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


Ruth Reinhardt

Ruth Reinhardt is quickly establishing herself as one of today’s most dynamic and nuanced young conductors, building a reputation for her musical intelligence, programmatic imagination, and elegant performances.

In the 2022/2023 season, she makes US debuts with the New York Philharmonic, Kansas City Symphony, Louisville Orchestra, and Rhode Island Philharmonic Orchestra. European engagements include debuts with the Bamberger Symphoniker, Musikkollegium Winterthur, Münchner Rundfunkorchester, Rundfunk-Sinfonieorchester Berlin, Göteborgs Symfoniker, Warsaw Philharmonic Orchestra, Uppsala Chamber Orchestra, Orquesta Sinfónica del Principado de Asturias, and at the Schleswig-Holstein Musik Festival, as well as returns to Malmö Symfoniorkester and Kristiansand Symfoniorkester, among others.

In recent seasons, Ruth Reinhardt has led the symphony orchestras of San Francisco, Detroit, Houston, Baltimore, Fort Worth, and Milwaukee, as well as the Los Angeles and St. Paul Chamber Orchestras. In Europe, recent debuts include the Orchestre philharmonique de Radio France, Tonkünstler Orchestra, hr-Sinfonieorchester Frankfurt, Royal Stockholm Philharmonic Orchestra, Deutsche Symphonie-Orchester Berlin, and MDR-Sinfonieorchester in Leipzig, among many others. She also returned to conduct the Cleveland Orchestra at Blossom Music Festival, the Seattle Symphony, and the Dallas Symphony Orchestra, where she was assistant conductor from 2016 to 2018. In the summers of 2018 and 2019, she served as the assistant conductor of the Lucerne Festival Contemporary Orchestra.

Ruth Reinhardt received her master’s degree in conducting from The Juilliard School, where she studied with Alan Gilbert. Born in Saarbrücken, she began studying violin at an early age and sang in the children’s chorus of Saarländisches Staatstheater, Saarbrücken’s opera company. She attended Zurich’s University of the Arts to study violin with Rudolf Koelman, and began conducting studies with Constantin Trinks, with additional training under Johannes Schlaefli. She has also participated in conducting master classes with, among others, Bernard Haitink, Michael Tilson Thomas, David Zinman, Paavo Järvi, Neeme Järvi, Marin Alsop, and James Ross. She was a Dudamel Fellow of the Los Angeles Philharmonic (2017–2018), conducting fellow at the Seattle Symphony (2015–2016) and Boston Symphony Orchestra’s Tanglewood Music Center (2015), as well as an associate conducting fellow of the Taki Concordia program (2015–2017).