23 April 2022, Saturday
Time 19:00
The Palace on the Isle in the Royal Łazienki Museum in Warsaw


The song is one of the most representative genres of the Romantic era. Composers of this period eagerly used the opportunity to deliver individualized expression and poetic depth in a condensed form. Interestingly, in Polish works of this type, love themes often carried content related to serving the homeland. Even in the idyllic narratives, there is an image of a free Poland, and in the romantic sighs – allusions to independence. The native musical traditions also played a particularly important role in the creation of Polish songs – they often echo the dance rhythms of the kujawiak, mazurka, oberek, krakowiak or polonaise. Similarly, Ukrainian songs – both from the 19th and 20th century, those written to texts by great poets as well as those of folk provenance – carry a wealth of strong emotions. The evocative images of nature reflect love for the motherland and the intricacies of human fate.

The first part of the program will be filled with works by Polish composers. The idea of ​​creating a Polish repertoire suitable for home music-making had already accompanied Józef Elsner, who in 1803 established the first serial score publication („Wybór pięknych dzieł muzycznych i pieśni polskich” – “A Selection of Beautiful Musical Works and Polish Songs“) of vocal pieces to perform at home. Unlike Elsner, Fryderyk Chopin used the song genre as a space for personal, even intimate confessions. In turn, Stanisław Moniuszko made it his mission to create a song repertoire for an oppressed nation and, with this in mind, he wrote pieces for the consecutive volumes of the “Home Songbook”. Others soon followed in his footsteps – including Ignacy Komorowski, Ignacy Krzyżanowski or Jan Kleczyński.

The second part of the concert will feature compositions by outstanding Ukrainian composers. One of the most notable is Mykola Łysenko, who conducted ethnographic research on native folklore and, contrary to the cultural policy of tsarist Russia in the 19th century, fought to give the Ukrainian language a high status in musical creation. We will also hear compositions by other artists who made considerable contributions to Ukrainian culture, including Denys Siczyński, whose publishing house Muzyczna Biblioteka (“Musical Library”) disseminated works by many Ukrainian composers, Stanisław Ludkiewicz, who promoted the development of higher musical education, and Jakiw Stepowyj, who is considered to be one of the leading representatives of the Ukrainian national school.



Józef Elsner (1769–1854) – Pasterka, text Kazimierz Brodziński
Jan Kleczyński (1837–1895) – Młoda dziewczyna, text Gabryelli
Ignacy Krzyżanowski (1826–1905) – Szumi w gaju brzezina, text Adam Asnyk
Ignacy Marceli Komorowski (1824–1857) – Kalina, text Teofil Lenartowicz
Fryderyk Chopin (1810–1849) – Piosnka litewska, text Ludwik Osiński, after the text of a Lithuanian folk song
Fryderyk Chopin (1810–1849) – Gdzie lubi…, text Stefan Witwicki
Stanisław Moniuszko (1819–1872) – Nawrócona, text Johann W. Goethe
Stanisław Moniuszko (1819–1872) – Dalibógże, text Ignacy Massalski
Stanisław Moniuszko (1819–1872) – Dumka, text Jan Czeczot

Wasyl Barwiński – Prelude in F-sharp major op.1 No 2
Lew Rewucki – Prelude in E-flat major op.7 No 1

Mykoła Łysenko (1842–1912) – Sadok wysznewyj koło chaty, text Taras Szewczenko

Jakiw Stepowyj (1883–1921) – Ne hraj, ne hraj, text Maksym Rylski
Jakiw Stepowyj (1883–1921) – Ne berit` iz zełenoho łuhu werby, text Ołeksandr Ołeś
Denys Siczyński (1865–1909) – Babyne lito, text Marian Gawalewicz, Ukrainian transl. Stepan Czarnecki
Stanisław Ludkewycz (1879–1979) – Tajna, text Ołeksandr Ołeś
Łesia Dyczko (1939) – Ja – choczesz -zaczaruju lis, text Mykoła Rudenko
Tycho Dunaj wodu nese – folk song, arr. Mykoła Łysenko (1842–1912)
Jakby meni czerewyky – folk song, arr. Mykoła Kołessa (1903–2003)
Hadanoczka – folk song, arr. Dezyderij Zador (1912 – 1985)
Oj ne swity misiaczeńku – folk song, arr. Mykoła Łysenko (1842–1912)
Doszczyk – folk song, arr. Mykoła Łysenko (1842–1912)





The seats in the auditorium are not numbered.