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Filharmonia Narodowa: przesłuchania na stanowisko Muzyk Solista–Zastępca Koncertmistrza (I Skrzypce – Pełny Etat)

FNFilharmonia Narodowa ogłasza przesłuchania na stanowisko Muzyk SolistaZastępca Koncertmistrza (I Skrzypce – Pełny Etat). Przewidywany termin przesłuchań: 25 maja 2020 g. 9:00 – I etap oraz 26 maja 2020 g. 16:00 – II etap.

Organizator prosi o złożenie podania oraz życiorysu artystycznego w Sekretariacie Filharmonii Narodowej – pok. 109, pocztą na adres: ul. Jasna 5, 00-950 Warszawa, faksem: 22 55 17 200 lub pocztą elektroniczną na adres: This email address is being protected from spambots. You need JavaScript enabled to view it. w nieprzekraczalnym terminie do 11 maja 2020.

Wskazane jest doświadczenie w specjalności skrzypce solista. Filharmonia zastrzega sobie prawo zaproszenia na przesłuchanie wybranych kandydatów. Osoba zakwalifikowana do przesłuchania otrzyma indywidualne zaproszenie, zawierające szczegółowe informacje. Filharmonia zapewnia akompaniatora /strój fortepianu a 442 Hz/ – niezbędna jest informacja, które koncerty skrzypcowe wybiera kandydat.

Program do przesłuchań: 1. W. A. Mozart – Koncert skrzypcowy D-dur KV 218 lub A-dur KV 219, I cz. z kadencją J. Joachima; 2. Koncert skrzypcowy I cz. z kadencją do wyboru: Czajkowski, Beethoven, Brahms, Sibelius, Wieniawski (Nr 1 fis-moll i Nr 2 d-moll), Karłowicz lub Szostakowicz (I koncert, I i II cz. kadencja); 3. J. S. Bach – 2 kontrastujące części lub Tempo di ciaccona na skrzypce solo BWV 1001-1006; 4. Sola orkiestrowe: Rimski-Korsakow – Szeherezada J. S. Bach – Msza h-moll R. Strauss – Ein heldenleben Szostakowicz – Symfonia nr 6 Beethoven – Missa solemnis; 5. Fragmenty orkiestrowe: W. A. Mozart – Wesele figara, uwertura Karłowicz – Stanisław i Anna Oświecimowie Beethoven – Symfonia nr 6, scherzo, takty 1-84 Prokofiew – Romeo i Julia, śmierć Tybalda Schumann – Symfonia nr 2, scherzo, takty 1-97.

W dokumentach rekrutacyjnych należy zamieścić następującą klauzulę: Wyrażam zgodę, aby Filharmonia Narodowa, ul. Jasna 5, 00-950 Warszawa, przetwarzała moje dane osobowe, umieszczone w dokumentach przedstawionych przeze mnie podczas procesu rekrutacji w celu przeprowadzenia przesłuchania. Wiem, że w każdej chwili mogę cofnąć udzieloną zgodę. Wiem, że cofnięcie zgody nie wpływa na zgodność z prawem przetwarzania, którego dokonano przed cofnięciem zgody.

Więcej informacji można uzyskać w Sekretariacie Filharmonii Narodowej, tel. 22 55 17 102 lub 103.

ZAŁĄCZNIKI: Materiał orkiestrowy na przesłuchania; Obowiązek informacyjny dla Kandydata

Professor Hieronim Feicht Awards 2019 granted!

Feicht

On 28 February 2020 the Jury of the Professor Hieronim Feicht Competition awarded the authors of musicological works written in 2018–2019.

The ex aequo award went to Marek Bebak for the book Franciszek Lilius. Życie i twórczość na tle epoki, Krakow 2018 and Weronika Nowak for the work „Outis” i „Cronaca del Luogo” Luciana Beria w perspektywie kategorii przestrzeni performatywnej i heterotopicznej (unpublished doctoral dissertation, UAM Poznań 2019).

