HAYDN | BEETHOVEN | MENDELSSOHN

Concert will be broadcasted online, without an audience

10 October 2020, 8:00 p.m.
Witold Lutosławski Concert Studio of Polish Radio in Warsaw

Programme:
Joseph Haydn – Symphony No. 95 in C minor
Ludwig van Beethoven – Piano Concerto No. 1 in C major, Op. 15
Felix Mendelssohn – Symphony No. 4 in A major, Op. 90 “Italian”

Performers:
Krzysztof Książek | piano
Jerzy Semkow Polish Sinfonia Iuventus Orchestra
Antoni Wit | conductor

phot. Juliusz Multarzyński

Joseph Haydn thanked the citizens of London for his extremely warm welcome during his two visits to this city (1791–1792 and 1794–1795) with a monumental cycle of twelve symphonic masterpieces called the “London Symphonies”. All of them, except for the 95th Symphony in C minor (the only minor one in the cycle), start with a slow and free introduction. Other features they have in common include a significant share of variation technique in slower parts, increased role of finales and, last but not least, strictly disciplined and logical form. The London Symphonies, next to the great triad of Mozart’s last symphonies, represent the essence of musical Classicism as a style characterised by excellent balance of all the elements of the work’s technique and expression. Haydn must have been aware that it was a “cherry on top of the cake”. Although it was not his last say in the area of composition and he was soon to delight the world with his oratories, he did not write a symphony ever again.

The date of Beethoven’s Concerto No. 1 in C major, op. 15, is not clear-cut. First sketches were probably created in Bonn. The piece might have been performed during Beethoven’s second public performance in December 1795 in Vienna. The work differs in terms of stylistics from Piano Trios, op. 1, or from sonatas, which feature more elements characteristic for Beethoven. In this case, these elements are hidden behind musical convention typical for a virtuosic piece that was to appeal to everyone. However, there is a number of newer elements; the pathos and power of “military” motifs in the 1st part also exceeds convention. The elegant and lyrical 2nd part contrasts with the merry and humorous (sometimes even plebeian and ribald) rondo in the finale. The solo part will be performed by Krzysztof Książek, one of the most prominent representatives of his generation, semi-finalist and winner of two additional awards in the 17th International Chopin Piano Competition in Warsaw (2015) and winner of the 3rd prize and a special award for the best performance of mazurkas in the 1st International Chopin Competition on Period Instruments (2018).

The beauty and historical heritage of Italy has inspired innumerable pieces composed by both Italian and foreign artists. One of the latter was 20-year-old Felix Mendelssohn who started writing his 4th symphony in Venice, and, in a letter sent from Rome to his sister, wrote: “This is the merriest piece I have ever composed, especially the finale.” He finished it in Berlin, after his return, but was never fully satisfied with it. He kept correcting it and planned to revise it extensively (which did not happen). Finally, he did not even have it printed (it was published after his death as Symphony No. 4, although it was in fact third); the audience, however, did not share the composer’s reservations and has always adored this cheerful and radiant piece. The piece is devoid of a coherent literary scheme. Its Italian spirit is merely conventional, although, obviously, the name suggested by the author himself provoked various interpretations. The energetic first part, starting with a bold, cheerful and very characteristic theme (inspired by Italian folk melodies), was interpreted as an expression of enthusiasm towards the beauty of the southern country, and the diversity of travelling experiences. The most obvious “Italian” element is a very fast finale in the rhythm of saltarello, a dance typical for central Italy.

The concert will be an opportunity to admire the art of one of the most prominent contemporary conductors, Maestro Antoni Wit, an artist with an impressive output (including the recording of over 200 albums published in more than 5 million copies!), whose experience includes leading the most important musical institutions in Poland and abroad for many years. [Piotr Maculewicz]

Media patronage: Polskie Wydawnictwo MuzyczneTVP KulturaPrestoPolskie Centrum Informacji Muzycznej

Organiser: Jerzy Semkow Polish Sinfonia Iuventus Orchestra
The organiser reserves the right to change the programme or the performers of the concert.