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JARZ¢BSKI, basically by the three conductors that coop- ANONYMOUS (16th century), BACEWICZ, GÓRECKI, MOZART erated with it the most, i.e. Menuhin, Pen- Jerzy Maksymiuk, derecki and Volker Schmidt-Gertenbach. CD Accord 1996, CD, In the first three years of the existence of Sin- Frederic Award 1996 fonia, the orchestra played the most frequently Wolfgang Amadeus Mozart’s and Johann Se- bastian Bach’s compositions (two hundred and fifty-six times and ninety-seven times, respectively). Mozart’s symphonies were performed ninety-four: first of all in G Minor K. 550 – thirty-six times, D Major K. 385 (Haffner) – twenty-one times, and A Major K. 201 – seventeen times, but also C Major K. 551 (Jupiter), B-flat Major K. 319, D Major K. 19, and finally C Major K. 425 (Linz). Sinfonia performed divertimentos K. 136, 137 and 138 thirty-eight times, most often the first one in D Major; the serenade Eine kleine Nachtmusik was performed twenty times. Mozart’s piano concertos (then as many as twelve) were played forty times, while violin concertos twenty-two times (including seventeen times Concerto in G Major K. 216). Sinfonia Concertante for Violin, Viola and Orchestra MOZART in E-flat major K. 364 was played nine times and Sinfonia Concertante for Oboe, Clarinet, Symphonies, Virgin Classics, Horn and Bassoon in E-flat Major K. 297b four times. Nearly one hundred performances 1990, CD of Bach include primarily his Violin Concerto in E Major BWV 1042 (played twenty-seven times), in A Minor BWV 1041 (played one time less), Concerto for Two Violins in D minor BWV 1043 (performed thirteen times) as well as Brandenburg Concertos Nos. 2, 3 and 4 (a total of nine performances). The other outstanding representatives of Baroque performed by Sinfonia during their first three years of life included Antonio Vivaldi (works performed fifty-two times, with The Four Seasons played twenty-three times). Vivaldi was followed by Repertoire Arcangelo Corelli (nineteen performances, including thirteen ones of Concerto Grosso Op. 6 No. 8), Georg Friedrich Händel (eleven times, including five performances of Concerto During the first twenty-five years of its activity, Sinfonia played a most diverse repertoire, from Grosso Op. 6 No. 8), Georg Philipp Telemann (works performed ten times). Among the Baroque through contemporary music. Neo-Romantic music was relatively rarely per- Viennese Classics, Mozart was followed by Joseph Haydn, his works performed sixty-five formed, most probably on account of its frequently requiring a large instrumental section. times; his symphonies – No. 42 in D Major, No. 43 in E-flat Major, No. 47 in G Major, No. Not favouring one particular music, Sinfonia displayed some predilection for German com- 58 in F Major, No. 83 in G (La poule) and especially (eighteen times) No. 104 in D Major posers. The performance mastery of the orchestra and its renown allowed it to accept the – were played thirty-five times, the Cello Concerto in C Major twenty times, while the Cello most ambitious challenges. On the other hand, for educational and commercial reasons it Concerto in D Major five times. Ludwig van Beethoven’s works were played thirty also participated in more popular projects as well as, fortunately very seldom, played en- times, with symphonies represented almost solely by Symphony No. 2 (nine perform- tertainment music. ances), and moreover piano concertos (twelve times) and the Violin Concerto (three times). Sinfonia has arrived at its present extensive repertoire gradually, increasing and supplementing At that time Sinfonia played music by Franz Schubert twenty-eight times; it was mainly Sym- its stock, acquiring the collaboration of new conductors and soloists, and being receptive phony No. 5, performed as many as twenty-three times. This was also the number of per- to new expectations on the part of the audiences and the patrons. The initial period was formances of the Symphony No. 4 (Italian) by Felix Mendelssohn, whose works were marked by a predominance of the repertoire inherited after the Polish Chamber Orchestra, played in total thirty-four times. Gioachino Rossini was played sixty-five times, mainly i.e. Baroque, Classical and twentieth-century music. Later on, apart from Mozart and his String Sonata No. 1 (thirty-six performances) and operatic overtures (twenty-seven per- Beethoven, focus shifted to the Romantics. The trends are reflected in repertoire preferences formances). Fryderyk Chopin’s compositions were performed ten times (eight times the of Sinfonia from the first three years of its operation (April 1984–April 1987) and from three Piano Concerto in F Minor and twice Piano Concerto in E Minor). Johannes Brahms was mature years that open up the second half of the described period (1997–1999), influenced not represented. Richard Wagner’s works were played nineteen times (nearly exclusively,

