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Classical Concerts at
Filharmonia Narodowa

Overview

Quick overview of Filharmonia Narodowa by associated keywords

Concert FeaturesAt Filharmonia Narodowa

Symphony Concert
Genre
Symphony Concert
50
Feature
Children and Family
34
Vocal Music
Genre
Vocal Music
32
Feature
Afternoon Concert
17
Feature
Morning Concert
17

ProgramFrequently performed

Johann Strauss II
Works by
Johann Strauss II
30
Johann Sebastian Bach
Works by
Johann Sebastian Bach
27
Ludwig van Beethoven
Works by
Ludwig van Beethoven
12
Antonio Vivaldi
Works by
Antonio Vivaldi
9
Works by
Krzysztof Komeda-Trzciński
9

OrchestrasFrequently performs

Orchestra
Warsaw Philharmonic Orchestra
54

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Upcoming Concerts

Concerts at Filharmonia Narodowa in season 2024/25 or later

January 24, 2025
Artistic depiction of the event

Symphonic Concert

Fri, Jan 24, 2025, 19:30
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Marzena Diakun (Conductor), Alban Gerhardt (Cello)
Marzena Diakun, photo: Marco Borggreve Knowing the day or year when a work was composed is the dream of many biographers. Antonín Dvořák was so magnanimous as to record for posterity on the score of his Cello Concerto in B minor not only the date, but also the time (11.30 a.m.) of the work’s completion. Alongside this rather original dating (from the composer’s time in America), there is also an acknowledgement to the Creator. Enthusiasm and gratitude deserted Dvořák, however, when he learned of the death of Josefína Čermáková – his former unrequited love and later sister-in-law. On that occasion, he decided to completely change the ending of the work, adding a coda in the form of a musical epitaph for the deceased actress. In the second movement, written during Josefína’s illness, he quoted his song ‘Kéž duch můj sám’ (‘Leave me alone’), which she particularly loved. As if in keeping with the spirit of the age, unrequited affection lay at the heart of one of the most famous programme symphonies of the Romantic era. The unfulfilled, obsessive passion held by Hector Berlioz towards the English-Irish actress Harriet Smithson permeates the literary and musical content of his Symphonie fantastique. One of the most representative works of the first half of the nineteenth century, it constituted not only an explosion of feelings and fantasies from the author of the Treatise on Instrumentation, but also an explosion of hitherto unknown orchestral colours and motifs harnessed to the service of narrative.
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January 25, 2025
Artistic depiction of the event

Symphonic Concert

Sat, Jan 25, 2025, 18:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Marzena Diakun (Conductor), Alban Gerhardt (Cello)
Marzena Diakun, photo: Marco Borggreve Knowing the day or year when a work was composed is the dream of many biographers. Antonín Dvořák was so magnanimous as to record for posterity on the score of his Cello Concerto in B minor not only the date, but also the time (11.30 a.m.) of the work’s completion. Alongside this rather original dating (from the composer’s time in America), there is also an acknowledgement to the Creator. Enthusiasm and gratitude deserted Dvořák, however, when he learned of the death of Josefína Čermáková – his former unrequited love and later sister-in-law. On that occasion, he decided to completely change the ending of the work, adding a coda in the form of a musical epitaph for the deceased actress. In the second movement, written during Josefína’s illness, he quoted his song ‘Kéž duch můj sám’ (‘Leave me alone’), which she particularly loved. As if in keeping with the spirit of the age, unrequited affection lay at the heart of one of the most famous programme symphonies of the Romantic era. The unfulfilled, obsessive passion held by Hector Berlioz towards the English-Irish actress Harriet Smithson permeates the literary and musical content of his Symphonie fantastique. One of the most representative works of the first half of the nineteenth century, it constituted not only an explosion of feelings and fantasies from the author of the Treatise on Instrumentation, but also an explosion of hitherto unknown orchestral colours and motifs harnessed to the service of narrative.
Info & Ticket (filharmonia.pl)
January 28, 2025
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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.
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January 31, 2025
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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.
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February 1, 2025
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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.
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February 2, 2025
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Fairy Lands

