Classical concerts featuring
Warsaw Philharmonic Orchestra

Overview

Quick overview of orchestra Warsaw Philharmonic Orchestra by associated keywords

Upcoming Concerts

Concerts featuring Warsaw Philharmonic Orchestra in season 2024/25 or later

In a few days

In Warszawa

Symphonic Concert

Fri, Mar 14, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Matthew Halls (Conductor)

Mathew Halls, photo: Benjamin Ealovega The final bar of Jean Sibelius’s Symphony No. 7 in C major has been compared by conductor Colin Davis to the closing of a coffin lid. Although the great Finn still had more than 30 years to live after it was written, it is one of his last completed works. The unusual one-movement form of the work, which was originally to be titled ‘Fantasia Sinfonica’, has become an interpretative challenge for critics and analysts. While unanimously describing the work as revolutionary, scholars have differed in the justifications for their judgement. Benjamin Britten’s dark opera Peter Grimes, which tells the story of a fisherman suspected of murdering a young journeyman, contains highly successful orchestral interludes which, in a slightly altered order and with minor alterations, were successfully published separately as Four Sea Interludes shortly after the opera’s premiere in 1945. They consist of ‘Dawn’, an illustration of a calm sea, ‘Sunday Morning’, with the sound of tolling church bells imitated by horn, the majestic nocturne ‘Moonlight’ and the deathly terrifying ‘Tempest’. Ludwig van Beethoven’s Eighth Symphony was received less warmly than the Seventh, because, as the offended composer was to comment, ‘the Eighth is better’. Beethoven undoubtedly put more work into it than into its predecessor, as the surviving sketches testify. Performed for the first time under the baton of its increasingly hard-of-hearing composer in Vienna in 1814, it was not dedicated to anyone, perhaps due to its cool reception.

Info & Ticket (filharmonia.pl)

This week

In Warszawa

Symphonic Concert

Sat, Mar 15, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Matthew Halls (Conductor)

Mathew Halls, photo: Benjamin Ealovega The final bar of Jean Sibelius’s Symphony No. 7 in C major has been compared by conductor Colin Davis to the closing of a coffin lid. Although the great Finn still had more than 30 years to live after it was written, it is one of his last completed works. The unusual one-movement form of the work, which was originally to be titled ‘Fantasia Sinfonica’, has become an interpretative challenge for critics and analysts. While unanimously describing the work as revolutionary, scholars have differed in the justifications for their judgement. Benjamin Britten’s dark opera Peter Grimes, which tells the story of a fisherman suspected of murdering a young journeyman, contains highly successful orchestral interludes which, in a slightly altered order and with minor alterations, were successfully published separately as Four Sea Interludes shortly after the opera’s premiere in 1945. They consist of ‘Dawn’, an illustration of a calm sea, ‘Sunday Morning’, with the sound of tolling church bells imitated by horn, the majestic nocturne ‘Moonlight’ and the deathly terrifying ‘Tempest’. Ludwig van Beethoven’s Eighth Symphony was received less warmly than the Seventh, because, as the offended composer was to comment, ‘the Eighth is better’. Beethoven undoubtedly put more work into it than into its predecessor, as the surviving sketches testify. Performed for the first time under the baton of its increasingly hard-of-hearing composer in Vienna in 1814, it was not dedicated to anyone, perhaps due to its cool reception.

Info & Ticket (filharmonia.pl)

Next week

In Warszawa

Symphonic Concert

Fri, Mar 21, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Przemysław Neumann (Conductor), Nemanja Radulović (Violin)

Nemanja Radulović, photo: Sever Zolak If one examines Serbian violinist Nemanja Radulović’s stage performances and recordings, one may gain the impression that he is a modern-day incarnation of the virtuosos of old, who were sometimes suspected of conniving with the powers of hell. After all, one of the ensembles founded by Radulović bears the provocative name Les trilles du diable (‘the devil’s trills’), referring to the famous sonata by Giuseppe Tartini. Radulović has been playing violin since the age of seven and was admitted to the Paris Conservatoire aged 14. He has recorded for major record companies and given concerts in famous halls and open-air venues associated not only with the world of classical music. In Warsaw, he will be performing as the soloist in Aram Khachaturian’s Violin Concerto in D minor. Premiered in 1940, this lengthy work is full of references to the traditional music of the Caucasus, which had inspired the composer since his childhood. A perfect introduction to the Serbian virtuoso’s performance will be Rolf Liebermann’s Furioso. This frenetic composition, which combines the form of an Italian overture with twelve-tone technique and ostinato, was presented with great success in the mid-twentieth century in Darmstadt – a Mecca for avant-garde artists. The concert will conclude with Witold Maliszewski’s Symphony No. 3 in C minor, which refers to classical models. Particularly noteworthy is the colourful instrumentation of the third movement, based on the form of a theme with variations.