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eighteen times, his Siegfried Idyll). Compositions Moniuszko Halls of the National Theatre in by Pyotr Tchaikovsky were performed twenty- Warsaw. Janusz Ekiert wrote about this event as eight times (including twenty-five performances of follows: the Serenade in C Major), Antonín Dvorˇák – nineteen times (again chiefly thanks to one com- The orchestra ... was lavishly applauded. It was position, Serenade in E Major played eighteen again at its best; the strings are capable of glis- times), Edvard Grieg – nine times (Holberg tening and extend the expressiveness, the digni- Suite). Sixteen concerts included a Serenade for fied sound of the bassoon, horn, oboe, flute, and String Orchestra by Mieczysław Karłowicz. clarinet played by young masters, very beautiful In the first three years of activity, Sinfonia became trumpets and trombones that had fewer oppor- n17 expert in performing selected compositions from tunities to show off. the first half of the 20th century. These were the Introduction and Allegro by Edward Elgar (sev- In addition, the year before, a series of all enteen performances out of twenty Elgar’s works), Beethoven’s symphonies were performed by Simple Symphony and Variations on a Theme of Sinfonia directed by Menuhin successively in Frank Bridge by Benjamin Britten (the former Vienna (Schönbrunn), Montpellier and Paris performed thirteen times, the latter as many as (Théâtre des Champs-Élysées). Piano concer- thirty-eight times, while Britten in general was tos by Beethoven were played nineteen times in played fifty-eight times), Divertimento for a String the years 1997–1999 (especially No. 1 – seven Orchestra by Béla Bartók (thirty performances, times; all five were performed in one series in five times his Music for Strings, Percussion and Ce- July 1998 in Cheltenham with Alfred Brendel lesta). Dmitry Shostakovich’s Chamber Sym- as a soloist), overtures were played as many as ROSSINI BEETHOVEN phony Op. 110 was played twelve times. However, Sinfonia played by far the most often the forty-four times (most often Coriolan – eighteen times). The number of performances of works Yehudi Menuhin, Yehudi Menuhin, Concerto for String Orchestra by Gra˝yna Bacewicz, performed during that time as many by composers of Romanticism increased significantly. Franz Schubert was represented by Sony Music Entertainment 2010 IMG Records 1995, CD, as sixty times. Sinfonia played works by Witold Lutosławski thirty-two times (eighteen one hundred and twelve performances; his symphonies were played more often than (© 1998), CD the second of five records from times – Musique fun¯bre and fourteen times – Preludes and Fugue). Other Polish contem- Beethoven’s – eighty-nine times, but only six were performed, Symphony No. 5 the most fre- the BEETHOVEN porary composers performed a few or up to twenty times at that time were e.g. Marek Sta- quently (thirty-four times), Unfinished (nineteen performances) and Great (eighteen per- 9 Symphonies chowski (twelve times – Divertimento), Andrzej Panufnik (nine – Violin Concerto and formances). Mendelssohn was performed on seventy-six occasions; there were forty-one per- Box Set Arbor Cosmica), Henryk Mikołaj Górecki (seven – Three Pieces in Old Style and Harp- formances of symphonies (Italian – thirty-four times and Scottish – seven times), overture sichord Concerto), Marta Ptaszyƒska (six, primarily La novella d’inverno), and Eugeniusz – The Hebrides – fifteen times, Piano Concerto No. 1 in G Minor – nine. Sinfonia played Knapik (five – Islands). With regard to contemporary music by foreign composers, Sinfo- Chopin twenty-five times, including twenty times the Piano Concerto in E Minor. Brahms, nia took part in the world premiere and then in five successive concerts of the second ver- not represented before, was performed thirty-seven times, including twenty-four perform- sion of Prometeo by Luigi Nono in November 1985 at the Stabilimento Ansaldo in Milan. ances of symphonies, such as No. 1 – nine times and No. 4 – seven times (in 1998 the or- In turn, the orchestra’s repertoire in the years 1997–1999 (comparisons with the initial three chestra twice played all four in one series – in March under Menuhin in the Théâtre des years are adequate since in both these periods Sinfonia gave an almost identical number Champs-Élysées in Paris and in December under Jacek Kaspszyk in Warsaw in the Lu- of concerts, three hundred and thirteen in the first period, three hundred and fourteen in tosławski Concert Studio of Polish Radio). Robert Schumann, whose one work was per- the other) still showed a dominance of Mozart and an almost identical number of perform- formed at the start of the orchestra’s life, was represented six times, including four per- ances of Beethoven’s works; the former’s works were played one hundred and fifty-three formances of the Cello Concerto. The number of works by Dvorˇák (twenty this time, times, the latter’s one hundred and forty-eight. Mozart was represented mostly by the last, including seven times the Serenade in E Major, and six times Symphony No. 9) and Grieg Romantic symphonies: one in G Minor K. 550 (eighteen times) and Jupiter (fifteen times); (seven), were comparable to the first three years. The orchestra performed works by Rossini in total, however, the number of performances of Mozart’s symphonies was nearly twice lower fifteen times (including five performances of the opera Otello in Vienna and five times Sta- than at the beginning of the orchestra’s activity. The same applied to piano and violin con- bat Mater), by Tchaikovsky eleven times (including five performances of the Serenade in certos (the latter group represented by four of them, e.g. with Vadim Repin in the Paris Salle C Major). Johann Sebastian Bach was represented twenty-two times, Vivaldi seven Pleyel in March 1999); divertimentos featured nearly three times less. Beethoven owed times, and Händel twice. Haydn was played twenty-two times, including ten performances his rank mainly to symphonies – the orchestra played them in this second three-year pe- of the Symphony No. 44 in E Minor and eight times the Cello Concerto in C Major. riod sixty-nine times, the most often Symphony No. 7 (sixteen times) and Symphony No. 3 Penderecki, whose twenty-one works were performed seventy-four times, was the most fre- 17 Janusz Ekiert, (twelve times). It was precisely then, in May and June 1997, that the ensemble played all quently played twentieth-century composer. These were mainly more recent works, with the ‘Beethoven ∫ la carte’, the nine symphonies directed by five Polish conductors – Jerzy Maksymiuk, Jacek Kasp- Sinfonietta per archi, written for this very orchestra, played eighteen times. However, it was WiadomoÊci Kulturalne szyk, Wojciech Michniewski, Grzegorz Nowak, and Jerzy Semkow, in the Bogusławski and Classical Symphony by Prokofiev which proved to be the 20th century work played the most 1997, No. 25, p. 1.

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frequently in the period 1997–1999; it was per- however, we will refer to the entire twenty-five formed as many as thirty times. Shostakovich was year period of Sinfonia’s life, even if this does performed eight times, Britten nine times, not exhaust the subject. In large measure the Bacewicz seven times, Elgar four times. In March premieres were connected with the ensemble’s 1999 the orchestra performed twice, also during the frequent participation in the International Fes- last concert under Menuhin, music by Alfred tival of Contemporary Music ‘Warsaw Autumn’, Schnittke, who died a few months previously. Pol- where Sinfonia performed thirteen times. Dur- ish contemporary composers apart from Pen- ing the successive editions of the Festival there derecki included Marta Ptaszyƒska, whose Con- were eleven world premieres – in 1985 La certo Grosso for Two Violins and Orchestra was notte by Tomasz Sikorski, in 1991 Marek Sta- performed twelve times. chowski’s Concerto per violoncello ed orches- To get a better picture of Sinfonia’s repertoire dur- tra d’archi, in 1993 Roman Palester’s Ada- ing the two three-year periods under consideration, gio, in 1995 Signals II and in 2006 Little let us provide full lists of the twelve most popular Autumn Symphony by Zbigniew Penherski, composers performed by it. In the initial three-year in 1998 Tadeusz Wielecki’s Concerto ∫ Re- period the list looked as follows: 1. Mozart (two hun- bours for Violin and Orchestra, in 2003 A Few dred and fifty-six), 2. Bach (ninety-seven), 3. and Pictures by Zbigniew Bagiƒski, in 2004 Sym- 4. Haydn and Rossini (sixty-five each), 5. Bacewicz phony of Hymns by Rafał Augustyn, in 2007 (sixty-one), 6. Britten (fifty-eight), 7. Vivaldi (fifty- Jerzy Kornowicz’s Heaps, Roman Berger’s -two), 8. Bartók (thirty-five), 9. Mendelssohn (thirty- Improvisation sur Herbert and Aleksander -four), 10. Lutosławski (thirty-two), 11. Beethoven Lasoƒ’s Symphony No. 4 (Satja). Aside the (thirty), 12. and 13. Schubert and Tchaikovsky Warsaw Autumn Festival, the orchestra played GÓRECKI, (twenty-eight each). In the second, more mature period, the list looked as follows: 1. Mozart world premieres of works by Penderecki – the Sinfonietta per archi, or the second version PENDERECKI Polish Radio (one hundred and fifty-three), 2. Beethoven (one hundred and forty-eight), 3. Schubert (one of the String Trio of 1991 (Warsaw 1992) and Sinfonietta No. 2 for Clarinet and String Or- Arto Noras, Choir in Krakow, Krzysztof Penderecki, Polish Chamber Choir, hundred and twelve), 4. Mendelssohn (seventy-six), 5. Penderecki (seventy-four), 6. Brahms chestra, i.e. an orchestration of the 1988 Quartet for Clarinet and String Trio (with Alek- Finlandia Records 2001, CD Schola Cantorum (thirty-seven), 7. Prokofiev (thirty), (8) Chopin (twenty-five), 9. and 10. Bach and Haydn sander Romaƒski as a soloist, Rzeszów 1994), as well as the Hymn to St. Adalbert for a mixed Gedanensis (twenty-two each), 11. and 12. Rossini and Dvorˇák (twenty each). choir and orchestra (with the Krakow Philharmonic Choir, Gdaƒsk 1997); all of the premieres Adam Kruszewski, were conducted by the composer himself. At the Warsaw Music Encounters, in turn, in 1999 Janusz Olejniczak, Sinfonia’s repertoire presented in the two periods under discussion during concerts abroad the ensemble performed the world premiere of Maciej Małecki’s Symphony. In 1995 Sin- Jerzy Maksymiuk, (as many as four hundred and sixty-six of them) should also be viewed in light of the im- fonia performed the world premiere of Paweł Mykietyn’s 3 for 13, and in 1997 of the afore- BeArTon 2003, CD, Frederic Award 2003 pact it had on the promotion of Polish music. This music was performed as many as one hun- mentioned premiere of the Concerto Grosso for Two Violins and Orchestra by Marta dred and ninety-nine times, with a vast majority of the compositions being written after the Ptaszyƒska. In 2004 Sinfonia performed for the first time ever Krzysztof Knittel’s Second World War. Chopin was played in those years eighteen times abroad (Piano Con- Memoirs from the Warsaw Uprising; that year it also played the world premiere of a work certo in F Minor – seven times and Piano Concerto in E Minor – eleven times); Karol dedicated to itself (!) by Krzesimir D´bski, the Concerto for Cello. In 2006 the ensem- Kurpiƒski’s music resounded four times (overture for the opera Two Huts), Zygmunt ble performed during the Concert of Six Premieres. Held under the auspices of the Polish Noskowski’s music once (The Steppes), Mieczysław Karłowicz’s five times (Serenade for Composers’ Union, the concert brought the world premieres of new works by Jarosław Si- String Orchestra). The leader was Bacewicz (fifty-seven performances of the Concerto for wiƒski, Roman Berger, Wojciech Ziemowit Zych, Magdalena Długosz, Zbigniew String Orchestra, including thirty during the aforementioned grand world tour in early 1987). Bargielski, and Dobromiła Jaskot. Penderecki was second in line (forty-one performed works, most often the Sinfonietta per archi, played fifteen times, and Sinfonietta No. 2 for Clarinet and String Orchestra – seven performances). Then there were Lutosławski (twenty-eight performances of Musique fun¯bre and Preludes and Fugue), Marta Ptaszyƒska (sixteen performances, mainly of the Concerto Grosso for Two Violins and Orchestra) and Marek Stachowski (his Divertimento was performed twelve times). Polish composers played in those years abroad by Sinfonia included moreover Henryk Mikołaj Górecki, Andrzej Panufnik, Tomasz Sikorski, Eugeniusz Knapik, Zbigniew Bujarski, Jerzy Maksymiuk, and Zdzisław Wysocki.

