Symphonic Concert - CANCELLED Filharmonia Narodowa

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Symphonic Concert - CANCELLED
fot. Thomas Grøndahl

We regret to inform you that due to the illness of the artists participating in the symphony concerts on 3 and 4 December, these concerts have been canceled.

Tickets purchased for cancelled concerts are refundable - at the Warsaw Philharmonic box offices or via the service, if you have made an online purchase. For more information, please contact



Bruckner’s gradual Locus iste, redolent of tranquillity and euphony, was heard for the first time in October 1869 during the consecration of the Votivkapelle – one of the first completed segments of the neo-Gothic New Cathedral in Linz. Although at that time, the composer had already entered the Viennese period of his career, he was more than happy to accept an invitation from the community that remembered and respected him.

According to many critics, it is in the Third Symphony that we see the emergence of the Bruckner we all know – the pioneer of a new idea of a monumental symphony, structured partly in line with the tradition of the genre, and yet at the same time treating it more extensively. Expanded thematic groups, developed as in an organ improvisation, strong contrasts, pathos, the monumentalism of groups of wind instruments – all these distinctive features were to return in subsequent symphonies, despite the fact that the reception of this one was at first disastrous. The premiere performance of the first version from 1873 was rejected after a few rehearsals, and the presentation of the 1877 version (several times revised) was an abject failure. There is also the third, main version, from 1890. The concert will reacquaint the audience with the original version of the piece.

In an interview with Mateusz Gliński (Music, 1926), Szymanowski described the origins of Stabat Mater as follows: “There were a great many reasons why I decided to write a religious piece – from my inner experiences right through to external life circumstances, which last winter forced me to put aside for a time all my other “lay works”, which I had already begun writing, and focus entirely on Stabat Mater”. These “external circumstances” included the tragic death of Szymanowski’s niece, which was a truly painful experience for him. However, the composer had already thought about writing a religious work based on folk motifs earlier. He turned to the text of the hymn Stabat Mater, inspired by, and delighted with, Józef Jankowski’s translation. In this way he composed one of his most perfect and deeply poignant works, which combines novel elements of the musical idiom with a very subtle archaization of, and allusions to, traditional music.


Bartosz Michałowski

Bartosz Michałowski graduated with distinction in choral conducting from Poznań Music Academy. In 1998–2005, he was assistant to Stefan Stuligrosz and conductor of the ‘Poznań Nightingales’ Boys’ and Men’s Choir, with which he performed extensively in Germany, France, Spain, Belgium, Sweden, Austria, Russia and Japan.

He won first prize in the 9th Polish National Choral Conductors Competition in Poznań. In 2015, he won the Orphée d‘Or of the Académie du Disque Lyrique, and was nominated for one of the Polish record industry’s Fryderyk awards. In 2020, he received a Fryderyk for a recording of Szymanowski’s opera Hagith (with the Warsaw Philharmonic Choir). He also received two nominations for the International Classical Music Awards 2022. Michałowski is the founder and artistic director of Poznań Chamber Choir, one of the leading Polish ensembles of its kind, and of the ‘Opus 966’ Polish Composition Competition. He also devised the ‘Pisz muzykę – to proste!’ (‘Write music – it’s easy!’) composing workshops for children and coproduced the ‘Obrazogranie’ (‘Picture playing’) project at the National Museum in Poznań.

As Director of the Warsaw Philharmonic Choir, he has conducted Szymanowski’s Kurpian Songs, masses by Kodály and Gretchaninov, Rossini’s Petite messe solennelle, Mozart’s Coronation Mass and Requiem, and oratorios: Paulus by Mendelssohn, Messiah by Handel, Christ on the Mount of Olives by Beethoven and Litanies of Ostra Brama by Moniuszko. He prepared the ensemble for the first ever performance of Anton Rubinstein’s sacred opera Moses (conducted by Michail Jurowski) and for a performance and the first ever recording of Moniuszko’s opera The Pariah in Italian, and has also helped prepare vocal-instrumental concerts of the Warsaw Philharmonic Choir and Orchestra, collaborating with such eminent conductors as Andrzej Boreyko, Ton Koopman, König, Matthew Halls, Martin Haselböck, Jacek Kaspszyk and Krzysztof Penderecki.

He has participated in renowned festivals including the Schleswig-Holstein Musik Festival and Ludwig van Beethoven Easter Festival, and has collaborated regularly with renowned institutions and orchestras. He has numerous first performances to his credit.

In addition to gaining experience as a conductor, Bartosz Michałowski has spent many years working on enhancing his skills and knowledge in the field of voice production, completing masterclasses with Poppy Holden (Great Britain), Christian Elsner (Germany) and Jozef Frakstein (Poland). He holds a PhD and is a lecturer at the Chopin University of Music.