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Next week

In Warszawa

Symphonic Concert

Sat, Mar 22, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Przemysław Neumann (Conductor), Nemanja Radulović (Violin)

Nemanja Radulović, photo: Sever Zolak If one examines Serbian violinist Nemanja Radulović’s stage performances and recordings, one may gain the impression that he is a modern-day incarnation of the virtuosos of old, who were sometimes suspected of conniving with the powers of hell. After all, one of the ensembles founded by Radulović bears the provocative name Les trilles du diable (‘the devil’s trills’), referring to the famous sonata by Giuseppe Tartini. Radulović has been playing violin since the age of seven and was admitted to the Paris Conservatoire aged 14. He has recorded for major record companies and given concerts in famous halls and open-air venues associated not only with the world of classical music. In Warsaw, he will be performing as the soloist in Aram Khachaturian’s Violin Concerto in D minor. Premiered in 1940, this lengthy work is full of references to the traditional music of the Caucasus, which had inspired the composer since his childhood. A perfect introduction to the Serbian virtuoso’s performance will be Rolf Liebermann’s Furioso. This frenetic composition, which combines the form of an Italian overture with twelve-tone technique and ostinato, was presented with great success in the mid-twentieth century in Darmstadt – a Mecca for avant-garde artists. The concert will conclude with Witold Maliszewski’s Symphony No. 3 in C minor, which refers to classical models. Particularly noteworthy is the colourful instrumentation of the third movement, based on the form of a theme with variations.

Info & Ticket (filharmonia.pl)

This month

In Warszawa

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 (Contralto), Laurence Kilsby (Tenor), Halvor Festervoll Melien (Bariton), Karol Kozłowski (Tenor), Karol Kozłowski (Ewangelista), Lars Johansson Brissman (Bariton), Lars Johansson Brissman (Jezus), 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)

This month

In Warszawa

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)

Next month

In Warszawa

Symphonic Concert

Fri, Apr 4, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Jacek Brzoznowski (Conductor)

Jacek Brzoznowski, photo: opera.poznan.pl Due to reasons beyond the Warsaw Philharmonic, there has been a change of conductor for the subscription concerts on 4 and 5 April 2025. Instead of Antonello Manacorda, the Warsaw Philharmonic Orchestra will be conducted by Jacek Brzoznowski, who is acting as Assistant Conductor for the current season. The programme of the concerts remains unchanged. Beethoven seems to have ‘commissioned’ his Symphony No. 1 in C major from himself. The ambition to tackle a form that the Romantic aesthetic revolution would soon be treating as a laboratory for absolute music would have suited the Viennese Classic’s character. The increasingly prominent 30-year-old composer dedicated the completed work, on which he worked meticulously for many years, to Gottfried van Swieten, the protector of Joseph Haydn and Wolfgang Amadeus Mozart. It was the achievements of those composers, kindly disposed towards the young Beethoven, with whose output he would hardly have dared to vie at the time, that served as the starting point for his supremely successful debut symphony. The Symphony No. 1 by the twentieth-century classic Dmitry Shostakovich was his diploma piece in the composition class of the Leningrad Conservatory, from which he graduated at the age of 19. Characterised by the composer’s typical play of edgy motifs, march-like rhythms and clear textures, this work soon ventured beyond the university walls, bringing its young composer international acclaim. Subsequent anniversaries of the symphony’s first performance at the Leningrad Philharmonic in 1926 were later celebrated by Shostakovich for the rest of his life, while that famous institution, remembering the premieres of his other works, later repaid the favour by adopting Shostakovich as its patron.

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Symphonic Concert

Sat, Apr 5, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Jacek Brzoznowski (Conductor)