One other thing, the serious attitude of the orchestra to Polish contemporary music is clearly evident also in its performance of world premieres of new Polish compositions. This time,

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Vol ker Yehudi Schmidt-Ger ten bach Menuhin solo performances as an instrumentalist. Sinfonia played under him for the last time in 2002, in the same when Peter Csaba started cooperating with the orchestra. He led Sinfonia one hundred and seven times, mainly during the La Folle Journée festivals. Seventh on the list of conductors collaborating with Sinfonia the most often was Jacek Kaspszyk, with seventy-six performances, forty-two of which took place in 2008. He is followed by Nigel Kennedy and the next place was occupied by Wojciech Michniewski; the latter in the first period of Sinfonia’s life was also a full-time conductor of the orchestra (by that time a recipient of awards in competitions for conductors and an artistic director of Grand Theatre in Łódê). Over the two years of permanent work with the ensemble (from Krzysztof Penderecki mid-1984 until mid-1986) he conducted thirty-three concerts, with a total of sixty-two times. Michel Corboz conducted Sinfonia fifty-three times, exclusively in this century and Marc Jerzy Minkowski Maksymiuk nearly solely during the La Folle Journée festivals. Jan Krenz, under whom the orchestra gave forty-five concerts, eleventh on the list. This is how he defined his experience of work with Sinfonia’s musicians:

There are orchestras that work perfectly and can be creative together with the conductor, im- prove their performance and overcome difficulties of the most complex compositions; still, their concerts are nothing but professional renditions. But there are other orchestras, not too per- fect during rehearsals, without a good work atmosphere, not always focused, but the moment the conductor in a frock coat appears, they are capable of genuine emotion, performing in ec- stasy as it were, playing music at a level different from that of rehearsals. And there is also n19 Conductors Sinfonia Varsovia – an ensemble which has mastered both these spheres. Nigel Kennedy Over the twenty-five years of its exiscence described here, Sinfonia was conducted by slightly Well over twenty-five concerts of Sinfonia were conducted also by Jan Stanienda, mentioned over two hundred artists. More often than Menuhin and Penderecki it was led by the Ger- above in this context, and James Galway (thirty-nine times), Emmanuel Krivine (thirty- man conductor Volker Schmidt-Gertenbach, who directed three hundred and seventy five times) and Jean-Jacques Kantorow (thirty times), close to twenty-five concerts were concerts given by the orchestra, roughly one-seventh of the ensemble’s concerts. The led by Tadeusz Wojciechowski and Jerzy Swoboda, the only conductor apart from Mich- artist, who had earlier been the director of the symphony orchestra in Göttingen and also niewski who was employed full-time by the orchestra (1986–1990), earlier e.g. director of for a few years a conductor of a radio orchestra in the Norwegian Stavanger, cooperated with the Krakow Philharmonic Choir and conductor of Capella Cracoviensis. Sinfonia was con- Sinfonia since the very beginning, most often in the 1980s and 1990s. Sinfonia’s musicians ducted twenty times by Mariusz Smolij and nearly as many times by Krzesimir D´bski valued greatly his expertise and experience, systematic work on extending the ensemble’s (mainly with a more popular repertoire). repertoire, and for his contribution to establishing new artistic ties. In turn, Schmidt-Gerten- Leading Polish conductors working with Sinfonia included also Jerzy Semkow (eighteen bach always stressed that he dealt with an exceptional orchestra, whose uniqueness lies not times), Stefan Stuligrosz (seventeen times), Grzegorz Nowak (also seventeen times) and only in its magnificent artistic skills but in the ensemble’s attitude. Declaring his love for – a few times each – Kazimierz Kord, Antoni Wit, Tadeusz Strugała, Henryk Woj- Sinfonia, he enumerated five of its characteristics (‘nearly virtues, rare or non-existent else- narowski, and Marek Pijarowski. Witold Lutosławski conducted the ensemble three where’); the first three were as follows: times, in the years 1991–1992 in Warsaw, Krakow and Kiel; these were performances of the composer’s own works, including two national premieres. 1. The conductor is neither an adversary nor a persistent trainer for Sinfonia, but a desirable Of the most famous foreign conductors, Sinfonia played under such masters as Claudio Ab- collaborator … 2. Rehearsals with Sinfonia are not an obligation or ticking items off a list bado (under whom the orchestra gave three performances of the aforementioned Prometeo – they have an objective and direction … 3. Encores, which other orchestras disprove of, are by Luigi Nono), Gerd Albrecht, Andrey Boreyko, Charles Dutoit (seven times – in n18 a matter of course and joy for Sinfonia. the years 1985–1989 in France, Poland and Switzerland), Rafael Frühbeck de Burgos (three times, in 1989 in Italy), Gianandrea Gavazzeni (twice, in 1991, also in Italy), Hans Jerzy Maksymiuk conducted Sinfonia one hundred and thirty-two times (two-thirds of Graf (seventeen times), Leopold Hager (eleven times), Paul McCreesh (twice), Michel 18 Volker Schmidt-Gertenbach, statement in the archives of these concerts took place in the first half of the twenty five years of the ensemble’s history Plasson (twice), Mstislav Rostropovich (three times, in the years 1987–1988), Saulius Sinfonia Varsovia. descibed here); in 2006 the orchestra played an active role in the celebrations of the artist’s Sondeckis (six times, in 1988 in Salzburg), Bruno Weil (three times), and Alberto Zedda 70th birthday. Justus Frantz conducted the orchestra exactly the same number of concerts (once, in 1987 in Paris). 19 Ibidem. (also from the piano). Born in 1944 in Inowrocław, a German pianist and conductor, founder of the Schlezwig-Holstein Music Festival and the Philharmonia of the Nations, he was one of Sinfonia’s conductors who owed his status in the world of music primarily to his

