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Warsaw Philharmonic Choir Director Bartosz Michałowski and Artistic Director fo the Warsaw Philharmonic Jacek Kaspszyk invite to the concerts:


Witold Lutosławski’s one‑ minute Fanfare for Los Angeles Philharmonic (1993), which opens this programme (and the whole Warsaw Philharmonic season celebrating the centenary of Poland regaining independence with the concert series “Written in Free Poland”) is the composer’s last completed work. It was dedicated to the same highly regarded US orchestra that had premiered to great success his Symphony No. 4.

The audience of this inaugural concert will witness the world premiere of Eugeniusz Knapik’s Blessing Gentle Breeze, composed specially for this occasion. The music sets the opening verses of the English Romantic poet William Wordsworth’s monumental autobiographical work. As a member of ‘Generation ‘51’ (with Andrzej Krzanowski and Aleksander Lasoń) and protagonist of the much discussed 1970s’ festival in Stalowa Wola, Knapik led Polish new music from the avant‑garde to New Romanticism. Associated since his studies with Katowice’s Academy of Music, he made his debut here, at Warsaw Philharmonic (1974).

The turn of the 19th century was a difficult time for Rachmaninov. When – encouraged by his early successes – in 1897 he presented to St Petersburg audience his ambitious Symphony No. 1, its performance was followed by a deluge of malicious critical comments. The composer suffered from a long period of depression as a result and nearly gave up composing altogether. But love for Natalya Satina as well as the innovative methods of his therapist Nikolai Dahl helped him overcome this state. Piano Concerto No. 2 (1900), dedicated to Dahl, was received enthusiastically and opened a new period in the composer’s oeuvre. The Concerto, emblematic of his style, combines an extraverted type of expression, the beauty of broad melodies in the Russian spirit, dense saturated orchestral writing and a brilliant virtuosic piano part. The C Minor Concerto is one of the most spectacular pieces not merely of its own time, but in the entire history of this genre.

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