Sun, Feb 2, 2025, 11:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Zespół Nastrojeni, Ewa Spanowska (Vocals), Magdalena Piasecka (Violin), Kinga Czaplińska (Viola), Szymon Kotynia (Cello), Gabriela Pietraszewska (Oboe), Piotr Papierski (Percussion), Franciszek Michnowski (Bass guitar), Jakub Czech (Piano), Jakub Czech (Art Director), Agata Kawełczyk-Starosta (Presenter)
The Philharmonic is always filled with different and colourful sounds, especially during carnival season! That’s why FeNek makes sure to celebrate in a special way and invite wonderful guests to the ball. This time he’ll be visited by such distinguished guests as Pocahontas, Alladin, the Lion King and even Elsa. Together, we’ll discover the tunes that entertained or encouraged them during their adventures on the big screen. Perhaps those sounds will enable us to fly on a magic carpet to Africa, see the colours borne by wind or find out what can be heard at the bottom of the sea? Impossible? Anything can happen in the world of music – all you have to do is prick up your ears and be curious about new adventures. Come to the concert at the Philharmonic Hall and don’t forget to bring... a fairytale costume. Bring to the concert… a carnival disguise
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Fairy Lands

Sun, Feb 2, 2025, 14:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Zespół Nastrojeni, Ewa Spanowska (Vocals), Magdalena Piasecka (Violin), Kinga Czaplińska (Viola), Szymon Kotynia (Cello), Gabriela Pietraszewska (Oboe), Piotr Papierski (Percussion), Franciszek Michnowski (Bass guitar), Jakub Czech (Piano), Jakub Czech (Art Director), Agata Kawełczyk-Starosta (Presenter)
The Philharmonic is always filled with different and colourful sounds, especially during carnival season! That’s why FeNek makes sure to celebrate in a special way and invite wonderful guests to the ball. This time he’ll be visited by such distinguished guests as Pocahontas, Alladin, the Lion King and even Elsa. Together, we’ll discover the tunes that entertained or encouraged them during their adventures on the big screen. Perhaps those sounds will enable us to fly on a magic carpet to Africa, see the colours borne by wind or find out what can be heard at the bottom of the sea? Impossible? Anything can happen in the world of music – all you have to do is prick up your ears and be curious about new adventures. Come to the concert at the Philharmonic Hall and don’t forget to bring... a fairytale costume. Bring to the concert… a carnival disguise
Info & Ticket (filharmonia.pl)
February 7, 2025
February 8, 2025
February 9, 2025
February 11, 2025
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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.
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February 14, 2025
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Valentine’s Day Concert

Fri, Feb 14, 2025, 19:30
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Eiji Oue (Conductor), Bartosz Michałowski (Chorus Director), Signum Saxophone Quartet, Blaž Kemperle (Soprano saxophone), Jacopo Taddei (Alto saxophone), Alan Lužar (Tenor Saxophone), Aram Poghosyan (Baritone saxophone)
Signum Saxophone Quartet, photo: Anna Tena Drawing liberally on classical, jazz and American traditional music, Leonard Bernstein’s work is currently experiencing a real renaissance. This is partly due to a recent biographical film (promoted in Poland by Jakub Józef Orlinski at the Warsaw Philharmonic) about the composer’s emotional life. Hence the evening of Valentine’s Day (whether you celebrate it or not) is worth spending with Bernstein’s vibrant, passionate and witty music. In addition, suites from his famous stage works, the operetta Candide and the musical West Side Story, will be orchestrated by none other than the composer’s student and later collaborator and friend Eiji Oue. The evening’s programme will also feature the fascinating attempt made by Malcolm Bolcom at the end of the twentieth century to transfer the Baroque concerto grosso form to contemporary music. In the group of soloists – called the concertina – the American composer placed an unusual ensemble of four saxophonists. It might seem that the most romantic accent of our Valentine’s Day concert will be the suite from Dominick Argent’s opera The Dream of Valentino. However, the opera’s libretto refers not to the patron saint of lovers, but to the famous Hollywood actor, dancer and romantic lead of the silent film era, Rudolph Valentino.
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February 15, 2025
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Valentine’s Day Concert

