Symphonic Concert Filharmonia Narodowa

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Symphonic Concert
Ruth Reinhardt, photo: Jessica Schaefer

Robert Schumann’s concert overture, composed in the spring of 1841, was intended as the opening of a suite or ‘symphonette’, but ultimately – complemented with a scherzo and a finale – it became part of a three-movement cycle. It was revised several times, gaining its final form in 1845. Schumann’s Cello Concerto in A minor – a late work from 1850 – was not performed during the composer’s lifetime, and its first performance (1860) aroused controversy over its extravagant form. It also failed to meet the expectations of virtuosos, as the showstopping passages are merely sporadic (although the work is technically demanding). It was not really appreciated until the twentieth century.

Written at the initiative of Léonid Massine – an ex-dancer with Diaghilev’s company and artistic director of the Ballet russe de Monte Carlo – was a ‘dance legend’ about St Francis (1938), the music for which was composed by Paul Hindemith. The composer later used that music to create the popular three-part suite Nobilissima Visione, employing far greater forces than in the ballet.

Metacosmos, by the Icelandic composer Anna Thorvaldsdottir, was written to com- mission for the New York Philharmonic Society and first performed in 2018. Accord- ing to the composer, this work ‘is constructed around the natural balance between beauty and chaos – how elements can come together in (seemingly) utter chaos to create a unified, structured whole’.

Piotr Maculewicz


Jean-Guihen Queyras

Curiosity, diversity and a firm focus on the music itself characterize the artistic work of Jean-Guihen Queyras. Whether on stage or on record, one experiences an artist dedicated completely and passionately to the music, whose humble and quite unpretentious treatment of the score reflects its clear, undistorted essence. The inner motivations of composer, performer and audience must all be in tune with one another in order to bring about an outstanding concert experience: Jean-Guihen Queyras learnt this interpretative approach from Pierre Boulez, with whom he established a long artistic partnership.

His approaches to early music – as in his collaborations with the Freiburger Barockorchester and the Akademie für Alte Musik Berlin – and to contemporary music are equally thorough. He has given world premieres of works by, among others, Ivan Fedele, Gilbert Amy, Bruno Mantovani, Michael Jarrell. Jean-Guihen Queyras was a founding member of the Arcanto Quartet and forms a celebrated trio with Isabelle Faust and Alexander Melnikov; the latter is, alongside Alexandre Tharaud, a regular accompanist.

The artist often appears with renowned orchestras such as the Philadelphia Orchestra, the Symphonieorchester des Bayerischen Rundfunks, Mahler Chamber Orchestra, the Orchestre de Paris, London Symphony Orchestra, the Gewandhausorchester Leipzig and the Tonhalle-Orchester Zürich, working with conductors such as Iván Fischer, Philippe Herreweghe, Yannick Nézet-Séguin, François-Xavier Roth, Sir John Eliot Gardiner and Sir Roger Norrington.

Jean-Guihen Queyras records exclusively for Harmonia Mundi. Highlights in the 2022/2023 season include concerts with his ensembles Invisible Stream and Thrace, concert tours to Australia, Japan and Canada, invitations from the Prague Symphony Orchestra FOK (Film – Opera – Concert), the Bochumer Symphoniker, the Residentie Orkest The Hague, the Philharmonisches Staatsorchester Hamburg, as well as chamber music concerts with Alexander Melnikov, Jörg Widmann, the Belcea Quartet, the Quartet Modigliani and Isabelle Faust. Alongside Yuja Wang, Jean-Guihen Queyras has been selected as Spotlight Artist of the Toronto Symphony Orchestra for the upcoming season.

Jean-Guihen Queyras holds a professorship at the Hochschule für Musik Freiburg and is Artistic Director of the “Rencontres Musicales de Haute-Provence” festival in Forcalquier. He plays a 1696 instrument by Gioffredo Cappa, made available to him by the Mécénat Musical Société Générale.