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Polish National Radio Symphony Orchestra Katowice

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On Friday, 14 October, at 7.30 p.m., the Polish National Radio Symphony Orchestra in Katowice will inaugurate another artistic season. The first concert for season-tickets holders will be conducted by the band leader of the NOSPR, Jacek Kaspszyk, and the highlight of the evening will be the first performance of Wojciech Kilar's Piano Concerto No. 2.
The solo part of the premiere work will be performed by Beata Bilińska, 1st prize winner at the Rina Sala Gallo Competition in Monza and finalist of The Feruccio Busoni Competition in Bolzano, Italy.
Katowice music lovers and listeners to Programme 2 will also have an opportunity to hear Franz Schubert's Symphony No. 4 and the symphonic poem Death and Transfiguration by Richard Strauss.
Symphony No. 4 in C minor, written in 1810, is entitled Tragic, although one can find in it sadness or a romantic melancholy rather than tragedy. Schumann, who found the work in 1846, objected the term himself, nevertheless, the title remained, undoubtedly because the exalted and tragic C minor key assumed for the work. Schubert, a brilliant author of songs and short compositions for the piano, in his lifetime, in spite of his ambitions, was not appreciated as a symphonist. Only the next generations discerned the value of the composers great forms. Although the multitude of the composer's ideas did not favour the thematic development and uniformity of their formal structure, the romantic atmosphere and the type of the melodics gave the works a subtle charm and individual traits. Critics unanimously point to the interesting synthesis of stylistic features of Vienna symphonists: Haydn's ludicity, Mozart's singsong melodics and monumentality of Beethoven's formal assumptions.
Richard Strauss' symphonic poem Death and Transfiguration is an artistic manifesto in which the composer presents, as he writes himself, "the hour of death of a man who have strived to achieve the highest ideals, i.e. probably an artist". The same programme is included in the poem by Alexander Ritter, a friend of Strauss', as placed on the first page of the score – this time music inspired the poet and not opposite way round. The ideological significance of the work, as conformable with pessimistic philosophical trends so fashionable at the end 19th century, made the poem very popular whereas its music – the melodics combined with ingenious rhythmic, instrumentation and formal clarity enhancing the realistic precision which the composer employed to render the suffering of the dying man – made it the most impressive of all of Strauss' works.

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