24.07., 7:00 pm – Dancing through the four seasons
Concert Hall in CKK Jordanki / Tickets: PLN 25 (BUY TICKET)

Monika Skruszewicz - violin
Rafał Kleszcz - clarinet
Toruń Symphony Orchestra
Wojciech Pławner - conductor

A. Vivaldi - Four Seasons
W.A. Mozart - Clarinet Concerto in A major KV 622
Kilar - Waltz from The Promised Land
Kilar - Waltz from Trędowata

Every now and again the history of music presents us with works of idiomatic nature -  such emblematic pieces as Antonio Vivaldi’s The Four Seasons - a series of illustrative programme concertos.  Sound painting  - imitazione della natura - gained in popularity considerably in the 17th and 18th centuries. The idea of music expressing some extra-musical meaning was known as early as in the Middle Ages, when various stories were told with the use of sounds and natural phenomena. The Four Seasons implement this aesthetic trend characteristic of the Baroque era in an unobvious way. In his concerts Vivaldi paints natural landscapes on two levels. Within each individual section, the composer creates a certain mood and entrusts this task to the whole ensemble, while the illustration of specific events can be found in the sounds of the solo parts. The programme of each concert was formulated as sonetto dimonstrativo, the individual verses of which are inscribed in appropriate places of the score. It is assumed that the sonnet was written by Vivaldi.

Wolfgang Amadeus Mozart completed his Clarinet Concerto in A major KV 622 a few weeks before his death in 1791, creating a work that was individualistic and independent of the trends of the era. The piece was written for the composer’s friend, an outstanding clarinettist, Anton Stadler. Mozart’s earlier concertos are characterised by virtuosity, yet the concerto in question remains free of any showiness. The essence of the piece is the dialogue between the soloist and the orchestra, which is not intended to dazzle the listener. The enchantment is achieved by completely different means.

Wojciech Kilar’s trademark is film music. The composer’s cooperation with the most eminent directors of Polish and world film industry resulted in the creation of music for over a hundred films. On the list of his greatest hits a special place is occupied by unforgettable waltzes from Andrzej Wajda’s Ziemia Obiecana (The Promised Land) and from Trędowata (The Leper) directed by Jerzy Hoffman. The professional paths of Wajda and Kilar crossed for the first time during the work over the film adaptation of a novel by the Polish Nobel Prize winner - Władysław Reymont, and from that time on they would intersect regularly, like for instance during the production of such films as Kronika wypadków miłosnych (The Chronicle of Amorous Accidents) and Pan Tadeusz (Master Thaddeus). The beautiful and frenetically energetic waltz from the Promised Land is not only a musical symbol of a happy love, but when it appears in disguise, in caricatured instrumentation with dulcimer and snare drum, it heralds an unhappy love, like in Berlioz. The story of an unhappy love of a magnate and impoverished noblewoman is the theme of Helena Mniszkówna’s melodrama Trędowata (The Leper) in Hoffman’s film adaptation. And also this time there is something strangely disturbing about the famous waltz, whose modified version resounds in the finale.


Aneta Derkowska, PhD

There is no intermission in the concert.
The event will take place in accordance with current recommendations and guidelines.

Please read the rules and comply with the GUIDELINES FOR THE CONCERT PARTICIPANTS.
IN CONNECTION WITH THE ONGOING COVID-19 PANDEMIA and completing the statement to be given to you by staff on the day of the concert.