Sat, Feb 15, 2025, 18:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Warsaw Philharmonic Choir, Eiji Oue (Conductor), Bartosz Michałowski (Chorus Director), Signum Saxophone Quartet, Blaž Kemperle (Soprano saxophone), Jacopo Taddei (Alto saxophone), Alan Lužar (Tenor Saxophone), Aram Poghosyan (Baritone saxophone)
Signum Saxophone Quartet, photo: Anna Tena Drawing liberally on classical, jazz and American traditional music, Leonard Bernstein’s work is currently experiencing a real renaissance. This is partly due to a recent biographical film (promoted in Poland by Jakub Józef Orlinski at the Warsaw Philharmonic) about the composer’s emotional life. Hence the evening of Valentine’s Day (whether you celebrate it or not) is worth spending with Bernstein’s vibrant, passionate and witty music. In addition, suites from his famous stage works, the operetta Candide and the musical West Side Story, will be orchestrated by none other than the composer’s student and later collaborator and friend Eiji Oue. The evening’s programme will also feature the fascinating attempt made by Malcolm Bolcom at the end of the twentieth century to transfer the Baroque concerto grosso form to contemporary music. In the group of soloists – called the concertina – the American composer placed an unusual ensemble of four saxophonists. It might seem that the most romantic accent of our Valentine’s Day concert will be the suite from Dominick Argent’s opera The Dream of Valentino. However, the opera’s libretto refers not to the patron saint of lovers, but to the famous Hollywood actor, dancer and romantic lead of the silent film era, Rudolph Valentino.
Info & Ticket (filharmonia.pl)
February 16, 2025
February 18, 2025
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Simply... Philharmonic!3: Max Volbers, Kore Orchestra

Tue, Feb 18, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Max Volbers (Recorders), Kore Orchestra, Joanna Boślak-Górniok (Harpsichord), Joanna Boślak-Górniok (Art Director)
Max Volbers, photo: Cezary Zych; Orkiestra Kore, photo: Grzesiek Mart The instrument inevitably associated with Antonio Vivaldi is the violin. This association is natural, since he played exclusively on string instruments and it was to the violin that he entrusted the solo part in the vast majority of his concertos. However, the catalogue of Vivaldi’s complete works also includes solo flute concertos, three of which are specified as being for flautino. It is impossible to be sure exactly which instrument the composer had in mind, but the compass of the Concerto in G major, RV 443 allows it to be performed on sopranino recorder. As with Vivaldi, the most important instrument for Georg Philipp Telemann was the violin. However, he also had experience of playing wind instruments. After the death of his father, he studied keyboard instruments with organist Benedikt Christiani and independently mastered the recorder, violin and zither. Vivaldi’s concertos were certainly familiar to Telemann, but in his 1718 autobiography the German composer indicated that he was not a great admirer of the concerto genre. Telemann’s reservations were probably not so much about the genre itself as about the exaggerated virtuosity. Johann Friedrich Fasch must also have become acquainted with these works during his time in Prague as court composer to Count Wenzel Morzin. Fasch had taught himself composition by studying the works of his friend Telemann, who for Fasch was the greatest master. Simply… Philharmonic! Project 3: Both historical eras and cultural centres are often associated with outstanding individuals who represent the art created in a given place and time. However, confining ourselves to the individual perspective often distorts the full picture of the artistic reality of the time. For Baroque Italy, such a point of reference is certainly Antonio Vivaldi. Although he was an outstanding violinist, he also wrote concertato works not intended for string instruments, as did another violinist, Georg Philipp Telemann, who today remains in the shadow of the great Baroque luminaries from Saxony – Johann Sebastian Bach and George Frideric Handel. Unlike Vivaldi, Telemann was a multi-instrumentalist, also experienced in playing wind and keyboard instruments. Francesco Landini can be considered a symbol of Florence, and also of the entire Italian output of the Trecento. He too delighted his contemporaries with his performance art, specialising in organ. The most outstanding composer of the Polish Republic of the first half of the fifteenth century known to us today was Nicolaus of Radom. Very little is known about his life, but he can certainly be associated with his activities in early Jagiellonian Cracow. Daniel Laskowski
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February 19, 2025
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Simply... Philharmonic!3: Krasne barszo

