Inauguration of the 42nd artistic season

11.09., 7:00 pm Symphonic concerto
Concert Hall in CKK Jordanki
Tickets: PLN 30/40
Mariusz Klimsiak – piano
Toruń Symphony Orchestra
Dainius Pavilionis (Lithuania) – conductor


L. van Beethoven – Piano Concerto No. 5 in E-flat major, Op. 73 „Emperor Concerto
P. Tchaikovsky– Symphony No. 4 in F minor, Op. 36

VIVA BEETHOVEN! – The 250th Anniversary of the Composer’s Birth

Ludwig van Beethoven, just like Pyotr Ilyich Tchaikovsky, was a loner. Neither of them could communicate
with the world by means of words. They preferred to speak a universal language – music. Pyotr Ilyich Tchaikovsky’s
Symphony No. 4 in F minor, Op. 36 was taking shape during a very difficult for the composer period, the time of his
short-lived marriage which turned out to be a big failure. During that time, Tchaikovsky suffered greatly and even
attempted suicide. All those traumatic experiences left their mark on his music – on Symphony No. 4, often described
as an autobiographical piece. The composed dedicated it to his best friend and long-time protector – Nadezhda von
Meck, whom he never met in person but with whom he frequently corresponded. For many years, the music of
Tchaikovsky was surrounded by debate as to whether it should be regarded as the programme category and
interpreted in this spirit, or perhaps if the music of one of the most prominent Russian composers should be
allowed to have an independent life of its own. The polemics around the programme character of the music were
justified, since Tchaikovsky tended to shut the programmes of his compositions away in the drawer and carefully
hide their contents from the world for a very long time. However, on 17th February 1827, in a letter to Nadezhda,
he described the content of Symphony No. 4. It was this symphony that the composer liked and valued the most,
which is probably the reason why his own words let us understand this piece best and help us rediscover it all over

The Piano Concerto No. 5 in E♭ major, Op. 73, known as the Emperor Concerto, is Beethoven’s last work for piano
and orchestra. In the creation of the piece, the composer referred to the popular in his time tradition of military
concertos. In this symphonic masterpiece, the piano is in the lead while the orchestra accompanies the solo
instrument with a spirit that is indeed symphonic. As for movement II (Adagio un poco mosso), it shows that Beethoven
was not a stranger to the lyrical category.

Aneta Derkowska, Phd

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