Symphonic Concert. In Memory of Maestro Kazimierz Kord on 1st anniversary of his death Filharmonia Narodowa

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Symphonic Concert. In Memory of Maestro Kazimierz Kord on 1st anniversary of his death
fot. Suxiao Yang

Karol Szymanowski’s Violin Concerto No. 1 was written in the border town of Zarudzie during the First World War. It was a moment when the composer still recalled his awe at the beauty of the Mediterranean landscape and the magnificence of Italian culture, but now found himself engulfed in a historical storm that would soon annihilate the idyllic world of his youth. The works penned at that time reflect a kind of escapism towards the lands of sublime musical sensuality. In a letter to Stefan Spiess, Szymanowski declared “...I am very content with the whole thing – again some new notes, and at the same time a return to old ones. The whole is absolutely fantastic and unexpected”. The brilliant concerto marks the creative apogee of that period and critics and listeners alike still enthuse over the originality of its form and texture, the subtlety of its sound, and its unusual, oneiric aura.

1901 was a special year for Gustav Mahler. The charismatic conductor and composer, who had both devoted admirers and ardent critics, was at the peak of his creative powers as director of the Vienna State Opera. Unbearable stress and overwork had triggered a crisis in Mahler’s health, leading him to spend his summer holiday in a villa by the picturesque Wörthersee in Carinthia. This sensitive man who had come close to death felt a growing urge to put his thoughts and experiences in writing – it was at this time that he penned two harrowing works: Kindertotenlieder and the first fragments of his Fifth Symphony, which began with a funeral march pregnant with tragedy and pathos. The third movement in this powerful work is Adagietto, scored for string ensemble and harp only. This relatively short section captivates the listener with its mood of bliss, seraphic calm, and euphony, and at the same time is teeming with emotion, resembling in its musical gestures a declamatory arioso. This astonishing and delightful piece has also become a symphonic miniature, eagerly performed as a stand-alone piece. Willem Mengelberg recalled that this episode echoed the love that Mahler bestowed upon his future wife, Alma Schindler, in the crucial year of 1901. The popularity of Adagietto grew even more after it featured in Visconti’s famous film Death in Venice (1971).

The Warsaw Philharmonic Strategic Patron of the Year – PKO Bank Polski – warmly welcomes you to join us in this concert

Augustin Hadelich

“The essence of Hadelich’s playing is beauty: reveling in the myriad ways of making a phrase come alive on the violin, delivering the musical message with no technical impediments whatsoever, and thereby revealing something from a plane beyond ours.” – Washington Post.

Augustin Hadelich is one of the great violinists of our time. From Bach to Brahms, from Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. He is often referred to by colleagues as a musician's musician. Named Musical America’s 2018 “Instrumentalist of the Year,” he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations.

Augustin Hadelich’s 2020/2021 season culminated in performances of the Brahms Violin Concerto with the San Francisco Symphony conducted by Esa-Pekka Salonen. These were the first performances played by the full ensemble to a live audience in Davies Hall in 15 months. In the summer of 2021 he appeared at the Grant Park (Aspen, Colorado) and Verbier festivals, as well as at Bravo! Vail with the New York Philharmonic.

Augustin Hadelich’s 2021/2022 season started off with stunning debut with the Berliner Philharmoniker (Prokofiev’s Violin Concerto No. 2) with Gustavo Gimeno on the podium. Shortly thereafter, came the European premiere of a new violin concerto written for him by Irish composer Donnacha Dennehy. Other highlights of the 2021/2022 season include being named Artist-in-Residence with the Frankfurter Museumsorchester and continuing his residency as Associate Artist with the NDR Elbphilharmonie Orchester (Hamburg), as well as debuts with Orchestre National de France, Prague Radio Symphony and the Warsaw Philharmonic, and return engagements with the Danish National Symphony Orchestra, Finnish Radio Orchestra, Houston Symphony, Minnesota Orchestra, Mozarteumorchester (Salzburg), Münchner Philharmoniker, Seoul Philharmonic, St. Louis Symphony and WDR Sinfonieorchester Köln.

Augustin Hadelich has appeared with every major orchestra in North America, including symphony  orchestras of Boston, Chicago San Francisco, Montréal, Cleveland, Philadelphia, Los Angeles and New York. In Europe, he has performed with the Symphonieorchester des Bayerischen Rundfunks (Munich), Leipzig Gewandhaus Orchestra, London and Oslo Philharmonic, Royal Concertgebouw, national orchestras od Dennmark and Spain and radio orchestras of Denmark, Finland, Norway, Cologne, Frankfurt, Saarbrücken, and Stuttgart as well as with Academy of St Martin in the Fields.

Engagements in the Far East include the Hong Kong Philharmonic, New Zealand Symphony, NHK Symphony (Tokyo), Seoul Philharmonic and Singapore Symphony.

He has collaborated with such renowned conductors as Thomas Adès, Marin Alsop, Stefan Asbury, Herbert Blomstedt, Karina Canellakis, Thomas Dausgaard, Stéphane Denève, Thierry Fischer, Alan Gilbert, Gustavo Gimeno, Hans Graf, Miguel Harth-Bedoya, Manfred Honeck, Jakub Hrůša, Carlos Kalmar, Louis Langrée, Hannu Lintu, Cristian Măcelaru, Klaus Mäkelä, Jun Märkl, Juanjo Mena, Ludovic Morlot, Andris Nelsons, Sakari Oramo, Andrés Orozco‑Estrada, Peter Oundjian, Vasily Petrenko, Carlos Miguel Prieto, David Robertson, Donald Runnicles, Esa-Pekka Salonen, Michael Sanderling, Jukka-Pekka Saraste, Leonard Slatkin, Lahav Shani, John Storgårds, Nathalie Stutzmann, Yan Pascal Tortelier, Krzysztof Urbański, Osmo Vänskä, Edo de Waart, and Jaap van Zweden, among others.

Augustin Hadelich is the winner of a 2016 Grammy Award in the “Best Classical Instrumental Solo” category for his recording of Dutilleux’s Violin Concerto - L’Arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). A Warner Classics Artist, his most recent release is a Grammy-nominated double CD of the Six Solo Sonatas and Partitas of Johann Sebastian Bach. One of Germany’s most prestigious newspapers, the Süddeutsche Zeitung, boldly stated: “Augustin Hadelich is one of the most exciting violinists in the world. This album is a total success.” A long and stellar review follows these opening comments. Other CDs for Warner Classics include Paganini’s 24 Caprices (2018), the Brahms and Ligeti violin concertos with the Norwegian Radio Orchestra under Miguel Harth-Bedoya (2019), and Bohemian Tales, including the Dvořák Violin Concerto with the Symphonieorchester des Bayerischen Rundfunks conducted by Jakub Hrůša (2020). He has also recorded discs of the violin concertos of Tchaikovsky and Lalo (Symphonie espagnole) with the London Philharmonic Orchestra on the LPO label (2017), and a series of releases on the AVIE label, including a CD of the violin concertos by Jean Sibelius and Thomas Adès (Concentric Paths), with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra (2014).

Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Among his other distinctions are an Avery Fisher Career Grant (2009), a Borletti-Buitoni Trust Fellowship in the UK (2011), the Warner Music Prize (2015), a Grammy Award (2016) as well as an honorary doctorate from the University of Exeter in the UK (2017). He has recently been appointed to the violin faculty at Yale School of Music.

Augustin Hadelich plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.