Wed, Feb 19, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
La Morra, Doron Schleifer (Vocals), Ivo Haun de Oliveira (Vocals), Matthieu Romanens (Vocals), Corina Marti (Clavicimbalum), Corina Marti (Organetto), Corina Marti (Recorders), Michał Gondko (Lute), Vojtěch Jakl (Vielle)
La Morra, photo: Dirk Letsch In the first half of the fifteenth century, the leading musical centre in the Republic of Poland was the country’s capital at that time – Cracow. The most valuable completely preserved musical source from that period is a manuscript codex held in the National Library in Warsaw, known as Kras 52. It contains works by the pre-eminent Polish composer of the time, Nicholas of Radom. His compositions were also included in another manuscript, which was lost during the Second World War. However, it was fragmentarily preserved in the form of microfilm and manuscript transcriptions from the original. Little is known about the life of Nicholas of Radom. He was most probably associated with Cracow. It is also known that a musician named Nicholas [Mikołaj] worked as a harpsichordist at the court of Władysław II Jagiełło’s last wife, Queen Sophia of Halshany. However, we cannot be certain that this was Nicholas of Radom. The name was also mentioned more than once in the list of students of Cracow Academy. Peter of Grudziądz (It. Petrus Wilhelmi de Grudencz) was also associated with early Jagiellonian Cracow. He too began his studies at Cracow Academy, in 1418, obtaining a Master of Liberal Arts degree twelve years later. His compositions enjoyed considerable popularity, both in the fifteenth century and over the next two centuries. They then fell into oblivion for many years, only to be rediscovered in the twentieth and twenty-first centuries. Simply… Philharmonic! Project 3: Both historical eras and cultural centres are often associated with outstanding individuals who represent the art created in a given place and time. However, confining ourselves to the individual perspective often distorts the full picture of the artistic reality of the time. For Baroque Italy, such a point of reference is certainly Antonio Vivaldi. Although he was an outstanding violinist, he also wrote concertato works not intended for string instruments, as did another violinist, Georg Philipp Telemann, who today remains in the shadow of the great Baroque luminaries from Saxony – Johann Sebastian Bach and George Frideric Handel. Unlike Vivaldi, Telemann was a multi-instrumentalist, also experienced in playing wind and keyboard instruments. Francesco Landini can be considered a symbol of Florence, and also of the entire Italian output of the Trecento. He too delighted his contemporaries with his performance art, specialising in organ. The most outstanding composer of the Polish Republic of the first half of the fifteenth century known to us today was Nicolaus of Radom. Very little is known about his life, but he can certainly be associated with his activities in early Jagiellonian Cracow. Daniel Laskowski
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February 20, 2025
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Simply... Philharmonic!3: Specchio del mondo

Thu, Feb 20, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
La Morra, Doron Schleifer (Vocals), Ivo Haun de Oliveira (Vocals), Matthieu Romanens (Vocals), Corina Marti (Clavicimbalum), Corina Marti (Organetto), Corina Marti (Recorders), Michał Gondko (Lute), Vojtěch Jakl (Vielle)
La Morra, photo: Dirk Letsch Around the middle of the fourteenth century, the previously dominant musical centres of Italy – Milan and Verona – began to lose their position to Florence. Gherardello da Firenze is considered to be the earliest composer associated with this city. Although he was a clergyman, it is mainly his secular works that have survived to our times. However, the most important Florentine Trecento composer is considered by scholars to be Francesco Landini, slightly younger than Gherardello, who at the time composed the largest number of works written in Florence. Interestingly, during his lifetime, Landini was known mainly as an outstanding organist, working at the Florentine convent of Santa Trinita and later at the Basilica of San Lorenzo. In the surviving musical sources associated with Landini, his name often appears with an annotation referring to his instrument. Admiration for Francesco’s playing was expressed in 1389 by the lawyer and writer Giovanni Gherardo da Prato, in his work Il Paradiso degli Alberti, describing Florence at the time. An organetto (portative organ) even accompanies Landini on his tombstone portrait. Perhaps his outstanding talent as a performer and appreciation during his lifetime explain why a relatively large number of his works have survived to this day. However, they are exclusively secular compositions. Simply… Philharmonic! Project 3: Both historical eras and cultural centres are often associated with outstanding individuals who represent the art created in a given place and time. However, confining ourselves to the individual perspective often distorts the full picture of the artistic reality of the time. For Baroque Italy, such a point of reference is certainly Antonio Vivaldi. Although he was an outstanding violinist, he also wrote concertato works not intended for string instruments, as did another violinist, Georg Philipp Telemann, who today remains in the shadow of the great Baroque luminaries from Saxony – Johann Sebastian Bach and George Frideric Handel. Unlike Vivaldi, Telemann was a multi-instrumentalist, also experienced in playing wind and keyboard instruments. Francesco Landini can be considered a symbol of Florence, and also of the entire Italian output of the Trecento. He too delighted his contemporaries with his performance art, specialising in organ. The most outstanding composer of the Polish Republic of the first half of the fifteenth century known to us today was Nicolaus of Radom. Very little is known about his life, but he can certainly be associated with his activities in early Jagiellonian Cracow. Daniel Laskowski
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February 21, 2025
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Symphonic Concert

