Among the many events scheduled for the year celebrating the 100th anniversary of regaining Poland’s independence, especially noteworthy is the Concert of First Performances that will take place on 1 December 2018 in the Witold Lutosławski Concert Studio of Polish Radio.
Szymon Bywalec will conduct two first performances commissioned by the Sinfonia Varsovia Orchestra under the “Composer Commissions” programme implemented by the Institute of Music and Dance.
Apart from a purely musical dimension, Maciej Zieliński’s “Time Capsule” also involves an educational aspect. In his work, the composer intends to guide the listener through various periods in history, at the same time presenting the diversity of sounds capable of being produced by an orchestra. Extant works of music show that similar ideas have resulted in the creation of exceptionally attractive, original compositions, with Benjamin Britten’s “The Young Person’s Guide to the Orchestra” being a prime example. The broad artistic experience of Maciej Zieliński, composer of chamber, symphonic, film and popular music leads one to surmise that his “Time Capsule” will be a work to creatively combine various traditions and composition techniques.
The direct inspiration for the other commissioned work is the 100th anniversary of regaining of Poland’s independence. Grzegorz Duchnowski’s “Polonia Resurrecta” will be a symphonic poem for large orchestra in four parts. The symphonic poem in Polish music has often served to express admiration of the Polish landscape (“Steppe”), legends („Stanisław and Anna Oświecim”) and deeds of historical figures (“Nicolaus Copernicus”). With the works of Noskowski, Karłowicz, Szabelski and Kilar in mind, Grzegorz Duchnowski is correct in choosing the symphonic poem as the best form to celebrate this solemn national anniversary.
Even though Duchnowski’s and Zieliński’s works seem to draw on completely different sources of inspiration, they are linked by the joint purpose of stimulating Polish culture from an educational and panegyrical point of view.
Partly financed by the Ministry of Culture and National Heritage under the “Composer Commissions” programme implemented by the Institute of Music and Dance