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Artistic season 2018/2019 programme

The new season programme at www.filharmonia.pl

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Orchestras of the World
Event type: Orchestras of the World, Special concert, Symphonic concert
Hall: Concert Hall
Price: 190, 220, 250 zł
Leonard Bernstein
- Three Dance Episodes from musical On the Town [12']
Leonard Bernstein
- Serenade for violin and orchestra [30']
Intermission [20']
Dmitri Shostakovich
- Symphony No. 5 in D Minor, Op. 47 [44']

The next concert in the series marking the 100th Anniversary of the birth of Leonard Bernstein reacquaints music lovers with his Broadway musical On the Town. It was written in 1944, and thus at a time when the popularity of the young conductor and composer had just exploded (following a sensational concert the previous year, when he dared to stand in for a sick Bruno Walter without any rehearsal, and astounded audience and critics alike). This production, about the adventures of three fun‑seeking sailors on shore leave and featuring many tunes that would go on to become great hits (including New York, New York), was a storming success (further reinforced by the Hollywood screen adaptation), and Bernstein’s innovative approach to dance numbers was considered a milestone in the history of the musical. Serenade for violin and orchestra is one of Bernstein’s instrumental compositions inspired by great literature, in this case Plato’s Symposium and the speeches given in praise of Eros by the famous thinkers who attended that banquet. This extensive piece, close in character to a violin concerto, was written for Isaac Stern, who staged its hugely successful premiere under the composer’s baton at the Teatro La Fenice in 1954.

Dmitri Shostakovich’s Fifth, dating from 1937, is one of his most popular and at the same time most mysterious symphonies. He composed it with the intention of rehabilitating himself with the Stalinist authorities after the latter had severely criticised his opera Lady Macbeth of the Mtsensk District, and his Fourth Symphony had been banned by the censors. In the Fifth, Shostakovich appears to turn to a more traditional form of the genre and to use a more approachable musical idiom. At the same time, however, it conceals several astonishing allusions: quotes and self‑quotes, as well as elements of oblique derision and the grotesque, in which the author encoded both his own intimate memories and a very desperate response to the attempts of the oppressive Stalinist regime to limit creative autonomy.


The Partner of the Concert is PZU Foundation:


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