Fri, Feb 21, 2025, 19:30
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Kirill Karabits (Conductor), Federico Colli (Piano)
Kirill Karabits, photo: Mark Allan ‘Essentially it is a work for two orchestras – one live, one dead’ is how American composer and DJ Mason Bates, who wrote an opera about Steve Jobs, describes in a nutshell his composition Auditorium, first performed in San Francisco in 2016. The concept is linked to the composer’s newfound passion for Baroque instrumental music. It represents a kind of conversation between an orchestra playing live and an ensemble of early instruments 'captured’ on a remixed tape. Edvard Grieg subjected his only completed Piano Concerto to a more traditional ‘remix’ several times. One of the great Romantic concertos, it was premiered in 1869, but the composer put the finishing touches to it in the early twentieth century, a few weeks before his death. Here the Warsaw Philharmonic Orchestra will be accompanied by eminent Italian pianist Federico Colli, winner of the Salzburg and Leeds competitions. In addition to references to instrumental music of the Italian Baroque in Bates’s piece and to Norwegian folklore in Grieg’s composition, our programme will also include subtle allusions to traditional American jazz. These can be found in John Adams’s colourful symphonic fresco City Noir, in which the composer alludes to the cinematic, dreamlike aura of the city of Los Angeles in the post-war years.
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February 22, 2025
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Symphonic Concert

Sat, Feb 22, 2025, 18:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Kirill Karabits (Conductor), Federico Colli (Piano)
Kirill Karabits, photo: Mark Allan ‘Essentially it is a work for two orchestras – one live, one dead’ is how American composer and DJ Mason Bates, who wrote an opera about Steve Jobs, describes in a nutshell his composition Auditorium, first performed in San Francisco in 2016. The concept is linked to the composer’s newfound passion for Baroque instrumental music. It represents a kind of conversation between an orchestra playing live and an ensemble of early instruments 'captured’ on a remixed tape. Edvard Grieg subjected his only completed Piano Concerto to a more traditional ‘remix’ several times. One of the great Romantic concertos, it was premiered in 1869, but the composer put the finishing touches to it in the early twentieth century, a few weeks before his death. Here the Warsaw Philharmonic Orchestra will be accompanied by eminent Italian pianist Federico Colli, winner of the Salzburg and Leeds competitions. In addition to references to instrumental music of the Italian Baroque in Bates’s piece and to Norwegian folklore in Grieg’s composition, our programme will also include subtle allusions to traditional American jazz. These can be found in John Adams’s colourful symphonic fresco City Noir, in which the composer alludes to the cinematic, dreamlike aura of the city of Los Angeles in the post-war years.
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February 23, 2025
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The Moon in a Bowl

Sun, Feb 23, 2025, 11:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Weronika Jeleśniański (Vocals), Damian Ratuski (Vocals), Michał Borowski (Saxophon), Piotr Ptak (Clarinet), Adam Sychowski (Piano), Sebastian Boguszewski (Presenter)
How about an invitation to the world of fantasy, unusual stories and beautiful sounds? That’s where we’ll take you during a concert featuring songs composed by Grzegorz Turnau. Over the years, this artist has created music for many TV and theatre productions for children and youngsters. The result of that work is the album Moon in a Bowl, which we have turned to in order to invite you to a unique and magical world in which many adventures, crazy journeys and meetings with your favourite book characters await you.
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The Moon in a Bowl

Sun, Feb 23, 2025, 14:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Weronika Jeleśniański (Vocals), Damian Ratuski (Vocals), Łukasz Jankowski (Flute), Piotr Ptak (Clarinet), Piotr Lusawa (Piano), Sebastian Boguszewski (Presenter)
How about an invitation to the world of fantasy, unusual stories and beautiful sounds? That’s where we’ll take you during a concert featuring songs composed by Grzegorz Turnau. Over the years, this artist has created music for many TV and theatre productions for children and youngsters. The result of that work is the album Moon in a Bowl, which we have turned to in order to invite you to a unique and magical world in which many adventures, crazy journeys and meetings with your favourite book characters await you.
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February 25, 2025
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Chamber Music Concert