The Jury of the Competition decided to award three honorable mentions:

Jolanta Bujas – Twórczość Antoniego Milwida (1755–1837) w kontekście działalności kapeli kanoników regularnych w Czerwińsku (unpublished master's thesis, IM UJ, Kraków 2019); Marta Dziewanowska-Pachowska – Dzieło w ruchu. Instalacje dźwiękowe Zygmunta Krauzego, Krzysztofa Knittla i Marka Chołoniewskiego (unpublished doctoral dissertation, IM UW, Warsaw 2018); Hubert Szczęśniak – Działalność jawnych instytucji muzycznych w okupowanym Krakowie: 1939-1945 (unpublished master's thesis, IM UJ, Kraków 2019).

We warmly congratulate all  the winners!

„Polski Rocznik Muzykologiczny” 2019: Przeszłość w muzyce – muzyka wobec tradycji

PRMTematem przewodnim „Polskiego Rocznika Muzykologicznego” 2019 (t. XVII) jest „Przeszłość w muzyce – muzyka wobec tradycji”.

W dziewięciu artykułach, będących pokłosiem 47. Ogólnopolskiej Konferencji Muzykologicznej ZKP, która odbyła się w dniach 25–27 października ubiegłego roku w Instytucie Sztuki Polskiej Akademii Nauk w Warszawie, zróżnicowana grupa autorów analizuje różne formy obecności muzyki przeszłości w kulturze wszystkich muzycznych epok oraz bada relacje muzyki do tradycji reprezentowanej przez rozmaite gatunki muzyczne, ośrodki i regiony czy grupy społeczne. Na tom składają się ponadto dwa artykuły dotyczące prowadzonych współcześnie w Polsce badań historyczno-muzycznych oraz komunikat zawierający uzupełnienia i poprawki do opublikowanego w „Polskim Roczniku Muzykologicznym” z 2012 roku artykułu (wraz z katalogiem) na temat gdańskiej tabulatury lutniowej D-B Danzig 4022 z początku XVII wieku. Osobną sekcję „Rocznika” tworzą dwa teksty (w języku angielskim) dotyczące historii Sekcji Muzykologów ZKP i najważniejszych zakresów jej 70-letniej działalności, które były prezentowane na konferencji pt. „Musicological Societies as Intermediaries between Society, Musical Life and Academia” zorganizowanej w listopadzie 2018 roku w Utrechcie z okazji 150-lecia istnienia holenderskiego Królewskiego Towarzystwa Historii Muzyki, najstarszego stowarzyszenia muzykologicznego na świecie.

Publikacja została sfinansowana ze środków Ministerstwa Nauki i Szkolnictwa Wyższego przeznaczonych na promocję i upowszechnianie nauki na podstawie umowy 730 / P-DUN / 2019.

Od 2019 roku "Polski Rocznik Muzykologiczny" udostępniany jest pod nowym adresem strony internetowej: polskirocznikmuzykologiczny.pl

Warsaw | Oratorio Concert: Beethoven 2020 / Górecki 2020

FN

This year marks the 250th anniversary of the birth of Ludwig van Beethoven, as well as the 10th anniversary of the death of Henryk Mikołaj Górecki. On this occasion, on 28 February 2020 at 7:30 p.m. the National Philharmonic Orchestra and Choir conducted by Bartosz Michałowski will present Miserere and Ad Matrem by Henryk Mikołaj Górecki and the only oratorio in Ludwig van Beethoven's oeuvre – Christ on the Mount of Olives.

Ad Matrem for solo soprano, choir and orchestra from 1972 marks a noticeable turning point in the work of Henryk Mikołaj Górecki, who died ten years ago. A great deal of his music written in the years that followed is – to a greater or lesser extent – religious in tone. Another distinct feature of his post-1972 oeuvre is the use of the human voice, which was absent from his previous pieces. Penned in the memory of his late mother, the evocative Ad Matrem marked the beginnings of a more contemplative-repetitive style, which Górecki went on to fully develop in his famous Symphony No. 3 four years later.

In terms of expression, the monumental Miserere for mixed a capella choir stands even closer to the Symphony of Sorrowful Songs. This piece, which is over thirty minutes long and maintained in a lento tempo, can be defined as “mystical minimalism”.

