1. „POLONAISE AND THE MUSIC OF THE SAXON COURT IN DRESDEN AND WARSAW”

Performers

Paulina Tkaczyk – harpsichord

Programme

J. Kozłowski, K. Kurpiński, A. Leopold, J. Elsner, Ch.S. Binder

The programme of this concert consists of the rediscovered forgotten polonaises written by Polish composers from the late 18th century and early 19th century, and of sonata by Christlieb Siegmund Binder (1723 -1789), whose works have also been discovered only recently. Throughout his life, this composer remained linked to the court of  Augustus III - the King of Poland and Elector of Saxony (where he was known as Frederick Augustus II) and his grandson Frederick Augustus III. Binder dedicated some of his works to the latter. He was one of the most prominent pioneers of the new musical aesthetic, originating in the 18th century and leading to the strengthening of the classical style. As Richard Engländer said it: “Binder had the same position in the Dresden cultural circle as Carl Philipp Emmanuel Bach had in Berlin”. This concert’s programme spans the music performed at the courts in Warsaw and Dresden through the polonaise, a kind of music that was wildly popular in Germany, and the works of Binder, which unite these two centres.

Detailed programme


 

J. Kozłowski (1757 – 1831) „Polonoises pour le Clavecin ou Piano-forte”:
- Polonoise in E flat major Op. 5 No. 2
- Polonoise in F minor Op. 5 No. 10
harpsichord
K. Kurpiński (1785 – 1858) „Kapellmeister Kurpiński’s favourite polonaises”:
- Polonaise in B flat major No. 6
- Polonaise in D major No. 7
harpsichord
A. Leopold (XVIII/XIX) „Quatre Polonaises”:
- Polonaise Militaire in D major No. 1
harpsichord
J. Elsner (1769 – 1854) „Trois Polonaises arrangees pour le Clavecin”:
- Polonaise in E flat major No. 2
harpsichord
Ch.S. Binder (1723-1789) Sonata in A minor Op. 1 No. 5 harpsichord

 

2. „SUN CAPTURED IN THE SOUNDS OF SPAIN AND ITALY”

Performers

Ensemble „Finesis Trio”: Katarzyna Puch – soprano, Małgorzata Włodarczyk – guitar and lute, Paulina Tkaczyk – harpsichord

Programme

G.F. Händel, L. Boccherini, T. Giordani, J. Duphly, F. Sor

The programme of the concert reflects the temperament of Italian and Spanish music disguised as musical forms and rhythms. It starts with Spanish songs dating back to the turn of the Renaissance and baroque era, which have recently been discovered in the Library of Catalonia by the „Finesis Trio” ensemble. One piece which is exceptionally interesting in terms of sound and rarely performed is Händel's "No se emenderá jamás", a peculiar Spanish cantata written for a choice of voices and instruments very unusual for its time: soprano, guitar and basso continuo. The lively and virtuoso Fandango and Chaconne – dances originally accompanied in Spain by castanets – represent various facets of music. An interesting point in our repertoire is one of Giordani's six sonatas written for the guitar and basso continuo – a very atmospheric, but at the same time energetic piece. Sor's Seguidillas boleras, short songs tinged with humour and grotesque, touch upon serious matters as well.

Detailed programme

Música Barocca Español Spanish songs soprano, b.c.
G.F. Händel (1685-1759) „No se emenderá jamás” soprano, guitar, b.c.
T. Giordani (ca. 1730-1806) Sonata in C major No. 6 guitar, b.c.
J. Duphly (1715-1789) Chaconne in F major (Troisième Livre) harpsichord
F. Sor (1778-1839) Seguidillas soprano, guitar
L. Boccherini (1743-1805) Introduction and Fandango from the guitar quintet in D major, G 448 guitar, harpsichord

 

3. „CONCIERTO FOR HARP AND HARPSICHORD”

Performers

Agnieszka Kaczmarek-Bialic – harp, Paulina Tkaczyk – harpsichord

Programme

C.Ph.E. Bach, G.F. Händel, J.S. Bach, A. Soler, J.N.P. Royer, A. Vivaldi

The programme of the concert focuses around the baroque era and the subsequent new musical aesthetics. The ideas of Galant style, rococo, Empfindsamkeit and Sturm und Drang permeate one another to create so heterogeneous and yet so coherent pluralism. This wonderful tour around  multicultural Europe leads from Italian expressiveness and ease through the sophisticated and graceful French style and Spanish temperament to appear in its purest form in German music crowned by the splendid work of J. S. Bach as well as the new stylistics, whose prime forerunner was C. Ph. E. Bach.