Tue, Feb 25, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Calidore String Quartet, Jeffrey Myers (Violin), Ryan Meehan (Violin), Jeremy Berry (Viola), Estelle Choi (Cello), Federico Colli (Piano)
Calidore String Quartett, photo: Marco Borgreve Franz Schubert’s biographers puzzle over why this brilliant composer, who was not fully appreciated during his lifetime, left so many incomplete scores and sketches. As in the case of his most famous unfinished work (the Symphony in B minor), it is unclear why Schubert abandoned the work he had begun in the winter of 1820 on a quartet in C minor (after all, the completed first movement promised a fine work). Happily, this was not Schubert’s last word in the genre, and the sole movement of the incomplete quartet functions today as the Quartettsatz in C minor. Thirty-five years earlier, Wolfgang Amadeus Mozart had received a commission from an enterprising Viennese publisher for a cycle of uncomplicated piano quartets, popular with amateur musicians performing at home. However, Mozart’s works stood out from similar repertoire and heralded the arrival of the great Romantic forms sometimes referred to as chamber piano concertos. One could hardly speak of amateur addressees of Robert Schumann’s Piano Quintet in E flat major, as he dedicated the work to an extremely talented pianist, his wife Clara. She was the soloist in the work’s public premiere at Leipzig’s famous Gewandhaus. The composition, which gives the pianist hardly a moment’s rest, was written at a time when the Schumanns were passionately engaged in analysing the keyboard music of Johann Sebastian Bach.
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February 27, 2025
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Symphonic Concert

Thu, Feb 27, 2025, 19:30
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Geoffrey Paterson (Conductor), Łukasz Długosz (Flute)
Geoffrey Paterson, photo: Benjamin Ealovega It sometimes happens that an artist dedicates his work not to one person, but to a whole collective. When Nikolai Rimsky-Korsakov arrived for the first rehearsal of his Capriccio espagnol, the St Petersburg orchestra was said to have applauded him repeatedly. The touched composer decided to repay the ensemble with an equally spontaneous dedication of this famous Iberian-inspired piece. Somewhat forgotten today, Saverio Mercadante was one of the most important figures in Italian opera of the nineteenth century. He created more than 60 works in the genre, winning praise from the likes of Gioachino Rossini and Vincenzo Bellini. Mercadante, later director of the famous conservatory in Naples – a city vying for the title of one of Europe’s operatic capitals – also wrote a set of six concertos for flute, of which he himself was a virtuoso. Particularly popular with performers and listeners was the second of these works, in the key of E minor, preserved in versions for various forces, from chamber to symphonic. Full of technical acrobatics and representing a considerable challenge for the soloist, this work abounds in showstopping passages and phrases full of distant intervallic leaps, but does not shy away from bel canto operatic lyricism either. Edward Elgar’s second and last completed Symphony, in E flat major, is among his most personal works. It was dedicated to the memory of the late king and the composer’s namesake, Edward VII, son of Queen Victoria. First performed in 1911, this late Romantic work is full of Elgar’s characteristic short, repeated motifs and attempts to cross the boundaries of tonality. The second movement is a poignant funeral march, an elegy perhaps related not only to the death of the sovereign, but probably also mourning the composer’s more personal losses – the passing of two close friends.
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February 28, 2025
Artistic depiction of the event