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Concert poster CHOPIN from the Wrocław Fou Ts’ong, State Philharmonic, Muhai Tang, 4 March 1987 Decca 1989, CD

CHOPIN, ROSSINI, MENDELSSOHN Martha Argerich, Grzegorz Nowak, Polskie Radio Studio S1–Kos Records 1992, CD

MOZART Piotr Anderszewski, Virgin Partners Classics 2002, CD ‘The list of artists who played with Sinfonia Varsovia is impressive. I do not know another n20 orchestra which could boast such an unusual range of partners during its activity’, observed Volker Schmidt-Gertenbach. Indeed, there were many world famous soloists among the nearly one thousand ones who performed with the orchestra in those years. The array of famous pianists includes such names as Martha Argerich (six times in the years 1992–2006), Abdel Rahman El Bacha, Michel Beroff, Boris Berezovsky (eighteen times in the years 2004–2009), Alfred Brendel (five times in the years 1994–1998, he performed all of Beethoven’s concertos in 1998), Rudolf Buchbinder (twice), Dang Thai Son (three times), Nikolai Demidenko, Barry Douglas (twice), Fou Ts’ong (twenty- -three times), Nelson Freire (seven times), Philippe Giusano (twice), Nelson Goerner, Friedrich Gulda (eight times), Ian Hobson (twice), Peter Jablonski, Cyprian Katsaris (four times), Kevin Kenner (three times), Alicia de Larrocha (three times, in the years 1989–1991 in Italy), Elisabeth Leonskaja (four times in the years 1987–1993), Jean- -Marc Luisada (twice), Radu Lupu (once, in 1987 in Ravenna), Nikolai Lugansky (eight times), Olli Mustonen, Garrick Ohlsson, Gerhard Oppitz (twice, in 1991 in Italy), Niko- lai Petrov, Maria João Pires (ten times), Ivo Pogorelich, Jean-Bernard Pommier (once, in 1991 in Warsaw), Katia Skanavi (twice), Maria Tipo (three times), Alexis Weissenberg (twice, in 1988 in Italy), Vladimir Viardo (eight times), Dina Yoffe, Christian Zacharias (five times), Lilia Zilberstein (twice). In the years 1993–2004 Yehudi Menuhin’s son – Jeremy Menuhin – gave concerts with the orchestra twenty-six times. The list of Pol- ish musicians who played with Sinfonia includes among others Piotr Anderszewski (twelve times, in the years 1999–2003), Rafał Blechacz (twice in 2006), Stanisław Drzewiecki (five times), Krzysztof Jabłoƒski (twenty-eight times), El˝bieta KaraÊ- -Krasztel (eighteen times), Janusz Olejniczak (ten times), Ewa Osiƒska (seven times), Piotr Paleczny (seven times), Ewa Pobłocka (eight times), Karol Radziwonowicz (eight times), Adam Makowicz (eight times), and Leszek Mo˝d˝er. However, a record number of performances were played by Justus Frantz, who played with Sinfonia as a pianist (usually simultaneously conducting it, as indicated above) as many as one hundred and twenty-seven times. The range of exquisite violinists who performed with Sinfonia includes for example such 20 Jan Krenz, statement artists as Salvatore Accardo (four times, in the years 1987–1988), Alona Baeva, Sarah published in a programme for a concert given in the Chang (three times), Augustin Dumay (twenty-seven times), Julia Fischer, Tatiana National Philharmonic on Grindenko (six times, in 1988 in Salzburg), Arthur Grumiaux (once, in 1985), Gidon 19th April 2004.

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BACH Albrecht Mayer, Nigel Kennedy, Universal 2003, CD

RIETZ, BRUCH, WEBER Sharon Kam, Ori Kam, Gregor Buhl, Edel Classics 2007, CD

HÄNDEL, TELEMANN SIBELIUS, Gábor Boldoczki, KHACHATURIAN Kremer (six times), Shlomo Mintz, Viktoria Mullova (twice, in 1986), Anne-Sophie Mut- sicians. Thus, the orchestra accompanied – only once – such singers as Barbara Bon- Sony BMG Music Sergey Khachatryan, ter (eight times, in the years 1987–2009), Igor Oistrakh, Alyssa Park, Julian Rachlin ney (2001), Olga Borodina (Warsaw 1999), José Carreras (Gstaad 2001), Placido Entertainment Emmanuel Krivine, (four times), Vadim Repin (ten times, in the years 1995–2001), Gil Shaham, Dmitry Domingo (Wrocław 2000 ), Robert Holl, Makvala Kasrashvili (Warsaw 1991), Christa 2007, CD, Naïve Classique 2004, Sitkovecky (six times), Vladimir Spivakov (twice, in 1988), Akiko Suwanai (seven Ludwig (Vienna 1988), Lucia Popp (Salzburg 1988), Samuel Ramey (Naples 1989), John award: CD times), Maxim Vengerov (twice), Frank-Peter Zimmermann (twenty-two times). Polish Shirley-Quirk (Saanen 1990), José Van Dam (2007). Katia Ricciarelli performed with ECHO Klassik 2008 violinists (or those working in Poland) who gave concerts with Sinfonia were as follows the ensemble twice (1988); Teresa Berganza – three times (in 1987, in Paris – in the MOZART Augustin Dumay, Vadim Brodski, Kaja Danczowska (three times), Barbara Górzyƒska (twice),Jakub Salle Pleyel and in the Théâtre des Champs-Élysées – as well as in Martigny), also three Gérard Caussé, Jakowicz (four times), Krzysztof Jakowicz (eighteen times), Konstanty Andrzej Kulka times Gwendolyn Bradley (Warsaw 1994 and Łódê 2000 and 2004) and Peter Schreier Emmanuel Krivine, (twelve times, in the years 1995–2007), Bartłomiej Nizioł (five times), Piotr Pławner (in 2000, in Warsaw, among others); Ruggero Raimondi – four times (1987 and 1988); EMI Music France 2006 (three times), Daniel Stabrawa (three times), Agata Szymczewska (three times, in the José Cura – five times (2000 and 2002). Benno Schollum sang with Sinfonia as many (© 1998), CD years 2007–2008), and Edward Zbigniew Zienkowski (twice). As far as the number of as twenty-two times. Furthermore, there was a numerous group of the most outstanding performances with Sinfonia is concerned, Daniel Hope (thirty-one times) occupies a very Polish singers (or those working in Poland) who performed with the orchestra, such as MOZART, OVERTON Jeanne Galway, high position just behind Stanienda, Kennedy, KwaÊny, and Menuhin. Jadwiga Rappé (eleven performances), Ewa PodleÊ and Krystyna Szostek-Radkowa (six Catrin Finch, Also some of the most outstanding violists worked as the orchestra’s partners, including performances each), Ewa Małas-Godlewska (five performances), Jadwiga Gadulanka and James Galway, Yuri Bashmet (once, in 1987 in Vienna), Kim Kashkashian, Tabea Zimmermann (three Małgorzata Walewska (four performances each), Olga Pasichnyk and Urszula Kryger Deutsche times), Grigori Zhyslin (thirteen times, and additionally once as a violinist). Mstislav (three performances each), Ewa Werka (two performances), Stefania Toczyska and Grammophon 2006, CD Rostropovich played with Sinfonia as many as seven times (in the years 1987–1994); Aleksandra Kurzak (one performance each), as well as Romuald Tesarowicz (eighteen the other renowned cello virtuosos who played with the orchestra were as follows: performances), Wojciech Drabowicz (three performances), Andrzej Hiolski, Jerzy David Geringas (four times), Alexander Kniazev (eight times), Mischa Maisky (three Artysz, Ryszard Karczykowski and Wiesław Ochman (two performances each); most of- times), Ivan Monighetti, Boris Pergamenschikow (seventeen times), Gustav Rivinius, ten Sinfonia accompanied Izabela Kłosiƒska (twenty nine times) and Adam Zdunikowski Heinrich Schiff (three times), and the Poles Andrzej Bauer (twenty-five times) and Rafał (twenty-seven times). Kwiatkowski (eleven times). The list of excellent soloist singers should be supplemented with an array of renown choir Sinfonia performed also with the most outstanding flutists, including Philippe Bernold ensembles which performed with Sinfonia. They include: the National Philharmonic (seven times), James Galway (as many as forty-three times, beginning with 1986), Au- Choir, the Boys’ and Men’s choir of the Philharmonic in Poznaƒ, the Szczecin Techni- réle Nicolet (once, in 1986 in Gstaad), Michala Petri (eight times), Jean-Pierre Ram- cal University Choir, Cantores Minores Wratislavienses, Camerata Silesia, Polish Ra- pal (eleven times in the years 1987–1998), and the Polish artist Jadwiga Kotnowska. dio Choir in Krakow, Krakow Philharmonic Choir, Grand Theatre in Warsaw Choir, War- Moreover, excellent oboists played with Sinfonia, one of them was Albrecht Mayer, who saw Chamber Choir, Schola Cantorum Gedanensis, Gabrieli Consort, Wiener performed seven times. The list of partners includes also clarinettists, such as Dim- Singakademie, Wiener Konzertchor, Frankfurter Singakademie, Arnold Schönberg Chor, itri Ashkenazy (nine times), Sharon Kam (twice), Sabine Meyer (four times). The or- Ensemble Vocal de Lausanne, the Kaunas State Choir, and others. chestra worked with some exquisite trumpeters, e.g. Maurice André (seven times) and The most outstanding concert with the participation of Sinfonia, featuring the biggest num- Gábor Boldoczki (as many as sixty-seven times). The outstanding group of artists who ber of star performers being renowned soloists, was perhaps the one commemorating the were Sinfonia’s partners would not be complete without such names as the harpist An- 60th birthday of Krzysztof Penderecki, in November 1993 in the National Philharmonic dreas Vollenweider and two harpsichordists – El˝bieta Chojnacka (three performances in Warsaw (recorded by Sony). Jadwiga Gadulanka, Sharon Kam, Kim Kashkashian, with the ensemble) and Władysław Kłosiewicz (eleven performances). Boris Pergamenschikow, Jean-Pierre Rampal, Mstislav Rostropovich, Vladimir Viardo The list of singers working with the orchestra in those years is as impressive as the list and Grigori Zhyslin, to name a few, were among the artists who appeared on the stage of instrumentalists. It also includes many names of leading internationally famous mu- that night (also performing chamber music of the composer).

