Jubilee Concert Celebrating the 80th Anniversary of the Philharmonic in Olsztyn Symphonic concert
The initial ideas for Gustav Mahler’s Symphony No. 2 were already taking shape at the time of the completion and premiere of the First Symphony, yet the work had to wait as long as six years for its first complete performance (1895). During this period, its concept matured and underwent significant transformations. One important impulse was Mahler’s reading of the German translation of Dziady (Forefathers’ Eve) by Adam Mickiewicz (translated by Siegfried Lipiner), which inspired the work Totenfeier, originally conceived as a symphonic poem and later, in a revised version, incorporated as the first movement of the symphony. Its final form was determined by Mahler’s encounter with Friedrich Klopstock’s poem Die Auferstehung (“Resurrection”), performed during the funeral ceremonies of the great conductor Hans von Bülow.
The simple, fervent, and at the same time extraordinarily evocative vision of resurrection profoundly moved the sensitive composer, who was mourning the death of his mentor, and led him to deep eschatological reflection. Its expression became the expansive vocal finale of the symphony, supplemented by Mahler’s own texts and by the reflective song Urlicht from the anthology of German folk poetry Des Knaben Wunderhorn, which proved exceptionally inspiring to many composers. The composer ultimately withdrew the literary program that had originally accompanied the work; nevertheless, in view of the word-driven finale, the meaning of the preceding movements remains clear even without it. The symphony is a musical metaphor of life—its joys and sorrows, moments of exaltation and of triviality. The success of this symphony gave Mahler wings and determined his path as a symphonist—one of the most original in the history of the genre.
The solo parts will be performed by two outstanding singers: Magdalena Stefaniak (soprano) and Ewa Marciniec (alto). Both have in their repertoires acclaimed interpretations of prominent, often title roles from the operatic canon on major stages in Poland and abroad, as well as numerous highly praised performances of oratorio and cantata repertoire. The exceptionally extensive choral part in this work will be performed by combined ensembles from Olsztyn (as many as eight—this Warmian city is renowned for its exceptionally strong choral traditions), together with the Academic Choir of the University of Warsaw and the Chamber Choir of the Academy of Music in Łódź. The performance will be conducted by Alexandr Iradyan, born in Armenia, who has served as Artistic Director of the Warmia and Masuria Philharmonic in Olsztyn since 2024. He studied—also composition and piano—in Yerevan, Brussels, and Berlin, where he is currently a lecturer in conducting and Artistic Director of Sonoris Orchestra Berlin. He also serves as guest conductor of the Armenian National Chamber Orchestra and regularly appears with ensembles in many countries, earning acclaim from audiences and critics alike. This will be his next collaboration with our Orchestra.
