NOTE! This site uses cookies and similar technologies.

Like most websites, we use cookies to facilitate online booking and to ensure we give you the best possible experience on our website. If you continue without changing your settings, we'll assume you're happy to receive cookies. You can learn more about changing your settings in our Privacy Policy.

Accept & close
25
March 2021
Thursday
7:00 PM
Red Hall
plac Wolności 1, 50-071 Wrocław

Chopin & Liszt | cancelled

Performers:

Piotr Alexewicz – piano

Programme:

F. Chopin Polonaise in F sharp minor op. 44, Mazurka in C minor op. 24 no. 2, Mazurka in A flat major op. 24, Mazurka in B flat minor op. 24 no. 4, Ballade in F minor op. 52
F. Liszt Les jeux d’eaux à la Villa d’Este S. 163/4 from Années de pèlerinage III, Églogue S. 160/7 from Années de pèlerinage I, Sonetto 104 del Petrarca S. 161/5 and Après une lecture du Dante: Fantasia quasi Sonata S. 161/7 from Années de pèlerinage II

The project is part of the commemoration of the centennial of regaining independence and rebuilding Polish statehood. 

Piotr Alexewicz / fot. archiwum artysty
Piotr Alexewicz / fot. archiwum artysty

There is no doubt that Frederic Chopin and Ferenc Liszt were among the greatest composers and pianists of the Romantic era. However, it would be difficult to find people so different from each other and with different views on musical craftsmanship. This will be illustrated by the works selected by Piotr Alexewicz for his recital.

Although Chopin was considered one of the greatest pianists of his time, he hated performing in public and gave only about thirty public concerts throughout his life. Tickets for them were selling like hot cakes, and it happened even before the official start of sales. The composer, however, preferred to play in salons, surrounded by people he knew, whom he was sure would understand his works well. He most appreciated Pleyel’s pianos, not too loud, but allowing a significant differentiation of timbre. Liszt, on the other hand, was a typical stage animal. He loved performing in large venues, winning the hearts of the audience, and the applause of the hysterical crowd acted on him as an aphrodisiac. He appreciated Erard’s pianos, the instruments that might not be too subtle, but loud.

In an era in love with the idea of correspondence of the arts, Chopin created abstract works. In commenting on them he was very discreet, and passionate about fancy, poetic titles, with which publishers used to label the scores without Chopin’s consent. Liszt loved to compose programme music with commentaries – inspired by painting, literature and events in his own life. For Chopin, the most important thing was the expression, for Liszt, the effect. They were united by the innovative language and love for the musical culture of their native countries. It was the author of the “Revolutionary” Etude in C minor who introduced the stylizations of Polish dances. Five pieces of this type – one polonaise and four mazurkas – will be heard during Alexewicz’s recital. The Ballade in F minor, the last of four ballades by Chopin, is a piano poem full of emotional verve, devoid of extra-musical references, which were often sought in it by others. In the words of Mieczysław Tomaszewski, this ballade “[…] does not imitate anything, it does not illustrate anything. It expresses an experienced world and presents a possible, ideal and imagined world.”

Années de pèlerinage, or “years of pilgrimage”, is a collection of three suites by Liszt. The Hungarian composer referred to the idea of a romantic journey, the aim of which was to seek self-improvement (the literary point of reference here was the Wilhelm Meister by Goethe). The artist’s travels around Switzerland, Italy and France were the inspiration. The individual movements are provided with quotations from Romantic poets, which serve as a kind of motto. Next to the phenomenal, lace-like delicate Les jeux dʼeaux à la Villa dʼEste (“The Water Play at Villa d'Este”), there is a fragment from the Gospel of St. John: “[...] the water that I will give him will become in him a spring of water springing to eternal life.” The Églogue is a vision of an idyllic morning with a quote from Childe Harold by Byron, while the Sonetto 104 del Petrarca is a work inspired by a poem by the famous Italian poet. The evening will be crowned with a performance of the diabolical, dark and effective Après une lecture du Dante: Fantasia quasi Sonata, also known as the “Dantesque Sonata”. In it, the composer showed Dante’s journey through hell in a ghastly suggestive and sonically radical way.

 

Similar events

20
May 2021 | Thursday
Chamber concerts
Chamber Hall
The Garden of Love | cancelled
Bartłomiej Duś & LutosAir Quintet
27
May 2021 | Thursday
Chamber concerts
Chamber Hall
Grand Duo Brillant | cancelled
Art Chamber Duo
17
June 2021 | Thursday
Chamber concerts
Red Hall
Songs Without Words
Camille Thomas / Julien Brocal
24
June 2021 | Thursday
Chamber concerts
Red Hall
Glass Pyramids
Lutosławski Quartet

NFM – City of Wrocław institution of culture co-managed by:

Wdrożenie e-usług w Filharmonii im. Witolda Lutosławskiego we Wrocławiu - etap 2 współfinansowany jest przez Unię Europejską ze środków Europejskiego Funduszu Rozwoju Regionalnego w ramach Regionalnego Programu Operacyjnego dla województwa dolnośląskiego na lata 2007 - 2013 oś priorytetowa 6. Wykorzystanie i promocja potencjału turystycznego o kulturalnego Dolnego Śląska (Turystyka i Kultura), działanie 6.5. Działania wspierające infrastrukturę turystyczną i kulturową.