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Kammersänger Prof. Calberlastraße 13 PETER SCHREIER 01326 Dresden Faks 36610

Dresden, 23.02.2000

Dear Friends!

Unfortunately after our concert in Munich I had no opportunity to thank you in person. Our musical collaboration, which began in Warsaw, has filled me with joy. You emanated such a spontaneous spirit of music-making, that my job was really made very easy. I would like to thank everyone very cordially, but especially the soloists of the orchestra. Hoping that this collaboration was not the last, I remain

very sincerely yours, Peter Schreier

Poster for concert Poster for concert from the Festspielhaus, from the S1 Studio Bregenz, of Polish Radio, 6 March 1990 Warsaw, 28 November 1994

Thank you note from Peter Schreier to the musicians of Sinfonia Varsovia for joint concerts which took place in Poland and Germany in February 2000, Dresden, 23 February 2000

Poster for concert In memoriam Yehudi Menuhin at the Berlin Philharmonie, 15 February 2000

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MOZART, Ian Hobson, Jacek Kaspszyk, Emmanuel CHOPIN, LISZT Krivine, Volker Schmidt-Gertenbach, and Martha Argerich, Krzysztof Penderecki. Alexandre A significant part of all this production – dis- Rabinovitch, tinctly bigger than the concert repertoire – CD Accord 2000, was represented by Polish music; indeed Sin- CD fonia made an invaluable contribution to Pol- ish culture in this respect. Thanks to the orchestra a dozen or so new albums appeared on the market in those days, in part or as a whole, devoted to the music of Fryderyk Chopin, comprising the following compositions: eight recordings of Piano Concerto in E Minor (including live performance at Grand Theatre in Warsaw, with Martha Argerich as a soloist and Alexandre Rabinovitch as the conductor – CD Accord), six recordings of Pi- ano Concerto in F Minor (both concerts were recorded for Decca and Collins Classics by Fou Ts’ong, with Muhai Tang as the conductor, for Accord by Janusz Olejniczak with Grzegorz Nowak and by Dang Thai Son with Jerzy Maksymiuk, for BeArTon by Piotr Paleczny with Maksymiuk), and finally, Variations CHOPIN on the Theme L∫ ci darem la mano, Fantasy on Polish Airs, Rondo a la Krakowiak, Andante Ewa Pobłocka, Krzysztof Jabłoƒski, Spianato et Grande Polonaise Brillante, all of them recorded by Ewa Pobłocka and Krzysztof Jacek Kaspszyk, Jabłoƒski and conducted by Jacek Kaspszyk in the BeArTon recording studio. BeArTon 1999, CD, The Poznaƒ Nightingales led by Stefan Stuligrosz recorded an interesting LP with composi- Frederic Award 2002 tions of artists such as Grzegorz Gerwazy Gorczycki, Damian Stachowicz and Stanisław Sylwester Szarzyƒski (Aperto). The record entitled Polish Symphonic Music of the 19th Century (Accord, conducted by Nowak) contains works of the following composers Karol Kurpiƒski, Ignacy Feliks Dobrzyƒski, Stanisław Moniuszko (The Fairy Tale), Władysław ˚eleƒski (In the Tatra Mountains), and Zygmunt Noskowski (The Steppes). Recordings The violin concertos composed by Henryk Wieniawski were recorded together with Sin- fonia for Accord by Piotr Pławner and Bartłomiej Nizioł and conducted by Nowak. Ignacy Jan Paderewski’s music was recorded in as many as three CDs under the direction of Next to giving concerts, Sinfonia also made recordings. For the past twenty-five years, nearly Maksymiuk: two of them – by the Polskie Radio – with the Symphony in B Minor (Polonia), two hundred records and a big number of radio and television recordings have been re- Polish Fantasy and the Piano Concerto in A Minor, played by Ian Hobson, and one – by leased. Sinfonia’s discography confirmed the versatility of the ensemble’s repertoire; it BeArTon – with two last compositions by Paleczny. included music which is less well reflected in the concert repertoire, i.e. neo-romantic Sinfonia managed to make a particularly great contribution to the promotion of the oeuvre of compositions. Simultaneously, the list of the orchestra’s recordings confirmed its affin- Mieczysław Karłowicz, both when it comes to the number of projects and their artistic ity to and interpretational competence of the compositions of the Viennese Classics and quality. The album Polish Spirit, recorded for EMI Classics, with Nigel Kennedy as a soloist early Romantics, as well as its vivid and fruitful interest in contemporary music. and Jacek Kaspszyk as a conductor, contained, among other compositions, Karłowicz’s Vi- Sinfonia’s performances were recorded by renowned companies, both foreign, such as Decca, olin Concerto. The same composition performed by Agata Szymczewska was also recorded, Denon Nippon Columbia, Deutsche Grammophon, EMI, Naxos, Sony, Virgin Classics; and next to Eternal Songs, on an CD for the BeArTon studio, conducted by Maksymiuk. Both Polish ones, including BeArTon, CD Accord, DUX, Polskie Nagrania, and Polskie Radio. records shortly received the Frederic Award in the Album of the Year category – symphony Frequently these productions brought Sinfonia honourable mentions which are prestigious and concert music; and the former was also given a prestigious German award – ECHO Klas- in the phonographic market, for instance Diapason d’Or, Grand Prix du Disque, and many sik 2008. BeArTon studio released the Rebirth Symphony recorded by the orchestra con- times the Polish Frederic Award. The orchestra released most records when it was conducted ducted by Maksymiuk. El˝bieta Szczepaƒska-Lange made the following observation about by Yehudi Menuhin (nearly twenty), and under other conductors such as Jerzy Maksymiuk, the renditions of Karłowicz’s compositions made by the orchestra and Maksymiuk:

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SZYMANOWSKI PENDERECKI LUTOSŁAWSKI Jakub Jakowicz, Jadwiga Gadulanka, Olga Pasiecznik, Piotr Paleczny, Jean Pierre Rampal, Janusz Olejniczak, Jerzy Maksymiuk, Sharon Kam, Jerzy Maksymiuk BeArTon 2005, CD, Christoph Poppen, BeArTon 2004, nominated for Grigorij Zhyslin, CD, the Frederic Award Kim Kashkashian, Frederic 2005 Boris Award 2004 Pergamenschikow, Vladimir Viardo, the National Philharmonic Choir, Henryk Wojnarowski, Krzysztof Penderecki Sony Classical 1993, CD Only this kind of performance is really good, which tions as Beatus Vir, Three Pieces in Old obliterates the relations between Karłowicz and other Style, the piano version of the Harpsi- composers and allows to forget them or level them com- chord Concerto and Little Requiem for a pletely. The performances of Sinfonia Varsovia di- Polka (the producer was again BeArTon rected by Jerzy Maksymiuk are exactly like that. Fur- studio, the conductor was Maksymiuk, thermore, she praised the ensemble for … the with Olejniczak at the keyboard and beautiful harmony of all groups of instruments sepa- Adam Kruszewski as a singer), which n21 rately, as well as in the tutti part … was given the Frederic Award in 2004, As far as the music of Karol Szymanowski is con- and an CD with the Symphony No. 3 KARŁOWICZ cerned, although the orchestra did not play it often during concerts, it recorded an album and Canticum Graduum (recorded by 4 ART, conducted by Alain Altinoglu, with the per- Agata Szymczewska, for the BeArTon studio. The album contains such compositions as the Concert Overture, Vi- formance of Ingrid Perruche). The discography of Sinfonia includes also one record of Wo - Jerzy Maksymiuk, olin Concerto No. 1 (together with Jakub Jakowicz) and the Symphony No. 4 (together with jciech Kilar (Krzesany, Orawa and Piano Concerto, once again released by the BeArTon BeArTon 2008, CD, Frederic Award 2009 Piotr Paleczny), also conducted by Maksymiuk, and additionally, the Violin Concerto No. studio and the Maksymiuk–Olejniczak duo), one record of Zygmunt Krauze (Aus aller Welt 2, performed by the same soloist but conducted by Michniewski, in the album for the Pol- stammende and Tableau vivant conducted by Jan Krenz, Polskie Nagrania) and one record skie Radio. It is important to emphasize that the aforementioned album entitled Polish Spirit, of Marta Ptaszyƒska (Holocaust Memorial Cantata, the version with Menuhin’s text, in a so generously awarded, included also the Violin Concerto No. 2 in D Major by Emil Mły- live recording of the concert in the National Philharmonic in October 1993 prepared by CD narski, the work which was thus resurrected by Kennedy, Kaspszyk and the orchestra af- Accord, the concert was conducted by Menuhin and the group of performers included the ter years of oblivion. following artists: Zofia Kilanowicz, Ryszard Minkiewicz and Robert Gierlach; another CD As far as the Polish music composed after the Second World War is concerned, the LPs with the composition La novella d’inverno was also recorded). However, the contemporary recorded by Sinfonia present two compositions by Gra˝yna Bacewicz – so willingly per- Polish composer whose works were most often recorded on Sinfonia’s CDs was obviously formed by the ensemble during tours abroad, namely, Concerto for String Orchestra (two ver- Krzysztof Penderecki – five albums dedicated exclusively to his music (and several other sions, both released by Aperto – one conducted by Stanienda and the other by Penderecki) records) contained mostly compositions from the 1980s and 1990s, such as Three Pieces in and Music for Strings, Trumpets and Percussion conducted by Penderecki in the album is- Old Style, both cello concertos, Intermezzo, Adagietto from Paradise Lost, Lacrimosa, Ag- sued by the Polskie Radio. The orchestra recorded also the following compositions: a Co- nus Dei and Chaconne from The Polish Requiem, Viola Concerto (also in the cello and clar- las Breugnon suite by Tadeusz Baird, the album Homage to Polish Music, including Old inet version), Sinfonietta per archi, Flute Concerto, Serenade, De Profundis from Seven Gates Polish Suite, Jagiellonian Triptych, Divertimento, and Hommage ∫ Chopin by Andrzej of Jerusalem; the solo parts were performed by such artists as David Aguilar, Dimitri Panufnik, and Concertino for Alto Sax and Strings by Roman Palester. Other artists com- Ashkenazy, Jadwiga Gadulanka, Arto Noras, Jean-Pierre Rampal, Grigori Zhyslin; the memorated by the performances of the orchestra were Witold Lutosławski and Henryk composer always conducted himself (Aperto, DUX, Finlandia Records, Koch, Sony). Mikołaj Górecki, represented by two exclusive albums each. Lutosławski’s compositions Sinfonia recorded also relatively many pieces of Polish film music e.g. by Zbigniew Preis- on a CD for the Accord Studio, conducted by Wojciech Michniewski with the participation ner who had seven albums of this kind (and two others). Such CDs were recorded also for of Krzysztof Jakowicz, included the following works: Overture for Strings, Musique fun¯bre, Krzesimir D´bski, Maciej Zieliƒski and Michał Lorenc; there were also several Venetian Games, Partita for Violin and Orchestra and Interlude, whereas the CD for the records with a more entertaining repertoire. BeArTon studio, awarded a Frederic Award in 2004 and conducted by Maksymiuk with the Wolfgang Amadeus Mozart was definitely an unquestionable leader among foreign com- 21 El˝bieta Szczepaƒska-Lange, participation of Olga Pasichnyk and Janusz Olejniczak, contained such compositions as the posers whose works were recorded by Sinfonia in those years: around twenty-five albums ‘Awantura, smycz i figa’, Concerto for Orchestra, Chantefleurs et chantefables and Variations on a Theme by Paganini. were devoted exclusively to his music and there were also many records containing single Ruch Muzyczny 2009, CDs with the music of Górecki recorded by Sinfonia include an album with such composi- Mozart’s compositions. Altogether they account for between ten and twenty per cent of all No. 2, p. 40.