Detailed programme

C.Ph.E. Bach (1714-1788) Sonata in G major, Wq 139 harp, b.c.
G.F. Händel (1685-1759) Suite in C minor from „Suites de Pièces pour le Clavecin” harp, harpsichord
J.S. Bach (1685-1750) Partita in H minor No. 1, BWV 1002: Sarabanda harp solo
A. Soler (1729-1783) Concierto in G major No. 3 harp, harpsichord
J.N.P. Royer (1705-1755) „La Marche des Scythes” (Premier Livre) harpsichord solo
A. Vivaldi (1678-1741) Concert in G major, RV 532 : Allegro harp, harpsichord

 

4. „THE FOUR SEASONS”

Performers

Ensemble „Cantica Sacra”: Izabela Szlachta-Dowgiałło – violin, Paulina Tkaczyk – harpsichord

Programme

A. Vivaldi

Who does not know Antonio Vivaldi's The Four Seasons? Today it is the most popular and widely acclaimed Vivaldi's composition and a truly timeless work. The series of four concerts, adored in any form, will this time be presented in an innovative version for two instruments: the solo violin and harpsichord in the role of an orchestra. The music, which is the essence of the Italian baroque, charms the listener with a wide spectrum of tones, full of unusually skilled processions and emotions. It delights not only with exceptional virtuosity, but also with the captivating craftsmanship of melodic lines and unusual means of expression. Vivaldi appears as a perfect „natural painter”, who plays with colours and creates the terminology of programme music.

Detailed programme

A. Vivaldi (1678 – 1741) Concert No. 1 „Spring” in E major, RV 269 violin, harpsichord
A. Vivaldi (1678 – 1741) Concert No. 2 „Summer” in G minor, RV 315 violin, harpsichord
A. Vivaldi (1678 – 1741) Concert No. 3 „Autumn” in F major, RV 293 violin, harpsichord
A. Vivaldi (1678 – 1741) Concert No. 4 „Winter” in F minor, RV 297 violin, harpsichord

 

5. „MUSICAL GEMS OF OLD EUROPE: PRE-CLASSICAL AND CLASSICAL MASTERS”

Performers

Ensemble „Musica Graziosa”: Paulina Tkaczyk – traverso flute and harpsichord, Bogumiła Gizbert-Studnicka – harpsichord

Programme

Ch.S. Binder, W.A. Mozart, L. van Beethoven

Thanks to the programme of the concert the audience will familiarise themselves with unique harpsichord and flute sonatas by Christlieb Siegmund Binder, a Dresden composer and instrumentalist, who has been forgotten for the past two hundred years. His works, full of expression and emotion, are extremely virtuoso. On the one hand they are rooted in the baroque era, on the other they display features of transitional and classical styles. As another titbit, the programme features very rarely performed sonatas for four hands by the „Viennese Classicists”: Mozart and Beethoven. The works were written mainly for teaching purposes, but they represent the highest artistic level. The work deserving special attention is Beethoven's sonata for harpsichord. It contains an altered „Fate motif” known from the opening of Symphony No. 5, but of a joyful nature, as indicated by the sonata's D major key.

Detailed programme

Ch.S. Binder (1723-1789) Sonata in G major No. 1 harpsichord, flute
Ch.S. Binder (1723-1789) Sonata in E minor No. 5 harpsichord, flute
W.A. Mozart (1756-1791) Sonata in D major, KV 381 (123a) for harpsichord for 4-hands  harpsichord
L. van Beethoven (1770-1827) Sonata in D major, Op. 6 for harpsichord for 4-hands harpsichord

6. „HARPSICHORD AND PIANOFORTE – SO ALIKE AND STILL...”

Performers

Katarzyna Drogosz – pianoforte, Paulina Tkaczyk – harpsichord and pianoforte

Programme

C.Ph.E. Bach, W.F. Bach, J.Ch. Bach, Ch.S. Binder

Pianoforte and harpsichord – „two brothers”, similar and yet so different... When they are in concert together, complementing each other and exchanging the timbres, they produce a remarkable effect. The programme of the concert, which comprises works by „the great Bach's” sons: Carl Philipp Emanuel, Wilhelm Friedemann and Johann Christian, as well as the Dresden composer Christlieb Siegmund Binder, shows how different styles – galant, rococo, Empfindsamkeit, Sturm und Drang and classical – penetrate one another. Thus it creates stylistic plurality and presents the „transitional period”, full of rapture and surprising twists, in an original way.

Detailed programme

C.Ph.E. Bach (1714-1788) Vier kleine Duetten harpsichord, pianoforte
Ch.S. Binder (1723-1789) Sonata in A minor, Op. 1 No. 5 harpsichord solo
J.Ch. Bach (1735-1782) Sonata in G major, Op. 15  harpsichord, pianoforte
W.F. Bach (1710-1784) Polonaisen, Falck 12 pianoforte solo
W.F. Bach (1710-1784) Concerto in F major, Falck 10 harpsichord, pianoforte

 

7. „J.S. BACH'S SONATAS FOR HARPSICHORD AND VIOLA DA GAMBA”

Performers

Paulina Tkaczyk – harpsichord, Konrad Górka – violoncello piccolo

Programme

J.S. Bach

The concert features works by Johann Sebastian Bach – the greatest artist of the baroque era. They present the stylistic synthesis of the period in its most genius form. The music reveals the beauty and sound capabilities of harpsichord and violoncello piccolo, as well as offers insight into the spirit of this magic era, which was characterised by exceptional love for art. The unusually expressive sonatas display a richness of means of expression and strongly influence the listeners thanks to the mutually balancing instrumental parts.

