tomasiewicz (Conductor), Łukasz Zimnik (Flute), Karolina Stalmachowska (Oboe), Bartosz Pacan (Clarinet), Krzysztof Fiedukiewicz (Bassoon), Krzysztof Tomczyk (French horn), Tomasz Hajda (Trombone), Piotr Nowak (Trumpet), Michał Żymełka (Drums), Rafał Zambrzycki (Violin), Aleksander Daszkiewicz (Violin), Maria Shetty (Viola), Adam Krzeszowiec (Cello), Krzysztof Firlus (Double bass), Piotr Sałajczyk (Piano), Konrad Merta (Accordion)
Paul Hindemith is among the most underrated artists of the 20th century. Anyone who listens to his Kammermusik, op. 24 no. 1, a genuinely sparkling with ideas and light as a feather piece of music, will come to this conclusion. This architect of the cornerstone of historical performance and founding father of the famous Donaueschingen Contemporary Music Festival embodied the dominant ideals of the New Objectivity in German art of the 1920s, namely simplicity of means and communicativeness, in his Chamber Music series. It is a peculiar variety of neo-classicism, unjustly overshadowed by French or Russian music. The third movement in Kammermusik (op. 36 no. 3) is essentially a chamber cello concerto with explicit references to Baroque music. It is not without reason, after all, that this entire series has been compared to Bach's Brandenburg Concertos. Surprisingly similar in its spirit tone, although referring to the classical form and not devoid of stronger emotional accents, is the Sinfonietta of the then-only 18-year-old Benjamin Britten, already heralding his extraordinary talent. Adam SuprynowiczConcert duration: approximately 70 minutes