Ladies and gentlemen,
We regret to inform you that the symphony concert scheduled for 26 March 2022 has been cancelled.
Tickets purchased for cancelled concerts are refundable - at the Warsaw Philharmonic box offices or via the bilety24.pl service, if you have made an online purchase.
For more information, please contact bilety@filharmonia.pl
The artistic ferment of the fin de siècle and the beginning of the 20th century provided endless stimuli and inspiration, especially to young artists in search of their own creative path. Among them was Alban Berg, who studied under Arnold Schönberg and absorbed that latter’s new ideas, which he was soon to forge into his own unique style. His Seven Early Songs, each to the words of a different poet, both foreshadow the direction their author was taking and reflect his fascination not only with the late Romantic masters – Strauss, Mahler, and Wolff, but also with Debussy’s sensitivity to colour. After two decades, the composer revised his youthful work by orchestrating it in an original manner.
The author of the text of Karol Szymanowski’s Songs of a Fairy Tale Princess was his own sister, Zofia. Her graceful, concise poems (the composer called them songs) inspired Szymanowski to create a dazzling timbral aura, alluding both to the ornamental texture of The Myths and to his fascination with the Orient, which the listener may identify in the intriguing, melismatic vocalises. The songs combine the consistency of the timbral approach with sharply contrasting moods that follow the texts perfectly. Ornamental devices – melismas and coloraturas – distance the princess from the real world, transporting her into the realm of fantasy and fairy tale.
Witold Lutosławski’s serene and pensive Interlude – a slow-moving plane featuring the counterpointing parts of the string instruments, is not a process, but a state of sound matter, consistently maintained in the piano dynamic, a state without a conflict, sometimes brought to a halt. This plane occupied by the strings is accompanied by the motifs of wind instruments, percussion and harp, piano and celesta, which encrust this seemingly motionless timbral state with delicate, arabesque sketches, as if taken from another space... (Andrzej Chłopecki) was written for a concert conducted by the composer in Munich in 1990 with the intention of combining the orchestral version of Partita and Chain II into a kind of a triptych.