Fantasia is a genre that grows out of creative invention, artistic freedom, and imagination unrestrained by rigid formal boundaries. By its very nature, it is close to the practice of improvisation and to the search for new techniques and forms of expression; it also occupied a special place in the work of early keyboard virtuosos. In the Classical era, it found its most perfect representation in the music of Carl Philipp Emanuel Bach and Wolfgang Amadeus Mozart, whose refined fantasias form the axis of the concert programme. On the one hand, they pay homage to tradition; on the other, they look towards the future, creating a space for exploring the richness of expressive, harmonic, and ornamental possibilities offered by keyboard instruments.<\/p>\n\n\n\n
Between the fantasias, we will hear works by Johann Sebastian Bach and Joseph Haydn. The Ricercar a 3<\/em> by the Leipzig cantor opens the Musikalisches Opfer<\/em>, one of the composer\u2019s last works, written at the inspiration of King Frederick II of Prussia and dedicated to him. The musical theme supplied by the monarch first became the basis of an improvised fugue and, subsequently, of a collection of pieces demonstrating the master\u2019s supreme polyphonic craftsmanship. The program is completed by Joseph Haydn\u2019s Sonata in C minor, finished in 1771. The first work to which the composer gave the title of a sonata captivates with its intensity of expression, dynamic variety, and refined musical form.<\/p>\n\n\n\n Marta Dziewanowska-Pachowska<\/p>\n\n\n\n <\/p>\n\n\n\n Carl Philipp Emanuel Bach (1714\u20131788) \u2013 Fantasia in C minor, Wq 63\/18<\/p>\n\n\n\n Johann Sebastian Bach (1685\u20131750) \u2013 Musikalisches Opfer<\/em> BWV 1079 \u2013 Ricercar a 3<\/em> <\/p>\n\n\n\n Wolfgang Amadeus Mozart (1756\u20131791) \u2013 Fantasia in D minor, K. 397<\/p>\n\n\n\n Joseph Haydn (1732\u20131809) \u2013 Sonata in C minor, Hob. XVI:20<\/p>\n\n\n\n I. Moderato Carl Philipp Emanuel Bach (1714\u20131788) \u2013 Fantasia in F-sharp minor, Wq 67<\/p>\n\n\n\n MARCIN \u015aWI\u0104TKIEWICZ <\/strong>HARPSICHORD<\/p>\n\n\n\n Duration: approx. 1 h (no intermission)<\/p>\n\n\n\n The seats in the auditorium are not numbered.<\/p>\n","protected":false},"excerpt":{"rendered":" Fantasia is a genre that grows out of creative invention, artistic freedom, and imagination unrestrained by rigid formal boundaries. By its very nature, it is close to the practice of improvisation and to the search for new techniques and forms of expression; it also occupied a special place in the work of early keyboard virtuosos. […]<\/p>\n","protected":false},"author":15,"featured_media":16118,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[127],"sezon":[123],"class_list":["post-44911","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","cykle-4th-festival-in-tempore-regum-music-in-the-time-of-kings","sezon-2026-2027"],"acf":[],"yoast_head":"\nPROGRAM<\/h2>\n\n\n\n
II. Andante con moto
III. Allegro<\/p>\n\n\n\nPERFORMER<\/h2>\n\n\n\n
\n\n\n\n