Detailed programme

J.S. Bach (1685-1750) Sonata in G major, BWV 1027 harpsichord, violoncello piccolo
J.S. Bach (1685-1750) Sonata in D major, BWV 1028 harpsichord, violoncello piccolo
J.S. Bach (1685-1750) Sonata in G minor, BWV 1029 harpsichord, violoncello piccolo

 

8. „FORGOTTEN POLISH BAROQUE MUSIC”

Performers

Aleksandra Zamojska – soprano, Marzena Biwo – baroque violin, Elżbieta Górka – baroque violin, Konrad Górka – baroque cello, Paulina Tkaczyk – harpsichord

Programme

The collection of A.M. of Saxony, E. Brikner, P. Żelechowski, K. Förster jun., J.P. Habermann, M. Wronowicz

The concert starts with a series of polonaises from the collection of Anna Maria of Saxony, which have been preserved in manuscript in Dresden's Sächsische Landesbibliothek. The next work is a vocal-instrumental piece – the Laudate Pueri Psalm by Eryk Brikner – a peculiar speech of sounds, which emphasizes the sense of lyrics. The repertoire gems which follow are Piotr Żelechowski's Fantasia comprising a prelude bearing improvisational traits and a fugue as well as the La Sidon sonata by K. Förster Jr. This five-movement piece is based on contrast of tempo, character and even  line-up. The next work – Aria o św. Matce Annie by Jan Piotr Habermann, an eminent violinist, bandmaster and composer – is an example of intertwining baroque and galant styles. The concert's last piece, which can be found in manuscript in the Jagiellonian Library in Krakow is In Dulci Iubilo by Maciej Woronowicz. It presents not only beautiful progressions, but in the first place the coloratura melodic line, which determines the joyful nature of the text.

Detailed programme

The Collection of A.M. of Saxony A selection of polonaises (second half of the 18th c.) violin, harpsichord
E. Brikner (1705-1760) „LaudatePueri”, Ps. 113 soprano, two violins, b.c.
P. Żelechowski  (ca. mid-17th c.) Fantasia in D minor harpsichord solo
K. Förster jun. (1616-1673) Sonata „La Sidon” two violins, cello, b.c.
J.P. Habermann (the first half of the 18th c.) „Ista, quam laeti” soprano, two violins, cello, b.c.
M. Wronowicz (second half of the 17th c.) „In dulci iubilo” soprano, two violins, b.c.

 

9. „MUSIC IN THE MIRROR OF TIME”

Performers

Magdalena di Blasi – flute, Kamil Skicki – violin, Paulina Tkaczyk – harpsichord

Programme

J. Ibert, J. Vanvinckenroye, J.N.P. Royer, A. Corelli, T. Frączkiewicz-Kirkov, B. Martinů

The works performed during the concert make up a diverse stylistic mosaic, as the programme combines baroque works with contemporary ones. The listener is taken on a journey from the Italian expressiveness and freedom, through the refined and graceful French style of the baroque era, when comparisons between the two nationalities aroused strong emotions due to their everlasting rivalry, to the subsequent eras. And in the maze of the 20th and 21st centuries the listener will find a stylistic mix making use of the neoclassical lightness, brilliance, clear and diverse tone, lucidity and elements of jazz music. All of this reveals the full sound potential of flute, violin and harpsichord.

Detailed programme

J. Ibert (1890-1962) „Deux Interludes” flute, violin, harpsichord
J. Vanvinckenroye (1939-2006) „Gioberney – Suite” flute, harpsichord
J.N.P. Royer(1705-1755) „La Marche des Scythes” Premier Livre harpsichord solo
A. Corelli (1653-1713) Sonata in D minor „Follia”, Op. 5 No. 12 violin, b.c.
T. Frączkiewicz-Kirkov (*1953) „Fantasy” for flute, violin and harpsichord flute, violin, harpsichord
B. Martinů (1890-1959) „Promenades”, H. 274 flute, violin, harpsichord

 

10. „IN THE WORLD OF INSPIRATION – SAXOPHONE AND HARPSICHORD”

Performers

Ignacy Stojek – saxophone, Paulina Tkaczyk – harpsichord

Programme

M. Garson, C. Bolling, J. Vanvinckenroye, P. Iturralde

An exceptional combination of sounds and musical worlds contained in the concert's programme based on musical arrangements and improvisations and drawing from composers representing different eras and styles. The performers, a harpsichordist and a saxophonist – who inspire each other, create a unique atmosphere. They combine the individual pieces into a whole by means of an interesting set of instruments and reaching for jazz music as well, for example in blues or swing stylizations.

Detailed programme

M. Garson (*1945) „Jazz Variations on a Theme of Paganini” saxophone, harpsichord
C. Bolling (*1930) „Rag – Polka” saxophone, harpsichord
C. Bolling (*1930) „Baroque and Blue” saxophone, harpsichord
J. Vanvinckenroye (1939-2006) „Gioberney-Suite” saxophone, harpsichord
P. Iturralde (*1929) „Suite Hellénique” saxophone, harpsichord