Name: Symphonic Concert Szymczewska – Runtz
Start: 2024-03-22T00:00:00.000Z
End: 2024-03-22T00:00:00.000Z
Location: Nowa Miodowa

Organization

Admin

Polska Opera Królewska

Conductor

Dawid Runtz

Instrumentalist

Violinist

Agata Szymczewska

Violin

Orchestra

Polish Royal Opera Orchestra

Symphonic Concert / Szymczewska – Runtz

Warsaw

Poland

Nowa Miodowa

Concert Hall

Public

Egmont, op. 84

Violin Concerto No. 4 in D major, K. 218

Jupiter Symphony - Symphony No. 41 in C Major, K 551

Rahul Karaguppi

Approved

Symphonic Concert / Szymczewska – Runtz: Egmont, op. 84 Beethoven (+2 More)

You will hear my music for Egmont. While reading this work, I experienced and thought it through as deeply and wholeheartedly as you, and I tried to express it in music”. This is what Ludwig van Beethoven wrote in 1809 to Johann Wolfgang van Goethe – the author of the tragedy about the fate of the fearless count, the Duke of Guvre. The dramatic characters and the uncompromising stance towards the national cause are already present in the first notes of the famous overture. The heroic E-flat major chord and the chords that follow majestically resound in the low register, constituting only a preview of the highly expressive musical illustration.

An entirely different kind of expression can be heard in Wolfgang Amadeus Mozart’s Violin Concerto KV 218. In this light and melodious piece, the young composer does not shy away from playful musical antics. Familiar with Italian concert practice and the French love of dance, the composer distills these traditional elements through the filter of his unique sensitivity. The excellent use of the range of the solo instrument adds charm – after all, the concerto was composed in 1775 in Salzburg, where Mozart served as concertmaster of the orchestra at the archbishop’s court. The Symphony in C major closes the program and is the crowning achievement of the Viennese master’s work in this genre. Tenacious, sharp chords contrast with the lyrical melody, and the charm so typical of Mozart goes hand in hand with the finesse of his technical and harmonic solutions. Like a firework, the final Molto Allegro bursts forth, topped with a five-voice fugue coda, in which the familiar motifs intertwine into one inseparable whole as they approach the contrapuntal climax.

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