Tickets: PLN 30–40
fot. Caroline Doutre
fot. Caroline Doutre
Tickets: PLN 30–40
Anne Queffélec piano
Johann Sebastian Bach Chorale Prelude Nun komm, der Heiden Heiland (Saviour of the Heathen, Come) BWV 659 (trans. Ferruccio Busoni) [5’]
Alessandro Marcello Adagio (mov. II) from the Oboe Concerto in D minor (trbd. Johann Sebastian Bach, BWV 974) [5’]
Domenico Scarlatti Sonata in D minor, K.32 [3′]
Antonio Vivaldi Largo (mov. II) from the Concerto for Two Violins and Cello in D minor (trbd. for organ by Johann Sebastian Bach,
BWV 596) [3’]
Frédéric Chopin Nocturne in G minor, Op. 15 No. 3 [5’]
Georg Friedrich Händel Minuet (No. 4) from Suite No. 1 in B-flat major, HWV 434 (trbd. Wilhelm Kempff) [4’]
Frédéric Chopin Nocturne in G major, Op. 37 No. 1 [5’]
Johann Sebastian Bach Chorale Jesu, Joy of Man’s Desiring from the cantata Herz und Mund und Tat und Leben (Heart and Mouth
and Deed and Life), BWV 147 (trbd. Myra Hess) [4′]
Claude Debussy La Cathédrale engloutie (The Sunken Cathedral, No. 10) from Book I of the Préludes [5’]
Erik Satie Gymnopédie No. 1 [4’]
Claude Debussy
Des pas sur la neige (Footprints in the Snow, No. 6) from Book I of the Préludes [4’]
Clair de lune (Moonlight, No. 3) from the Suite bergamasque [5’]
Frédéric Chopin Berceuse in D-flat major, Op. 57 [5’]
Claude Debussy Reflets dans l’eau (Reflections in the Water) from Book I of Images [5’]
To write a four-movement symphony or a three-act opera – now that’s something! Critics then praise the composer’s “mastery of form” and “full use of the material’s potential.” No one doubts that the author has put in a lot of hard work. But who knows if it isn’t harder to compose a good miniature? To convincingly present a musical idea, a mood, an emotion, or an image in just a few minutes – and without lyrics? To shape the form so that – despite its short duration – it is satisfying? Instrumental miniatures sometimes originated as exercises (after all, what student enjoys long etudes?), some from functional genres such as dances or chorale preludes, while others were created precisely as a form of musical poetry – capturing an ephemeral thought or impression. The latter group includes most Romantic and Impressionist piano miniatures, such as Frédéric Chopin’s nocturnes or Claude Debussy’s two books of Preludes, each of which conveys a painterly image – the bells of an underwater cathedral or footprints in the snow are just two examples. And sometimes we are surprised to discover that some of the compositions, which are generally regarded as stand-alone works, are in fact movements of multi-part concertos, suites, or cantatas – yet something so appealing was found in them that they have far surpassed their sources in fame.
– Dominika Micał (pisanezesluchu.pl)