Ludwig van Beethoven’s only oratorio – Christ on the Mount of Olives – has never been one of the core works in the concert repertoire, but the 250th anniversary of his birth is an ideal occasion to remind audiences of its existence. There are those who claim, perhaps with some justice, that it is not the most outstanding achievement of the composer of the Emperor Concerto; nevertheless it contains several fragments that instantly testify to his genius. Beethoven himself confessed that he composed the oratorio in great haste, and therefore was unable to come up with anything innovative and instead turned to familiar forms from Händel’s and Haydn’s oratorios that he admired. On hearing the piece for the first time, the listener would not be mistaken in thinking that he is dealing with some kind of early-Romantic German opera or even a singspiel by Mozart! After all, it features the rhythm of marching soldiers, St Peter’s interventions in the form of a rage aria, and many phrases that sound as if they were taken directly from Fidelio.

Press Materials of the Warsaw Philharmonic

More information at: http://www.filharmonia.pl/ 

„Musicology Today” 2019 – Women Composers in Poland

MT

The 16th volume of the "Musicology Today" – a double-blind peer reviewed journal published by the Institute of Musicology, University of Warsaw and the Polish Composer’s Union, has been published. It is entirely devoted to Polish women composers.

“The present volume of “Musicology Today” contributes, on the one hand, to the global trend of ‘feminist musicology’, while on the other it provides us with a unique opportunity to present some outstanding but not always sufficiently well-known Polish women-composers. The seven papers published in the present volume include the profiles of women-composers spanning the period of nearly three centuries, from Maria Antonia Walpurgis (1724-1780) to Justyna Kowalska-Lasoń (b. 1985), a talented Polish composer of the youngest generation.” – wrote Sławomira Żerańska-Kominek in the editorial.

The main objective of „Musicology Today” is to provide an intellectual platform for international scholars and to promote interdisciplinary studies in musicology. The journal publish articles in the fields of historical musicology, ethnomusicology, music theory, and other sub-disciplines of musicology. It distinctly promotes studies on Central and Eastern European music and aims to become a leading musicological journal in this part of the world.

The publication has been financed from the funds of the Ministry of Science and Higher Education allocated for the promotion and dissemination of science under agreement 730/P-DUN/2019.

All the articles are available online at: https://content.sciendo.com/muso 

Olsztyn | With French Mastery

FWM

Two outstanding French soloists – clarinetist Michel Lethiec and flutist Patrick Gallois –  will perform on 28 February 2020 at 7:00 p.m. at the Warmian-Masurian Philharmonic, showoing how the wind instruments have been used in the last two centuries and how extremely different emotions they can convey.

Saverio Mercadante wrote all his flute concerts before he was twenty-two. The classical three-movement Concerto in E minor, Op. 57 requires virtuoso skills from the soloist. The flute part includes beautiful melodies as well as many ornaments, fast chromatic runs, octave jumps and arpeggios. The work is full of classic elegance and grace as well as the pastoral charm that is attributed to the sound of the flute.

One of the iconic works of the 20th century is George Gershwin's opera Porgy & Bess. The clarinet, with its sobbing, full of complaints and also witty tone, became one of the instruments characteristic of the era of traditional jazz, next to the saxophone and trumpet. It is the solo instrument in the opera suite arranged by the French composer Franck Villard.

Double Concerto for clarinet, flute and orchestra by Krzysztof Penderecki is the original arrangement of the Double Concerto for viola, violin and orchestra of 2012. The whole work is based on contrasting lyrical elements (which can be attributed to the flute) and ludic or even demonic elements (which bring connotations with the clarinet tone). The climax of the composition is the solemn Passacaglia.

More information at: https://filharmonia.olsztyn.pl/koncert/z-francuska-maestria/ 

Bydgoszcz | An Evening with Johannes Brahms and Joanna Wnuk-Nazarowa

FP

On 28 February 2020 at 7:00 p.m. The Pomeranian Philharmonic Symphony Orchestra conducted by Kai Bumann will perform works by Johannes Brahms and Joanna Wnuk-Nazarowa. The soloists will be Ewa Marciniec (alt), Krzysztof Polonek (violin, new concertmaster of the Berlin Philharmonic) and Katarzyna Polonek (cello).

The evening will begin with Joanna Wnuk Nazarowa's song Słuchaj, Neronie! for alto and grand orchestra. The solo part will be perform by Ewa Marciniec, a graduate of two faculties of the Music Academy in Gdańsk: Composition and Theory of Music and Vocal and Acting in the class of Zofia Janukowicz-Pobłocka. Thanks to the DAAD scholarship, she continued her post-graduate studies at the Musikhochschule in Stuttgart in the class of Luisa Bosabalian.