Jacek Brzoznowski, photo: opera.poznan.pl Due to reasons beyond the Warsaw Philharmonic, there has been a change of conductor for the subscription concerts on 4 and 5 April 2025. Instead of Antonello Manacorda, the Warsaw Philharmonic Orchestra will be conducted by Jacek Brzoznowski, who is acting as Assistant Conductor for the current season. The programme of the concerts remains unchanged. Beethoven seems to have ‘commissioned’ his Symphony No. 1 in C major from himself. The ambition to tackle a form that the Romantic aesthetic revolution would soon be treating as a laboratory for absolute music would have suited the Viennese Classic’s character. The increasingly prominent 30-year-old composer dedicated the completed work, on which he worked meticulously for many years, to Gottfried van Swieten, the protector of Joseph Haydn and Wolfgang Amadeus Mozart. It was the achievements of those composers, kindly disposed towards the young Beethoven, with whose output he would hardly have dared to vie at the time, that served as the starting point for his supremely successful debut symphony. The Symphony No. 1 by the twentieth-century classic Dmitry Shostakovich was his diploma piece in the composition class of the Leningrad Conservatory, from which he graduated at the age of 19. Characterised by the composer’s typical play of edgy motifs, march-like rhythms and clear textures, this work soon ventured beyond the university walls, bringing its young composer international acclaim. Subsequent anniversaries of the symphony’s first performance at the Leningrad Philharmonic in 1926 were later celebrated by Shostakovich for the rest of his life, while that famous institution, remembering the premieres of his other works, later repaid the favour by adopting Shostakovich as its patron.

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Symphonic Concert

Fri, Apr 25, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Anna Sułkowska-Migoń (Conductor), Andrzej Ciepliński (Clarinet), Bartosz Michałowski (Chorus Director)

Anna Sułkowska-Migoń, photo: Joanna Gałuszka The contemplative nature of much of Ralph Vaughan Williams’s work is said to stem from his love of poetry. After his teacher introduced him to the visionary work of Walt Whitman, the collection Leaves of Grass became the composer’s ‘constant companion’ and the inspiration for Toward the Unknown Region, a song for choir and orchestra first performed in Leeds in 1907. One critic at the time hailed Williams as the leading British composer of the new generation. Futurist poetry, meanwhile, would suit the character of Carl Nielsen’s Clarinet Concerto. This work reveals the complex nature of the instrument, which, according to the composer, ‘can be at the same time warm-hearted and completely hysterical, as mild as balsam, and screaming like a tram-car on poorly-greased rails’. Having befriended the members of the Copenhagen Brass Quintet, he wished to compose a musical portrait for each of them, in the form of a solo concerto. Perhaps it was the broad phrases of Felix Mendelssohn-Bartholdy’s symphonic writing that led observers to associate many of his works with the landscapes of the countries he visited. His Symphony No. 3 in A minor, for example, supposedly evokes the dense fog-shrouded mountain landscapes of Scotland, which the composer visited in 1829. Yet the composer himself did not refer to such inspirations after completing the long journey of several years to completing this work, which received its Scottish nickname from well-meaning listeners.

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Symphonic Concert

Sat, Apr 26, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Anna Sułkowska-Migoń (Conductor), Andrzej Ciepliński (Clarinet), Bartosz Michałowski (Chorus Director)

Anna Sułkowska-Migoń, photo: Joanna Gałuszka The contemplative nature of much of Ralph Vaughan Williams’s work is said to stem from his love of poetry. After his teacher introduced him to the visionary work of Walt Whitman, the collection Leaves of Grass became the composer’s ‘constant companion’ and the inspiration for Toward the Unknown Region, a song for choir and orchestra first performed in Leeds in 1907. One critic at the time hailed Williams as the leading British composer of the new generation. Futurist poetry, meanwhile, would suit the character of Carl Nielsen’s Clarinet Concerto. This work reveals the complex nature of the instrument, which, according to the composer, ‘can be at the same time warm-hearted and completely hysterical, as mild as balsam, and screaming like a tram-car on poorly-greased rails’. Having befriended the members of the Copenhagen Brass Quintet, he wished to compose a musical portrait for each of them, in the form of a solo concerto. Perhaps it was the broad phrases of Felix Mendelssohn-Bartholdy’s symphonic writing that led observers to associate many of his works with the landscapes of the countries he visited. His Symphony No. 3 in A minor, for example, supposedly evokes the dense fog-shrouded mountain landscapes of Scotland, which the composer visited in 1829. Yet the composer himself did not refer to such inspirations after completing the long journey of several years to completing this work, which received its Scottish nickname from well-meaning listeners.

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Magic Powder

Sun, Apr 27, 2025, 11:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Jacek Brzoznowski (Conductor), Adrianna Furmanik-Celejewska (Presenter)

Abracadabra, hocus-pocus, hey presto, bam! FeNek knows lots of musical spells with which he can conjure up rhythms and melodies, as well as instruments. What is that magic? What does an orchestra sprinkled with a good fairy’s magic dust sound like? To find out, come to the concert at the Warsaw Philharmonic and bring a hand-made wand with you. Who knows what you’ll be able to conjure up? Bring to the concert… a hand-made wand

Info & Ticket (filharmonia.pl)

Next month

In Warszawa

Magic Powder

Sun, Apr 27, 2025, 14:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Jacek Brzoznowski (Conductor), Adrianna Furmanik-Celejewska (Presenter)