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MŁYNARSKI, KARŁOWICZ, CHOPIN Nigel Kennedy, Jacek Kaspszyk, EMI Classics 2007, CD, awards: ECHO Klassik 2008, Frederic Award 2008

CHOPIN, MONIUSZKO Ewa Pobłocka, Jacek Kaspszyk, SCHUBERT Marc Minkowski, Yehudi Menuhin, the recordings of the ensemble. The records with music by Mozart include as many as four- Orkiestra Sinfonia G.I.B. Music 1997, teen symphonies (some of them in various renditions): D major K. 181, B-flat Major K. 182, Varsovia 2009 CD, the first of five E-flat Major K. 184, C Major K. 200, A Major K. 201, D Major K. 202, D Major K. 297 (© BeArTon 1999, records from (Paris), C Major K. 338, D Major K. 385 (Haffner), C Major K. 425 (Linz), D Major K. 504 © Polskie Radio the SCHUBERT (Prague), E-flat Major K. 543, G Minor K. 550, C Major K. 551 (Jupiter); the symphonies 2008), CD, Die Sinfonien the twelfth were mostly conducted by Emmanuel Krivine and Yehudi Menuhin. Fourteen piano concertos Box Set record from by Mozart (some of them appeared in more than one rendition as well) – B-flat Major K. 238, Sinfonia Varsovia MOZART F Major for Three Pianos K. 242, C Major K. 246, E-flat Major K. 271, E-flat Major for Two 25th Anniversary Emmanuel Krivine, Pianos K. 365, A Major K. 414, E-flat Major K. 449, D Major K. 451, D Minor K. 466, 12 CD Set Denon 1994, CD C Major K. 467, E-flat Major K. 482, A Major K. 488, C Minor K. 491, H-flat Major K. 595 – were recorded by the orchestra together with such artists as Piotr Anderszewski, Dang Thai CZAJKOWSKI MOZART Jerzy Semkow, Son, Fou Ts’ong, Justus Frantz, El˝bieta KaraÊ-Krasztel, Ewa Osiƒska, Ewa Pobłocka, Jean- Emmanuel Krivine, Orkiestra Sinfonia Denon 1993, CD Bernard Pommier, Christian Zacharias, and the Drzewiecki Family, i.e. Tatiana Shebanova Varsovia 2010, CD with Jarosław and Stanisław Drzewiecki. Moreover, Sinfonia’s discography comprised other compositions by Mozart, i.e. four violin concertos (performed by Gilles Apap, Augustin Du- may and Barbara Górzyƒska), Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major K. 364, four concertos for horn (performed by Henryk Kaliƒski), Concerto for Flute, Harp and Orchestra, divertimentos (conducted by Krivine), operatic overtures (recordings conducted by Krivine and Menuhin), the Coronation Mass K. 317 (conducted by Stuligrosz) and operatic arias (performed by Artur Stefanowicz and Krzysztof Szmyt). Ludwig van Beethoven’s music was also recorded on several CDs. Particular attention should be paid to the aforementioned set of symphonies (1994, IMG Records), recorded during concerts in Strasbourg and conducted by Menuhin; individual symphonies were also recorded together with the orchestra by Justus Frantz, Jan Krenz, Jerzy Maksymiuk, Volker Schmidt-Gerten- bach, and Jerzy Semkow, and for example Piano Concertos No. 1 and No. 3 by Jeremy Menuhin.

There was also Piano Concerto No. 4 recorded by Fou Ts’ong and Nikolai Lugansky, both with Sinfonia Varsovia Jacek Kaspszyk, Violin Concerto by Nigel Kennedy, Triple Concerto by Boris Berezovsky, Dmitri 25th Anniversary Makhtin, Alexander Kniazev, and Kaspszyk. Shortly after recording Beethoven’s symphonies, 12 CD Set, Yehudi Menuhin released another set of records. Together with Sinfonia he recorded all sym- Orkiestra Sinfonia phonies of Franz Schubert for the G.I.B. Music; four of them were also recorded by the or- Varsovia 2009 chestra conducted by Volker Schmidt-Gertenbach. The same conductor led the ensemble in two symphonies by Robert Schumann. Sharon Kam recorded with Sinfonia an album entitled The Romantic Clarinet, which contained such compositions as the Concerto for Clarinet and Or- chestra in G Minor by Julius Rietz, Quintet for Clarinet and String Quartet in B-flat Major by Carl Maria von Weber, Concerto for Clarinet, Viola and Orchestra in E Minor by Max Bruch (Ori Kam played the viola). A special record with the compositions of Gabriel Fauré, including

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VIVALDI Nigel Kennedy, Jakub Haufa, Monika Raczyƒska, Taro Takeuchi, EMI Music Poland 2006, DVD

his Requiem, was dedicated to commemorate Fran- vertimento for Strings and Prokofiev’s Classical Symphony (the orchestra was conducted by THE SECRET GARDEN ciszek Wybraƒczyk; the performance was conducted Menuhin, Schmidt-Gertenbach, Stanienda, Maksymiuk and Penderecki). Sergey Rach- dir. by Agnieszka Holland, by Michel Corboz. Jerzy Semkow recorded with the maninov, although rarely played by the ensemble, figures on Sinfonia’s two albums (Sym- music by Zbigniew Preisner, Warner Bros 1993, DVD ensemble Symphony No. 7 by Anton Bruckner phony No. 2 led by José Cura and the four piano concertos and The Rhapsody on a Theme of

and (with Elena Zaremba, the National Philharmonic Paganini, performed and conducted by Ian Hobson). Kacper Miklaszewski commented as fol- THREE COLOURS: BLUE Choir and the Warsaw Boys Choir) Symphony No. 3 lows on Sinfonia’s record produced by Naïve Classique with two violin concertos by Jean dir. by Krzysztof KieÊlowski, by Gustav Mahler. Ireneusz Janik made the fol- Sibelius and Aram Khachaturian (with Sergey Khachatrian as the soloist): music by Zbigniew Preisner, lowing observation about the latter: Best Film–MK2–Studio Sinfonia Varsovia, conducted by Emmanuel Krivine, beautifully accompanies the long phrases Filmowe TOR 1993, DVD This rendition is charming and powerful. The regular of the violin in the slow part of Sibelius’ Concerto (the initial dialogue of the pair of clarinets WITH FIRE AND SWORD composition of the exquisite Sinfonia Varsovia had to and oboes is simply ecstatic), never disturbing the fluent narration of Allegro moderato ( first dir. by Jerzy Hoffman, be extended because of the cast requirements, however, movement) of Khachaturian’s work. The virtuosity of ensemble and violinist in the final move- music by Krzesimir D´bski, n23 the harmony of the ensemble achieved by Semkow is ment of the composition (Allegro a battuta) is amazing. Zodiak Jerzy Hoffman Film n22 incredible! Production 1999, DVD HÄNDEL Besides those mentioned above, Sinfonia also recorded the following works: de Falla’s El amor Albrecht Mayer, The rich repertoire of Baroque music recorded by Sinfonia in those years included for exam- brujo, conducted by Penderecki, with Ewa PodleÊ; Schönberg’s Verklärte Nacht (1943 ver- Universal–Deutsche ple three albums with compositions by Georg Friedrich Händel. Next to the recordings with sion), conducted by Krivine; Orff’s Carmina Burana, conducted by Jan Szyrocki; Grammophon 2007, DVD, award: the Alessandro opera (conducted by Mieczysław Nowakowski) and Aci, Galatea e Polifemo ser- Shostakovich’s Cello Concerto No. 1, with Sonia Wieder-Atherton and conducted by Woj- ECHO Klassik 2008 enata, there was also an album Händel for Oboe and Orchestra (Deutsche Grammophon), in ciech Michniewski and a CD of works by Constantin Regamey.

