Program 2 August 2005  

19.30 Symphonic Concert

Warsaw Philharmonic Concert Hall

Nikolai Lugansky Nikolai Lugansky (piano) - Russian pianist - soloist and chamber musician, has won pizes in several international competitions. more »

 

 

Warsaw Philharmonic Orchestra Warsaw Philharmonic Orchestra

 

Antoni Wit Antoni Wit (conductor) - Polish conductor and composer, managing and artistic director of the Warsaw Philharmonic. more »

 

PROGRAMME:

Wolfgang Amadeus Mozart

  • Piano concerto in E flat major, KV 271

[intermission]

Fryderyk Chopin

  • Piano concerto in F minor, Op. 21

[BIS]

Fryderyk Chopin

  • Etude in F major, Op. 10 No. 8 Op. 10 No. 8

About the programme [+]

Fryderyk Chopin – Piano Concerto in F minor, Op. 21

Robert Schumann, an enthusiast of the talent of Fryderyk Chopin and one of those who helped reveal that talent to the world, once said that if a genius like Mozart appeared in the nineteenth century, he would compose piano concertos like Chopin, rather than Mozart. In so saying, Schumann was not only paying tribute to his outstanding peer, but also (as indeed he often did) pointing to the peculiar way in which Chopin’s two concertos combine classicism with romanticism, and even more so classicism with style brillant. Chopin’s concertos, especially the earlier Concerto in F minor, Op. 21, have something of the Mozart idiom about them, not just in the characteristic way in which the form is reshaped, but also certain echoes of Classical sonorities, light and airy, and a logical calm – alongside the moments of agitation and perturbation and the flashes of virtuosity.

The tripartite design of the F minor Concerto – essentially atypical, since instead of the traditional movements of allegro, adagio and presto we have maestoso, larghetto and vivace – undoubtedly reaches its climax in the middle Larghetto, imbued with sweetness, written under the sway of Chopin’s youthful love for Konstancja Gładkowska. Termed Chopin’s first ‘nocturne’, the Larghetto precedes a march-like Maestoso, now dramatic, now full of lyricism, whilst the third movement Vivace is a kujawiak-like rondo, which, thrusting through sonorities occasionally sad and nostalgic, ultimately ends full of joyful energy.

Kamila Stępień-Kutera


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