Hall: Concert Hall
Subscription: B1 - Symphonic concerts, Z1 - Golden subscription
Price: 30-90 zł
Tickets available from 16 September 2019.
The list of Ernest Chausson’s works is not very long. He died suddenly at the young age of 44 after falling from a bicycle. His oeuvre encompasses only 39 opuses, including two symphonic poems – one for violin and orchestra, and one for voice and orchestra. This season we will have a unique occasion to listen to both these works during different concerts. As the first, the audience will hear Poème for violin and orchestra, which has enjoyed considerable popularity since its premiere and is one of the most favourite works of the violin repertoire.
This intimate and contemplative poem stands on the opposite pole to Tzigane – an equally virtuosic rhapsody for violin and orchestra by Maurice Ravel. Both pieces demand from the performers technical prowess of the highest order. In fact, Chausson’s German publisher refused to publish the work, afraid that there would be very few potential buyers of the score, driven away by this too complicated piece.
Symphony No. 3 was the last piece of this genre written by Sergei Rachmaninov and also one of the last of his opuses. The success of the previous symphony gave the composer the right impulse to write another one; however, his busy concert calendar (after leaving Russia in 1917, he gave, among others, two performances at the Warsaw Philharmonic in February 1936) involved continuous travels (especially to the USA) and constantly drew him away from composing. This is most probably why Symphony No. 3 was completed almost 30 years after the Second. It was premiered on 6 November 1936 by the composer’s favourite ensemble – the Philadelphia Orchestra – directed by Leopold Stokowski. Rachmaninov’s last symphony stands out among others because of its only three movements (instead of four), with a scherzo of quite a sharp outline in the middle, slow movement. It is also characterised by rough rhythms, bitter harmony and a slightly different treatment of the orchestra, with highlighted percussion and solo instruments. But above all, it is suffused with Slavic melancholy to even greater extent than the previous two, which makes it the most Russian of all of Rachmaninov’s symphonies.