Abracadabra, hocus-pocus, hey presto, bam! FeNek knows lots of musical spells with which he can conjure up rhythms and melodies, as well as instruments. What is that magic? What does an orchestra sprinkled with a good fairy’s magic dust sound like? To find out, come to the concert at the Warsaw Philharmonic and bring a hand-made wand with you. Who knows what you’ll be able to conjure up? Bring to the concert… a hand-made wand

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Concert of Film Music: Korngold in Hollywood

Fri, May 9, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Rumon Gamba (Conductor), Johan Dalene (Violin)

Johan Dalene, photo: Marco Borggreve Erich Wolfgang Korngold was a child prodigy whose talent enchanted Gustav Mahler and Richard Strauss. He staged his most famous opera at the age of 23, pursued a career as a conductor shortly afterwards and then became, still at a very young age, a lecturer at the Staatsakademie für Musik in Vienna. Nothing foreshadowed his great turn to film, which – bored by the silent image – decided to speak with an audible voice. A few years before the outbreak of the Second World War, Korngold moved to the US, and he eventually took American citizenship. He became permanently associated with Hollywood, setting the mould for later film music composers. At the same time, he remained faithful to the style of the composers whom he had captivated in his early career. Korngold wrote music for many films, including The Adventures of Robin Hood (1938) and Kings Row (1941), twice receiving an Oscar. However, he did not abandon the classical forms and contexts of symphonic music. In 1945 he completed his Violin Concerto, with Jascha Heifetz performing the solo part. It is undoubtedly one of the most ‘cinematic’ of instrumental concertos, be it only because the composer took numerous themes from his film scores.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Concert of Film Music: Korngold in Hollywood

Sat, May 10, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Rumon Gamba (Conductor), Johan Dalene (Violin)

Johan Dalene, photo: Marco Borggreve Erich Wolfgang Korngold was a child prodigy whose talent enchanted Gustav Mahler and Richard Strauss. He staged his most famous opera at the age of 23, pursued a career as a conductor shortly afterwards and then became, still at a very young age, a lecturer at the Staatsakademie für Musik in Vienna. Nothing foreshadowed his great turn to film, which – bored by the silent image – decided to speak with an audible voice. A few years before the outbreak of the Second World War, Korngold moved to the US, and he eventually took American citizenship. He became permanently associated with Hollywood, setting the mould for later film music composers. At the same time, he remained faithful to the style of the composers whom he had captivated in his early career. Korngold wrote music for many films, including The Adventures of Robin Hood (1938) and Kings Row (1941), twice receiving an Oscar. However, he did not abandon the classical forms and contexts of symphonic music. In 1945 he completed his Violin Concerto, with Jascha Heifetz performing the solo part. It is undoubtedly one of the most ‘cinematic’ of instrumental concertos, be it only because the composer took numerous themes from his film scores.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Symphonic Concert

Fri, May 16, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Niklas Willén (Conductor), Marianna Bednarska (Marimba)

Marianna Bednarska, photo: Venera Red / Kolberg Percussion When a writer commissions a composer to write music for a play, they must expect that the latter’s name will be henceforth associated with the title of the work. Just as it would be difficult to name from memory the authors of the words to all our favourite operatic arias, in the case of the drama Peer Gynt, many of us first think of Edvard Grieg, the composer of the brilliant music, rather than the playwright Henrik Ibsen. Over time, Grieg divided selected fragments of his music for the play into two suites that migrated out into the wide world, successfully detaching themselves from their theatrical original. Exercises, studies and passages are, on the one hand, the bane of most musicians and, on the other, useful practice. Overheard by American composer Kevin Puts as he passed an auditorium, the simple harmonic progressions used by a pianist to play himself in may have influenced the shape of his warm-sounding Concerto for Marimba and Orchestra, written towards the end of the last century. Jean Sibelius’s Symphony No. 1, written a century earlier, stems from the tradition of Romantic programme music, although the composer himself denied that it was accompanied by extra-musical content. Somewhat in spite of the composer’s claims, researchers have arrived at the work’s precisely thought-out (though ultimately abandoned) programme, to be titled Musical Dialogue, drawing on such inspirations as poetry by Heine and probably also a Shakespeare play.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Symphonic Concert

Sat, May 17, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Niklas Willén (Conductor), Marianna Bednarska (Marimba)