The duo of virtuosos recognized in Europe – violinist Krzysztof Polonek, the current concertmaster of the Berliner Philharmoniker, and cellist Katarzyna Polonek – will perform the elaborate Double concerto, Op. 102, the last symphonic work by Johannes Brahms. Krzysztof Polonek has been a member of the Berlin Philharmonic Orchestra since 2009. He studied under Tomasz Tomaszewski at the Akademie der Künste in Berlin, Thomas Brandis at the University of Music in Lübeck and Markus Becker at the Hochschule für Musik, Theater und Medien in Hanover. He received a PhD in musical arts under the direction of Jarosław Pietrzak at the Academy of Music in Wrocław. Katarzyna Polonek studied cello at the University of Music and Performing Arts in Vienna in the class of Angelika May and Wolfgang Aichinger. She teaches cello at the Academy of Music in Poznań.

Finally, the Pomeranian Philharmonic Symphony Orchestra will perform Brahms' Symphony No. 3, Op. 90, which is symbolically referred to as "Brahms' Eroics".

More information at: http://www.filharmonia.bydgoszcz.pl/ 

Gdańsk | Premiere of the new work by Piotr Moss

Moss

The world premiere of According to Memling – a concert for flute, organ and orchestra by Piotr Moss will take place on 28 February 2020 at the Polish Baltic Frédéric Chopin Philharmonic during the concert entitled "Programme and Absolute Music".

The inspiration for the composition was the Last Judgment triptych created by the Dutch painter Hans Memling. The work was commissioned by the Polish Baltic Frédéric Chopin Philharmonic and was written for Łukasz Długosz and Roman Perucki, who will premiere it with the PBP Symphony Orchestra conducted by George Tchitchinadze.

The programme will also include Carl Philipp Emanuel Bach's Symphony in D Major, which opens the cycle of four symphonies for strings and wind instruments written in Hamburg. Symphony No. 2 in D major by Joseph Haydn is relatively less known, but full of surprising moments. The slow movement in D minor is a display of the composer's counterpoint skills, and the whole work ends with an impressive finale. The audionce will also listen to the Romeo and Juliet ouverture-fantasia by Pyotr Tchaikovsky, based on the literary programme.

The concert was included in the „filharmonia / ostrożnie, wciąga!!!” programme, co-organised by the Institute of Music and Dance.

More information at: https://www.filharmonia.gda.pl/

Katowice | "Iskierka" symphonically

NOSPR

The Children's Oncology Orchestra – the only such orchestra in the world – is back in a new setting and place. On 27 February 2020 at 6:00 p.m. at the Polish National Radio Symphony Orchestra Concert Hall, listeners will enjoy a large dose of fairytale and film music in an absolutely new performance under the direction of Krzesimir Dębski.

Operating since 2006, the Iskierka Foundation has proven that during the oncological treatment children can do incredible and completely crazy things. The organisation founded the Children's Oncology Orchestra, headed by Piotr Sutt. Small patients of hospital wards and their carers received a chance to become artists for one day.

This time the Children's Oncology Orchestra will perform with the Polish National Radio Symphony Orchestra under the baton of Krzesimir Dębski. We will listen to the music of this amazing artist from the movies Gwiezdny Pirat and W pustyni i w puszczy as well as composition from the film Akademia Pana Kleksa written by Andrzej Waldemar Korzyński and Krzysztof Bohdan Grabowski. The instrumentalists will be accompanied by the Choir of Space Creators (Anbud and friends), i.e. the donors of the foundation in a completely unusual role. The most famous songs from animated movies will be performed by Studio Accantus, Anna Jurksztowicz, Czesław Mozil, Paulina Przybysz, Daria Zawiałow and Ania Brachaczek.

The concert, which shows that you can create a musical event with high artistic value and with incredibly positive energy with oncologically ill children, will be hosted by Mirosław Neinert, Szymon Majewski and Jarosław Boberek. The total income from the event will be allocated to support the activities of the Iskierka Foundation.

Media patronage: Polish Music Information Centre POLMIC.

Full programme available at: https://nospr.org.pl/pl/kalendarz/iskierka-symfonicznie