Symphonic Concert

Fri, Feb 28, 2025, 19:30
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Geoffrey Paterson (Conductor), Łukasz Długosz (Flute)
Geoffrey Paterson, photo: Benjamin Ealovega It sometimes happens that an artist dedicates his work not to one person, but to a whole collective. When Nikolai Rimsky-Korsakov arrived for the first rehearsal of his Capriccio espagnol, the St Petersburg orchestra was said to have applauded him repeatedly. The touched composer decided to repay the ensemble with an equally spontaneous dedication of this famous Iberian-inspired piece. Somewhat forgotten today, Saverio Mercadante was one of the most important figures in Italian opera of the nineteenth century. He created more than 60 works in the genre, winning praise from the likes of Gioachino Rossini and Vincenzo Bellini. Mercadante, later director of the famous conservatory in Naples – a city vying for the title of one of Europe’s operatic capitals – also wrote a set of six concertos for flute, of which he himself was a virtuoso. Particularly popular with performers and listeners was the second of these works, in the key of E minor, preserved in versions for various forces, from chamber to symphonic. Full of technical acrobatics and representing a considerable challenge for the soloist, this work abounds in showstopping passages and phrases full of distant intervallic leaps, but does not shy away from bel canto operatic lyricism either. Edward Elgar’s second and last completed Symphony, in E flat major, is among his most personal works. It was dedicated to the memory of the late king and the composer’s namesake, Edward VII, son of Queen Victoria. First performed in 1911, this late Romantic work is full of Elgar’s characteristic short, repeated motifs and attempts to cross the boundaries of tonality. The second movement is a poignant funeral march, an elegy perhaps related not only to the death of the sovereign, but probably also mourning the composer’s more personal losses – the passing of two close friends.
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March 2, 2025
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Musical Symbols

Sun, Mar 2, 2025, 11:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Orchestra of the Karol Szymanowski State Music School Complex No. 4 in Warsaw, Wojciech Pławner (Conductor), Karolina Róża Kozłowska (Soprano), Joanna Lichorowicz-Greś (Dance), Sławomir Greś (Dance), Adrianna Furmanik-Celejewska (Presenter)
Tone, sound, melody, rhythm – where do they come from? Instrument, voice, orchestra, choir – why do they sound the way they do? What do dots, dashes and flourishes mean? How do you decipher the language of notes and scores? Music is full of mysteries to be explored and riddles to be solved. If you want to take up the challenge and turn into real musical explorers, come to the Warsaw Philharmonic to meet FeNek the Fox. A detective mustn’t overlook even the smallest detail, so in order for you to not only hear but also see the clues left by FeNek, bring binoculars with you. Bring to the concert… small binoculars
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Musical Symbols

Sun, Mar 2, 2025, 14:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Orchestra of the Karol Szymanowski State Music School Complex No. 4 in Warsaw, Wojciech Pławner (Conductor), Karolina Róża Kozłowska (Soprano), Joanna Lichorowicz-Greś (Dance), Sławomir Greś (Dance), Adrianna Furmanik-Celejewska (Presenter)
Tone, sound, melody, rhythm – where do they come from? Instrument, voice, orchestra, choir – why do they sound the way they do? What do dots, dashes and flourishes mean? How do you decipher the language of notes and scores? Music is full of mysteries to be explored and riddles to be solved. If you want to take up the challenge and turn into real musical explorers, come to the Warsaw Philharmonic to meet FeNek the Fox. A detective mustn’t overlook even the smallest detail, so in order for you to not only hear but also see the clues left by FeNek, bring binoculars with you. Bring to the concert… small binoculars
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March 4, 2025
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Chamber Music Concert

Tue, Mar 4, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Vision String Quartet, Florian Willeitner (Violin), Daniel Stoll (Violin), Sander Stuart (Viola), Leonard Disselhorst (Cello)
Vision String Quartet, photo: Harald Hoffmann Accustomed to the most canonical output by avant-garde composers, we sometimes react with amazement to their youthful works, which often attest to their perfect mastery of the principles of composition with which they were about to dramatically break. Such is undoubtedly the case with Langsamer Satz, a work without opus number for string quartet by Anton Webern. According to the critics, this lyrically atmospheric work, in the spirit of late romanticism, conveys the mood of the mountain trek on which the composer supposedly fell in love with his cousin and future wife, Wilhelmina Mörtl. Enchanted by the aura of Paris, Grażyna Bacewicz returned from her second stay in the French capital having composed there her String Quartet No. 3. This work is characterised by passionate vitality and a wealth of development techniques in the outer movements and a bold departure from the tonal path in the slow movement. Before Johannes Brahms considered any of his string quartets suitable for public consumption, he apparently destroyed some 20 youthful essays in the genre. His admiration for Ludwig van Beethoven’s quartets bordered on a paralysing creative phobia. The Quartet in C minor from Op. 51, sent to his publisher after years of work and revision, turned out to be one of the most groundbreaking works in his oeuvre. Even if it does contain discernible elements of the Beethovenian spirit, Brahms managed to keep a rein on them.
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March 7, 2025
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Symphonic Concert

