- Tanguy de Williencourt piano
- Marta Maślanka dulcimer
- Jan Peszek actor
- Sinfonia Varsovia
- Marta Gardolińska conductor
Jankiel’s Concert [8’]
Felix Mendelssohn-Bartholdy The Hebrides Overture, Op. 26 [10’]
Robert Schumann Piano Concerto in A minor, Op. 54 [31’]
I. Allegro affettuoso
II. Intermezzo. Andantino grazioso
III. Allegro vivace
Gustav Mahler Funeral Rites (Totenfeier), Symphonic Poem [20’]
The Romantics believed in the power of music, which can transport us to other times and places, express and stir emotions, and build a community of listeners. Jankiel’s Concert from Book XII of Adam Mickiewicz’s Pan Tadeusz illustrates this belief, when the performer paints the glory of the past and hope for the future.
According to the Romantics – word, music, and image work together. This belief found its expression in the heyday of programmatic music that “tells” or “depicts” extra-musical narrative implied by the title or the text attached to the piece. Mendelssohn-Bartholdy’s Hebrides overture will transport us to the Scottish islands and mythical times. The composer also used the Fingal’s Cave title, referring to The Poems of Ossian, the Son of Fingal by James Macpherson. Mickiewicz’s Forefathers’ Eve, Part IV, in turn, inspired Gustav Mahler who composed a symphonic poem, Totenfeier (The Feast for the Dead, which later became the first movement of his Second Symphony).
However, music not only can tell a story, but also function as absolute art, for example in a solo instrumental concerto (like the one by Robert Schumann) performed by great musicians who, like Mickiewicz’s Jankiel, are known for the “skillful handling” (translation by B. Johnston) of the instrument.
– Dominika Micał, “Ruch Muzyczny”