{"id":34069,"date":"2024-11-04T11:00:00","date_gmt":"2024-11-04T10:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=34069"},"modified":"2024-11-06T15:01:54","modified_gmt":"2024-11-06T14:01:54","slug":"schonberg-schubert-2","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/schonberg-schubert-2\/","title":{"rendered":"MONIUSZKO \u2013 SCHUBERT \u2013 MAHLER"},"content":{"rendered":"\n

“It is an example of truly romantic expression, extensive and non-obvious form reminiscent of a ballad, and beautiful melody characteristic of the composer” – wrote Ignacy Zalewski about Bajka<\/em> in the composer’s monograph. The fantasy overture – first presented to the public in Vilnius on the 1st of May 1848 – is not without reason one of the composer’s most frequently performed symphonic works. Its narrative character takes listeners on an extraordinary journey through imagined worlds. Although, apart from the meaningful title, there is no narrative program accompanying the piece, the highly suggestive music brings to mind the symphonic poems of Ferenc Liszt.<\/p>\n\n\n\n

Franz Schubert’s Symphony No. 3<\/em>, composed in 1815, is among the early works of the composer, whose life was tragically short. While the distinctly Haydnesque patterns evoke the refined order of a bygone era, within its expression, one can glimpse subtle hints of the transformations in the musical language of the 19th century.<\/p>\n\n\n\n

The second part of the concert will feature eight songs from Gustav Mahler’s cycle Des Kanben Wunderhorn<\/em> published in 1899. The texts – selected from a collection of several hundred folk songs collected by Achim von Arnim and Clemens Brentano – \u201care not masterly poems but granite blocks from which anyone can form what he wishes\u201d, as the composer himself claimed. The author of The<\/em> Symphony of a Thousand<\/em> does not idealize the world presented in them. Mahler combines various texts within a single song, occasionally adding his own verses, and shapes new qualities whose ambiguous character is crafted through musical means. Hence, in military songs, there is a repetitive marching rhythm, as well as drums and wind instruments associated with this theme. In fantastical and satirical songs, on the other hand, a humorous folk stylization dominates, expressed through bourdons, dance rhythms, and even instrumental imitations of animal sounds.<\/p>\n\n\n\n

<\/div>\n\n\n\n

PROGRAM<\/strong><\/h4>\n\n\n\n

Stanis\u0142aw Moniuszko \u2013 Ouverture Bajka<\/em> (The Fairy Tale<\/em>)<\/p>\n\n\n\n

Franz Schubert (1797-1828) \u2013 Symphony No.3 in D-major, D.200 <\/p>\n\n\n\n

Adagio maestoso \u2013 Allegro con brio<\/em> | Allegretto<\/em> | Menuetto. Vivace \u2013 Trio<\/em> | Presto vivace<\/em><\/p>\n\n\n\n

— intermission —<\/p>\n\n\n\n

Gustav Mahler \u2013 Songs from the cycle Des Knaben Wunderhorn<\/em> (selection)<\/p>\n\n\n\n

1. Der Schildwache Nachtlied<\/em>
2. Das Irdische Leben<\/em>
3. Lob des Hohen Verstandes<\/em>
4. Lied des Verfolgten im Turm<\/em>
5. Rheinlegendchen<\/em>
6. Des Antonius von Padua Fischpredigt<\/em>
7. Wo die sch\u00f6nen Trompeten blasen<\/em>
8. Trost im Ungl\u00fcck<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

PERFORMERS<\/strong><\/h4>\n\n\n\n

MONIKA LEDZION-PORCZY\u0143SKA<\/a><\/strong> MEZZOSOPRANO<\/p>\n\n\n\n

WITOLD \u017bO\u0141\u0104DKIEWICZ<\/a><\/strong> BARITONE<\/p>\n\n\n\n

THE ORCHESTRA OF THE POLISH ROYAL OPERA<\/a><\/strong><\/p>\n\n\n\n

MARTA KLUCZY\u0143SKA<\/strong> CONDUCTOR<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n

Duration: approx. <\/p>\n\n\n\n

The seats in the auditorium are not numbered.<\/p>\n","protected":false},"excerpt":{"rendered":"

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