Marianna Bednarska, photo: Venera Red / Kolberg Percussion When a writer commissions a composer to write music for a play, they must expect that the latter’s name will be henceforth associated with the title of the work. Just as it would be difficult to name from memory the authors of the words to all our favourite operatic arias, in the case of the drama Peer Gynt, many of us first think of Edvard Grieg, the composer of the brilliant music, rather than the playwright Henrik Ibsen. Over time, Grieg divided selected fragments of his music for the play into two suites that migrated out into the wide world, successfully detaching themselves from their theatrical original. Exercises, studies and passages are, on the one hand, the bane of most musicians and, on the other, useful practice. Overheard by American composer Kevin Puts as he passed an auditorium, the simple harmonic progressions used by a pianist to play himself in may have influenced the shape of his warm-sounding Concerto for Marimba and Orchestra, written towards the end of the last century. Jean Sibelius’s Symphony No. 1, written a century earlier, stems from the tradition of Romantic programme music, although the composer himself denied that it was accompanied by extra-musical content. Somewhat in spite of the composer’s claims, researchers have arrived at the work’s precisely thought-out (though ultimately abandoned) programme, to be titled Musical Dialogue, drawing on such inspirations as poetry by Heine and probably also a Shakespeare play.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

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)

This season

In Warszawa

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)

This season

In Warszawa

Symphonic Concert

Fri, May 30, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Juanjo Mena (Conductor), Piotr Anderszewski (Piano), Bartosz Michałowski (Chorus Director)

Piotr Anderszewski, photo: Simon Fowler / Warner Classics 150th Anniversary of the Birth of Maurice Ravel Maurice Ravel’s ballet Daphnis et Chloé was already hailed as a masterpiece on the day of its premiere. Commissioned by the famous Ballets Russes, it gained popularity mainly in the form of two orchestral suites. In this Suite, the references to ancient Greece, from which the ballet’s libretto derives, are subtle and impressionistic, thanks principally to the composer’s masterful handling of the orchestra. Ravel brings out the gamut of colouristic possibilities in Daphnis et Chloé, enriching the orchestra with the most beautiful and natural sound of the human voice. Łukasz Kaczmarowski

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Symphonic Concert

Sat, May 31, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Juanjo Mena (Conductor), Piotr Anderszewski (Piano), Bartosz Michałowski (Chorus Director)

Piotr Anderszewski, photo: Simon Fowler / Warner Classics 150th Anniversary of the Birth of Maurice Ravel Maurice Ravel’s ballet Daphnis et Chloé was already hailed as a masterpiece on the day of its premiere. Commissioned by the famous Ballets Russes, it gained popularity mainly in the form of two orchestral suites. In this Suite, the references to ancient Greece, from which the ballet’s libretto derives, are subtle and impressionistic, thanks principally to the composer’s masterful handling of the orchestra. Ravel brings out the gamut of colouristic possibilities in Daphnis et Chloé, enriching the orchestra with the most beautiful and natural sound of the human voice. Łukasz Kaczmarowski

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Symphonic Concert by the Graduates of the Fryderyk Chopin University of Music

Fri, Jun 6, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Julia Kurzydlak (Conductor), Julia Kurzydlak (Pedagog prowadzący: dr hab. Rafał Janiak), Julia Kurzydlak (Prof. UMFC), Małgorzata Cegielska (Flute), Małgorzata Cegielska (Pedagog prowadzący: ad. dr Maria Peradzyńska)

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This season

In Warszawa

Closing Concert in the 2024/2025 Season

Fri, Jun 13, 2025, 19:30

Filharmonia Narodowa, Concert Hall (Warszawa)

Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Krzysztof Urbański (Conductor), Sophia Brommer (Soprano), Sophie Harmsen (Mezzo-Soprano), Martin Platz (Tenor), Andrew Moore (Bass-Bariton), Bartosz Michałowski (Chorus Director)

Krzysztof Urbański, photo: Grzesiek Mart Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.

Info & Ticket (filharmonia.pl)

This season

In Warszawa

Closing Concert in the 2024/2025 Season

Sat, Jun 14, 2025, 18:00

Filharmonia Narodowa, Concert Hall (Warszawa)

Krzysztof Urbański, photo: Grzesiek Mart Ludwig van Beethoven was regarded as a revolutionary (but also an eccentric) in his time, while for subsequent generations he became the epitome of the Classical (and, for many, of what was finest in music). The turbulent reception history of his monumental Symphony No. 9 in D minor proves that the significance of a work is never defined once and for all. It has fascinated not only musicians and listeners with different tastes, but also representatives of different political options and adherents of extreme ideologies. Along the way, it has encountered both nationalism and hope-giving universalism. Today, one of the themes of the Symphony’s finale, considered by some of Beethoven’s contemporaries to be a sign of extravagance, is one of the most recognisable melodies in Western musical culture and is known as the anthem of the European Union.

Info & Ticket (filharmonia.pl)

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