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Chamber Music Concert - Chamber Musicians of Warsaw Philharmonic Present
Event type: Chamber music concert
Hall: Chamber Music Hall
Subscription: K1 - Chamber music concerts
Price: 30 zł
Mikhail Glinka
- Serenade on Themes from Donizetti's Anna Bolena, for piano, harp, bassoon, horn, cello and double bass [20']
Józef Elsner
- Septet in D Major for piano, flute, clarinet, violin, viola, cello and double bass [26']
Intermission [15']
Mikhail Glinka
- Grand Sextet in E-flat Major for piano and string quintet [25']

Due to the indisposition of Ronald Brautigam, the fortapiano part will be performed by Olga Pashchenko.


250th Anniversary of the birth of Józef Elsner


Mikhail Glinka, the father of Russian national music, is associated (in concert guides and dictionaries) mostly with the opera, then with lyrical songs and in the third place – with symphonic works, while his chamber music comes fourth in the order of importance. His output of da camera pieces, mostly written in the early period, includes several works dated to 1830–1832 – the time of his journey to Italy. The composer himself defined their style as sentimento brillante, while his monographers classify them as salon pieces – a very fashionable and much sought‑ after type of music in the bourgeois society of the 1830s.

In Milan Glinka attended the premiere of Donizetti’s Anna Bolena (Teatro Carcano, 26th December 1830) starring the legendary Giuditta Pasta. He was so moved by the performance that he composed a Serenade for six instruments. The presence of the harp and the piano in the score reflects Glinka’s contacts with the family of jurist Branca, whose talented daughters played these instruments. The composer’s Grand Sextet in E Flat Major is the fruit of his acquaintance and fascination with another lady – a talented amateur pianist, daughter of Dr de Filippi.

Also in 1830 Józef Elsner wrote his last chamber piece – the Septet in D Major. The 45-year‑old composer’s powerful‑ sounding, classically constructed work was most likely written for the musical parties in Józef Cichocki’s salon (Leszno Street), which attracted the intellectual elite of Warsaw every Monday afternoon. The host himself was a flutist, while his wife played the piano – both of which are, perhaps not accidentally, included in the make‑ up of the Septet.


Warsaw Philharmonic would like to thank the Fryderyk Chopin Institute for lending the Erard 1856 piano.

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