NOSPR / Arming / Fung / Lullabies and symphonic fantasies - NOSPR

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This year, two hundred years from the premiere of Beethoven’s Symphony No. 9, it is worth remembering the Name Day Overture. Initially, it was intended to contain a choir part with the text of Schiller’s Ode to Joy. The final result turned out to be different, yet no less interesting. All the more so, since the background for the piece is to be found in the name day of Emperor Francis I and II and its dedication is one for Prince Antoni Radziwiłł. It is quite a different story with Haydn’s Cello Concerto in D major. It is a popular piece, permanently present in the repertoire, though probably less frequently played than the Concerto in C major. Equally technically challenging and equally virtuosic, but more dreamy and melancholic, its narrative flowing lightly at a leisurely pace. Haydn’s melodies are easy to remember and not easy to forget, just like the theme from a Polish folk song quoted by Panufnik in his Lullaby, a virtuosic piece using quartertones. „A gem of talent, technique and taste” – that was how Stefan Kisielewski marvelled at the composition. Martinů’s Symphony No. 6, which the composer himself called Symphonic Fantasies,might seem both moving and surprising. It brings together modern oniric sounds and distinct neoclassical elements. „It is a work without form, and yet something holds it together, though I do not know what it is,” Martinů admitted openly. One may seek this “something” on one’s own, letting oneself be captivated by this music created by a Czech master who is still to find recognition in Poland.

Piotr Matwiejczuk