Name: Piotr Anderszewski Katowice Kultura Natura Festival - Nospr
Start: 2017-05-13T00:00:00.000Z
End: 2017-05-13T00:00:00.000Z
Location: NOSPR

Admin

Polish National Radio Symphony Orchestra

Instrumentalist

Paul Lewis

Piano

Singer

Pianist

Piotr Anderszewski / Katowice Kultura Natura Festival - Nospr

Katowice

Poland

NOSPR

Public

Concert

Fantasia in C minor, K.475

Piano Sonata No. 14 in C minor, K. 457

On an Overgrown Path

Three Mazurkas for Piano, Op. 56

Mazurkas, op. 59

Polonaise-Fantaisie, Op. 61

Larissa Andrea Pereira

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Conductor

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

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Orchestra

Orchestra Operations

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Stage Manager

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Wig & Makeup Designer

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Writing and performance

Bass-baritone

Mezzo-soprano

Contralto

Tenor

Baritone

Countertenor

Bass

Soprano

Alto

Child vocalist

Continuo

Silent

Spoken

Musical classicism did not preclude deep emotions, often seen as the realm of  Romanticism. This is convincingly demonstrated by Mozart in his twin pieces: Sonata in C minor, KV. 457 (1784), and Fantasia in C minor, KV. 475 (1785). Both draw from the same source, the musical sense of the tragic. But if the three-movement Sonata is closer to the classical dramatic formula, the “circumlocutory” form of Fantasia – a deeply experienced work, resembling a record of free improvisation – seems to stand for the inevitable, the “deadly circle” much closer to Romantics…

Mozart’s universalism versus romantic fondness for local colour… The music by Leoš Janáček and Frédéric Chopin – regardless of the specific historical context and stylistic differences – has one element in common: deep love for the motherland. For Janáček, it will often be “the small homeland,” not Bohemia or Moravia but… Hukvaldy, where he was born and where he grew. This is where he kept returning, for example in his extraordinary cycle On an Overgrown Path (Po zarostlém chodničku; 1902-11), “a series of memories of his home town Hukvaldy, of his own irretrievably lost youth, and of his poor daughter Olga, who died prematurely” (Jaroslav Vogel). By contrast, Chopin can be strikingly “homely” in his brilliant Mazurkas – “the cannons hidden among flowers” (Robert Schumann) – but in the last Polonaise-Fantaisie, Op. 61 (1846), he unfolds before the listener an amazing panorama of the history and fate of his motherland. And in the final apotheosis, one may find a hint of the words he was to write shortly before his death to Julian Fontana: “at the end of it all there is Poland, magnificent, great, in a word: Poland.”

English

Piotr Anderszewski / Katowice Kultura Natura Festival - Nospr by Mozart, Janáček, Chopin, Nuo (2017/2017), NOSPR, Katowice, Poland

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