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Resounds. New Polish Music

10-05-2014 11:38:46 11-05-2014 11:38:46 35 Summary of the event Description of the event Location of the event Organizer Organizer e-mail http://www.facebook.com/events/160427380695693 true DD/MM/YYYY

01.12.2018 Saturday 7:00 p.m.
17.01.2019 Thursday 7:00 p.m.
29.03.2019 Friday  7:00 p.m.
Witold Lutosławski Polish Radio Concert Studio, Warsaw

Does music reflect real life? Or maybe it is art that that resounds in the real world? Which events around the world resonate most strongly in the consciousness of contemporary artists? The Sinfonia Varsovia Orchestra invites listeners to a series of concerts titled “Resounds. New Polish Music”. Three concerts will present first performances of new works and pieces that show a wider context to the issues involved. What’s more, before each concert the composers and special guests will meet the audience to tell listeners about their music and about how the contemporary world influences their thinking about art and the composing process.

“Resounds. New Polish Music” is a series of three concerts that will take place on 1 December, 17 January and 29 March in the Witold Lutosławski Concert Studio of Polish Radio in Warsaw. We will have an opportunity to hear works commissioned by the Sinfonia Varsovia Orchestra under the “Composer Commissions” programme of the Institute of Music and Dance. The January concert will additionally provide a wider context for newest contemporary music by reaching back to the works of Mieczysław Weinberg on the 100th anniversary of his birth.

A deliberation on time and music will begin at the December concert (01.12.2018, 7:00 p.m.) with Grzegorz Duchnowski’s symphonic poem "Polonia Resurrecta", inspired by the 100th anniversary of regaining of Poland’s independence. Historical references will also provide the foundation of the narrative in the second work receiving its first performance that evening – Maciej Zieliński’s "Time Capsule". In this work the composer will take listeners on a journey through various periods in history, showing how a symphony orchestra was used in each. The programme of the concert will conclude with the Symphony No. 1 by Jan Duszyński, graduate of the New York Juilliard School. His music is not only heard in concert halls, but also in films, including those directed by Władysław Pasikowski – "Pokłosie" and "Jack Strong".

The second concert in the cycle (17.01.2019, 7:00 p.m.) will focus on the same issue – a resonance of the times in which composers live in their music using the music of composers of earlier generations as examples. We will listen to music from the middle of the 20th century – Mieczysław Weinberg’s Cello Concerto and Dmitri Shostakovich’s Ninth Symphony. The reality of the 20th century resonates in works of these two composers with exceptional vividness. In the year of Mieczysław Weinberg’s 100th birthday anniversary, the world of war and totalitarian regimes that resounds in his works seems to be but a distant recollection. However, the universal nature of problems considered in Weinberg’s music will become apparent when confronted with works written by composers who have come to know tragic events of the past only through history books.

The last concert in the series (29.03.2019, 7:00 p.m.) takes us back to newest contemporary music with two first performances. Paweł Mykietyn and Aleksander Kościów are almost exact contemporaries of Maciej Zieliński, Grzegorz Duchnowski and Jan Duszyński. However, each presents a completely different approach to music. Mykietyn has come to be known as the foremost post-modernist of Polish music. His compositions are unmatched in that there are equally artistically sublime and truly nihilistic, surprised by the fact that there is still something new to be said in music. Aleksander Kościów often directs his creative explorations towards tradition, where he looks for inspiration, taking its individual elements to transform in his works. He is equally a composer as he is a literary artist.

In the “Resounds. New Polish Music” series, its organisers wish not only to present contemporary music, but also to highlight the contemporary nature of music – composed today and 50, or even 100 years ago. First performances of new works, meetings with composers and references to history in the repertoire all create a unique picture of dependencies between the world of the arts and the world of matters mundane and major historical and social transformations.

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