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Jacaszek / Kwartludium

27 April, 7pm

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Szymanowski - Warsaw Philharmonic

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Kaspszyk / Kurzak / Korchak / Rehlis / Ruciński

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Project 5: When a Few Have Much to Say, or Different Faces of Chamber Music

23, 26 and 27 April

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Symphonic Concert
Event type: Symphonic, choral, large-scale vocal-instrumental
Hall: Concert Hall
Subscription: B1 - Symphonic concerts, Z1 - Golden subscription
Price: 25, 35, 45, 50, 60 zł
Erich Wolfgang Korngold
- Sursum corda overture op. 13 [19']
Édouard Lalo
- Symphonie espagnole op. 21 [32']
Intermission [20']
Igor Stravinsky
- Petrushka [34']

In the 1870s, Europe fell in love with the attractive, slightly exotic sound of Iberian music. 1875 saw the premiere of two ground-breaking works that shaped this fashion: G. Bizet’s Carmen and Édouard Lalo’s Spanish Symphony. The latter work, by a composer born in Lille, but to a family with deep Spanish roots – is a daring stylisation of passionate dances and song motifs, more a violin concerto than a symphony. It has been the audiences’ and performers’ favourite ever since its premiere.

Igor Stravinsky’s Petrushka is always listed with The Firebird and The Rite of Spring as an epoch-making work composed for the early Parisian seasons of Diaghilev’s Ballets Russes and inspired by that ambitious, daring impresario. However, in the case of Petrushka it was Stravinsky himself, not Diaghilev, who devised the plot. He had planned a symphony about animated puppets, and Diaghilev persuaded him that the idea had great theatrical potential. The premiere at the Théâtre du Châtelet was very well received despite the work’s innovative musical language. That first production was later seen as a model. The extremely attractive music takes the form of a suite (an echo of the original concert design) and for over a century it has been a favourite element of concert repertoires.

Erich Wolfgang Korngold was one of those numerous artists who fled the rise of aggressive nationalisms in the early 1930s’ Europe and found refuge in the United States. The young and ambitious Viennese composer, once a child prodigy, later – the author of acclaimed expressionist operas and modernist chamber music – after his arrival in America dedicated himself almost exclusively to film music. It was his music for films that brought him great fame in the United States. Among others, he won an Oscar for his soundtrack for the acclaimed Robin Hood of 1938. Interestingly, the latter soundtrack includes some motifs from the composer’s early concert overture Sursum corda (1919).

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