Fri, Mar 7, 2025, 19:30
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Antoni Wit (Conductor), Lise de la Salle (Piano)
Lise de la Salle, photo: Stéphane Gallois Ferenc Liszt was one of those composers who enjoyed pushing boundaries. He even managed to invert the classic chronology of inspiration before creation. In the case of one of his first (and most famous) symphonic poems, entitled Preludes, the idea for the title – alluding to an ode by Alphonse de Lamartine – came when the work was almost finished (it was originally intended as an overture to the cycle The Four Elements). In 1855 an unusual event took place in Weimar, with Liszt’s Piano Concerto No. 1 in E flat major and Hector Berlioz’s Symphonie fantastique performed in the presence and with the active participation of both composers. Liszt sat at the piano; Berlioz conducted the orchestra. The first sketches for Liszt’s work date as far back as 1830, so it may have taken as long as 25 years for the composer to complete this concerto, which lasts less than 20 minutes and was unveiled to the public in Weimar. This work is long enough to give the pianist the opportunity to show off their technical skills, as is foreshadowed by the work’s striking opening, with the famous octave theme, concealing – as the anecdote goes – a certain (never revealed) joke on fussy critics. The notion of the extra-musical programme, eagerly taken up by the Romantics, was elevated by Alexander Scriabin to the registers of transcendence and mysticism. His Symphony No. 3, from the early twentieth century, also known as the ‘Divine Poem’, is considered one of the greatest achievements on his path to multimedia expressionist mysteries.
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March 8, 2025
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Symphonic Concert

Sat, Mar 8, 2025, 18:00
Filharmonia Narodowa, Concert Hall (Warszawa)
Warsaw Philharmonic Orchestra, Antoni Wit (Conductor), Lise de la Salle (Piano)
Lise de la Salle, photo: Stéphane Gallois Ferenc Liszt was one of those composers who enjoyed pushing boundaries. He even managed to invert the classic chronology of inspiration before creation. In the case of one of his first (and most famous) symphonic poems, entitled Preludes, the idea for the title – alluding to an ode by Alphonse de Lamartine – came when the work was almost finished (it was originally intended as an overture to the cycle The Four Elements). In 1855 an unusual event took place in Weimar, with Liszt’s Piano Concerto No. 1 in E flat major and Hector Berlioz’s Symphonie fantastique performed in the presence and with the active participation of both composers. Liszt sat at the piano; Berlioz conducted the orchestra. The first sketches for Liszt’s work date as far back as 1830, so it may have taken as long as 25 years for the composer to complete this concerto, which lasts less than 20 minutes and was unveiled to the public in Weimar. This work is long enough to give the pianist the opportunity to show off their technical skills, as is foreshadowed by the work’s striking opening, with the famous octave theme, concealing – as the anecdote goes – a certain (never revealed) joke on fussy critics. The notion of the extra-musical programme, eagerly taken up by the Romantics, was elevated by Alexander Scriabin to the registers of transcendence and mysticism. His Symphony No. 3, from the early twentieth century, also known as the ‘Divine Poem’, is considered one of the greatest achievements on his path to multimedia expressionist mysteries.
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March 11, 2025
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Polish Music Scene

Tue, Mar 11, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Jarosław Meisner (Trombone), Mateusz Meisner (Piano)
Jarosław Meisner, Mateusz Meisner, photo: Foto Adamek A concert of works for trombone and piano is a real treat for music lovers, as it is something of a rarity on concert platforms. This recital, prepared by the brothers Jarosław and Mateusz Meisner (trombone and piano respectively), will be filled entirely with music by Polish composers (in line with the principles behind the Polish Music Scene programme). The trombone is an essential component of every brass and symphony ensemble. However, it is rarely heard in solo works, though it has so much to offer. Its velvety sound, tunefulness and expressive qualities, as well as its purely technical, brilliant virtuosity – all of these qualities can be found in the pieces prepared for today’s concert. The Romantic and twentieth-century compositions selected by the artists reveal the various facets of the trombone, as well as little-known pages of Polish music. For while Kazimierz Serocki, Zygmunt Stojowski and Józef Nowakowski sometimes appear in the repertoire familiar to seasoned music lovers, compositions by Szymon Laks, Witold Friemann and Adam Mitscha remain largely unknown quantities in twentieth-century Polish music. Fortunately, performers are increasingly turning to these less recognised works, as is also the case here. Beata Bolesławska-Lewandowska 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.
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