Programme

Programme

Henryk Mikołaj Górecki Three Pieces in Old Style [9’]
Edvard Grieg Peer Gynt Suite No. 1, Op. 46 [15’]
I. Morning
II. Ase’s Death
III. Anitra’s Dance
IV. In the Hall of the Mountain King
Fedir Yakimenko Nocturne in D major for string orchestra [4’]
Pablo Sarasate Zigeunerweisen (Gypsy Airs) for violin and orchestra, Op. 20 [9’]
Béla Bartók Romanian Folk Dances, BB 76 [7’]
I. Jocul cu bâta (Stick Dance)
II. Brâul (Waistband Dance)
III. Pe loc (On the Spot)
IV. Buciumeana (Hornpipe Dance)
V. Poarga româneasca (Romanian Polka)
VI. Maruntel (Quick Dance)

Concert description

FREE ENTRY

Programme

Franz Schubert Symphony No. 8 in B minor Unfinished, D.759 [25’]
I. Allegro moderato
II. Andante con moto
Fryderyk Chopin Nocturne in F minor, Op. 55 No. 1 [5’] *
Fryderyk Chopin Prelude in A flat major, Op. 28 No. 17 [4’] *
Charles Gounod Waltz from the 2^nd act of the opera Faust [5’]
Benjamin Britten Soirées musicales, Op. 9 [12’]
I. March
II. Canzonetta
III. Tirolese
IV. Bolero
V. Tarantella

 * arr. for orchestra

Concert description

FREE ENTRY

Programme

Wolfgang Amadeus Mozart Queen of the Night, aria from the opera The Magic Flute, KV 620 [2’]
Antonín Dvořák Měsíčku na nebi hlubokém (Moon high and deep in the sky), aria from the opera Rusalka, Op. 114 [6’]
Manuel de Falla Nights in the Gardens of Spain [23’]
I. En el Generalife (In the Generalife)
II. Danza lejana (Distant dance)
III. En los jardines de la Sierra de Córdoba (In the Gardens of the Sierra de Cordoba)
Hector Berlioz Dream of a Witches’ Sabbath (mov. V) from Symphonie fantastique, Op. 14 [10’]

Concert description

After dark, more can happen. Can you imagine a witches’ sabbath held in broad daylight? The last movement of Hector Belrlioz’s Symphonie Fantastique is, without doubt, dark. One hears it already in the ominous sound of the cellos and double basses. Then comes the famous quote from the Dies Irae funeral sequence, introduced by the sombre tones of the bassoons and the tubas. Together, they form a backdrop against which the bells can really reverberate. Would Mozart’s Queen of the Night join a sabbath? Why not! The dream of vengeance on the high priest Sarastro simmering in her heart is very much in tune with the horrifying dance of Berlioz’s witches.

The night, however, also provides shelter for less scary creatures. Only after dark can Dvořák’s naiad Rusalka share her sorrow and sing her tender song for the Prince. Is the sound of the harp a depiction of the bright light of the all-seeing Moon? And what would the Moon see if it peeked into the gardens of Spain? According to Manuel de Falla, those certainly bustle: lovers meet for their trysts, and there is ecstatic, sensual dancing that only ends at the break of dawn.

Dominika Micał, “Ruch Muzyczny”

Programme

Dream A Little Dream Of Me (mus. Fabian Andre, Wilbur Schwandt, lyr. Gus Kahn, arr. Manon Cousin) [2’]
The Green Moss (mus./lyr. Philip Barkhudarov) [3’]
Bel astre que j’adore (anonymous, 15^th c., arr. Manon Cousin) [2’]
Dance of the Sugar Plum Fairy from the ballet Nutcracker by Pyotr Tchaikovsky (lyr./trb. Pauline Langlois de Swarte) [2’]
Khamei (anonymous medieval theme, lyr./arr. Élodie Pont) [3’]
Durme, durme, mi linda donzella (Sephardic chant, arr. Manon Cousin) [4’]
Lakota Lullaby (mus. Robert “Tree” Cody, arr. Élodie Pont) [5’]
Bejeht mima jeîs (mus./lyr. Manon Cousin) [2’]
Lorelei (mus./lyr. Manon Cousin after Heinrich Heine) [2’]
Sama Yoon, main theme from the film Unpredictable Nature of the River (Les Caprices d’un fleuve, mus. René-Marc Bini, lyr. Pape Dieye, René-Marc Bini, arr. Pauline Langlois de Swarte) [2’]
Clair de Lune from 2 Songs, Op. 46 No. 2 (mus. Gabriel Fauré, lyr. Paul Verlaine, arr. Pauline Langlois de Swarte) [3’]
La reine de cœur (mus. Francis Poulenc, lyr. Maurice Carême, arr. Pauline Langlois de Swarte) [3’]
Les moulins de mon cœur (mus. Michel Legrand, lyr. Eddy Marnay, arr. Élodie Pont) [3’]

Concert description

Programs like this one are hard to come across. In a way, it is a journey through music, both in space and in time. Our guides on that journey will be the Les Itinérantes vocal trio: Manon Cousin, Pauline Langlois de Swarte, and Élodie Pont. Its members met while studying musical theatre, but they came from slightly different backgrounds – jazz, world music, and early music.

Generally, the trio does not perform music as it came to as through original sources. They opt for rearrangements and pair the music with their own lyrics. Sometimes, it is not out of choice but necessity: after all, Les Itinérantes often use ancient, medieval or traditional sources, many of which are incomplete. On other occasions, the reason behind the rework is to make a piece work for a trio, on yet another: to give the music a personal touch.

In their programs, the artists juxtapose numerous kinds of music from different ages: folk and early music, popular compositions, musical pieces, film scores… On top of that, they are in many different languages: French and English, but also Gaelic, Sephardic Ladino, or Georgian. The audience is in for a true day-and-night journey!

Dominika Micał, “Ruch Muzyczny”

Programme

Jean-Philippe Rameau Dance suite from opéra-ballet Les Indes galantes (selection) [7’]
La Danse du Grand Calumet de la Paix
Menuet I
Menuet II
Tambourin I
Tambourin II
George Frideric Handel Sinfonia The arrival of the Queen of Sheba from the 3^rd act of Solomon HWV 67 [4’]
Ennio Morricone Gabriel’s Oboe from the film The Mission [4’]
Roberto Molinelli Four Pictures from New York, Concerto for saxophone and string orchestra [23’]
I. Dreamy Dawn
II. Tango Club
III. Sentimental Evening
IV. Broadway Night

Programme

Powróćmy jak za dawnych lat (mus. Henryk Wars, lyr. Jerzy Jurandot) *
Ach, jak przyjemnie (mus. Henryk Wars, lyr. Ludwik Starski) *
Na pierwszy znak (mus. Henryk Wars, lyr. Julian Tuwim) *
Szczęście raz się uśmiecha (mus. Henryk Wars, lyr. Emanuel Schlechter) *
Tango milonga (instrumental version, mus. Jerzy Petersburski) *
Odrobinę szczęścia w miłości (instrumental version, mus. Jerzy Petersburski) *
Ta ostatnia Sunday (instrumental version, mus. Jerzy Petersburski) *
Umówiłem się z nią na dziewiątą (instrumental version, mus. Henryk Wars) *
Ja się boję sama spać (mus. Jerzy Petersburski, lyr. Andrzej Włast) *
Nie kochać w taką noc (mus. Zygmunt Wiehler, lyr. Jerzy Jurandot) *
Już nie zapomnisz mnie (mus. Henryk Wars, lyr. Ludwik Starski) *
Nasza jest noc (mus. Stefania Górska, lyr. Julian Tuwim) *

* arr. Tomasz Chmiel

Concert description

FREE ENTRY

Programme

Wolfgang Amadeus Mozart Serenade Eine Kleine Nachtmusik KV 525 [16’]
I. Allegro
II. Romance: Andante
III. Menuetto: Allegretto
IV. Rondo: Allegro
Antonín Dvořák Serenade for Strings in E major, Op. 22 [27’]
I. Moderato
II. Tempo di valse
III. Scherzo: Vivace
IV. Larghetto
V. Finale: Allegro vivace

Concert description

Not every serenade has to evoke an image of a wooer singing to his beloved one, a guitar or a mandolin in his hand. Even though Mozart’s Don Giovanni does perform a song like that, the more famous of the composer’s serenades is Eine Kleine Nachtmusik for string orchestra. In Vienna of the olden days, the term used to describe pleasant, light compositions (Mozart’s piece was called “A Little Night Music” for a reason) comprising several movements and performed by small ensembles, often in the open air. On some occasions, they were meant to celebrate important figures, but sometimes (why not!) they were performed to please a beloved person. Mozart’s composition is structured as if it were a miniature symphony: the first movement and the final one are fast-paced. Between them, we hear the lyrical Romanze and the lively Menuetto.

Whereas the most famous part of Eine Kleine Nachtmusik is undoubtedly the first movement, in the case of Antonin Dvořák’s Serenade it is definitely the second. The Czech composer was a true master of exquisite melodies in dance rhythms, as exemplified by the beautiful waltz in question. Still, there is much more to the Serenade: the playful, energetic Scherzo, the soothing, song-like Larghetto, and the surprisingly dramatic opening to the Finale, which then unfolds like a masterful thrilling short piece in its own right.

Dominika Micał, “Ruch Muzyczny”

Programme

Night Music (concert premiere of the album)

Concert description

Contemporary music is not always just about the sounds. Ever more often, composers come up with entire concerts or pieces written with particular venues or circumstances in mind. One of the devices applied here is awaiting the music in dim light: this way, the audience can isolate themselves from visual stimuli and focus entirely on listening. Some artists suggest closing the eyes, other hand out blindfolds, some switch all the lights off. There are even ones who expect the musicians to play in the dark.

Vitalii Kyianytsia’s second solo album includes Night Music, composed during the COVID pandemic and about to be performed live for the first time during La Folle Journée de Varsovie. It is best to experience it in almost entirely blacked-out surroundings, preferably even lying down. The piece, based on improvisation halfway between jazz and contemporary classical, comprises twelve movements. It takes the audience on a journey through a subtle, sometimes mysterious, musical landscape and, most of all, provides comfort. Then comes the last movement that seems to lull us to sleep.

Dominika Micał, “Ruch Muzyczny”