which the oboe solo parts were performed by Albrecht Mayer, who had earlier released (to- In terms of 20th century music, surprisingly, the greatest number of works recorded by the or- 22 Ireneusz Janik, ‘Czar i moc’, gether with Nigel Kennedy) the album of Johann Sebastian Bach’s works with transcrip- chestra – apart from Polish compositions – were by American composers. These entailed Ruch Muzyczny 2009, tion for oboe and orchestra. Another album with Baroque music recorded by Simfonia, this mostly a series of CDs devoted to music by Quincy Porter, Don Gillis (five records!), No. 15, p. 39. time including works (and transcriptions of works) by Händel and Georg Philipp Telemann Michael S. Horwood and George Walker. Other albums featured individual compositions 23 Kacper Miklaszewski, CD for trumpet (Sony), became a laureate of the ECHO Klassik award in 2008; the trumpet part by George Gershwin, Charles Ives, Samuel Barber, Leonard Bernstein, Aaron Cop- review: Khachaturian, was performed by Gábor Boldoczki. Yehudi Menuhin recorded with Sinfonia several violin land, Carlos Surinach, and Roy Harris. Sibelius: Violin Concertos, concertos by Antonio Vivaldi, including op. 3 and op. 8, whereas those known as The Four Please note that Sinfonia released several DVDs. Two of them duplicate, although in modified Naïve Classique V4959, 2004 (Jean Sibelius, Aram Seasons were recorded with Jakub Jakowicz (the CD of the year 2004 award given by the and extended form, the contents of Polish Spirit and Händel for Oboe and Orchestra. Another Khachaturian, Violin monthly Hi-Fi and Music and the nomination to the Frederic Award in the same year). contains five violin concertos by Vivaldi (including The Four Seasons), performed by Nigel Concertos, violin Sergey In terms of 20th century foreign music, let us first mention the – in some cases multiple – Kennedy and Jakub Haufa. To conclude on a meaningful note, let us mention the many record- Khachatrian, orchestra recordings of several of Sinfonia’s concert hallmarks, namely Elgar’s Introduction and Al- ings made by Sinfonia for Polish Radio. During its first quarter century, the ensemble Sinfonia Varsovia, conductor Emanuel Krivine), Ruch legro, Britten’s Simple Symphony and Variations on a Theme of Frank Bridge, Bartók’s Di- recorded about eight hundred works for the Polish state broadcaster! Muzyczny 2004, No. 17, p. 44.

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Poster on the occasion of Krzysztof Penderecki's 75th birthday anniversary In the Hometown (featuring a fragment of the composer's score), 2008, An eager traveller, Sinfonia Varsovia has always re- design by mained faithful to its nest and its name and has always Maciej Buszewicz been primarily associated with Warsaw. While it did not have its own concert hall in Poland’s capital, it was here where it worked predominantly and honed its performance skills. It was here that it held rehearsals, first in the Knowledge Cinema at the Palace of Culture and Science and in the carpenter’s store of the Ujaz- dowski Castle, and subsequently for long years in a hall loaned by the Secondary School of Railway In- dustry in the district of Ochota, at the intersection of Szcz´Êliwicka Str. and Bitwy Warszawskiej Str. Although it did not organise its own artistic season in Warsaw, it was here that it performed the most often, giving more than one-eighth of all its concerts and more and half of those in Poland. Although it performed during so many prestigious music festivals worldwide, it was in Warsaw that it had its own, most significant for itself festival – Sinfonia Varsovia to Its City. Moreover, most of the orchestra members come from Warsaw, either as residents or graduates of the State Higher School of Music. Finally, it was the city of Warsaw that for the gratest part of Sinfonia’s life was the orchestra’s administrative unit and superior, either indirectly as at the beginning or directly as later on; it was the authorities of the capital city that took Poster for the 9th Franciszek Wybraƒczyk care of the ensemble and have created conditions conducive to its operation. Sinfonia Varsovia The number of Sinfonia’s concerts in Warsaw over the first twenty-five years of existence to Its City Festival, described here, a total of three hundred and fifty-five of them, grew with the years. And Warsaw, thus, in the 1980s there were an average of five concerts annually, in the 1990s an av- 30 August−13 September 2009, erage of thirteen, and in the first decade of the 21st century an average of twenty-one design by per year. Sinfonia played in Warsaw in a vast number of locations, from most important Maciej Buszewicz concert halls, as the Concert Hall and the Chamber Hall of the National Philharmonic, Lutosławski Concert Studio of Polish Radio, the Concert Hall of the Chopin Academy of Music, the Moniuszko Hall in Grand Theatre, the Congress Hall of the Palace of Cul- ture and Science, through the chamber halls of the Royal Castle, Ostrogski Palace, the Theatre on the Water and Old Orange House in the Royal Baths Park, National Theatre, Ujazdowski Castle, Warsaw University of Technology, and Puławska Financial Center, to numerous local churches, such as the Archicathedral of St. John, the Cathedral of St. Florian and the Basilica of the Holy Cross. The concerts included those that primarily stressed the aspect of performance, those that focused on education and promotion, and finally those that celebrated various major events unrelated to music or arts in general and were connected with social, political or economic life. Artistically-wise, however, the orchestra never made any concessions. We have already discussed many of the first group of concerts in Warsaw was discussed in detail; these were some of the events created by Menuhin, a series of all of

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Letter from the President Beethoven’s and Brahms’ symphonies, world pre- of Warsaw, Lech Kaczyƒski, mieres during the Warsaw Autumn and Warsaw Music announcing the President's honorary patronage of Encounters. With regard to the Warsaw Autumn, let us the 5th Sinfonia Varsovia recall here e.g. the September 1994 concert com- to Its City Festival, memorating Witold Lutosławski, who died a few 20 August 2005 months previously. The concert, performed with Anne- Sophie Mutter and conducted by Jan Krenz, was dedicated to Preludes and Fugue, Partita for Violin and Orchestra, Interlude, Chain 2, and Musique fun¯bre. Earlier (1991) the orchestra conducted by the composer had played the Polish premieres of the same In- terlude and Chantefleurs et chantefables during the Warsaw Autumn. Of prime significance were Sinfonia’s appearances at other major festivals held in Warsaw. Since the late 20th century, the ensemble frequently performed in the Polish Radio Music Festival (e.g. in 2007 playing works by Władysław ˚eleƒski, Vitˇezslav Novák, Zygmunt Noskowski, Michał Kondracki, and Karol Szymanowski). Since 2004 it performed each year at the Beethoven Easter Festival (in 2007 e.g. playing Mozart’s and Beethoven’s violin concertos with Nigel Kennedy, and in 2008 participating in the performance of the Cantus in Memoriam Benjamin Brit- ten by Arvo Pärt and Brahms’ Ein deutsches Requiem). In recent years Sinfonia has often played at the Inter- national Music Festival Chopin and his Europe (e.g. in 2006 performing within its framework as many as five concerts, with works by Andrzej Panufnik and Alexan- dre Rabinovitch, among others, with the participation of e.g. Martha Argerich, Fou Poster for the 9th Franciszek Wybraƒczyk Ts’ong and Garrick Ohlsson). The orchestra performed with an interesting repertoire also Sinfonia Varsovia at, for instance, the Festival of Sacred Music in May 1997 (Schubert’s Unfinished and to Its City Festival, Mass in A-flat Major in the archicathedral), Gra˝yna Bacewicz Days in January 1999 Warsaw, 13 September 2009, (works by the composer plus compositions by Shostakovich and Penderecki, conducted by chamber music concerts Penderecki himself in the Lutosławski Concert Studio), Days of Ukrainian Music in De- in the Orchestra's cember 1999 (Valentin Silvestrov’s Metamusic and Boris Latoshynsky’s Symphony No. 2 new headquarters at 272 Grochowska Str., conducted by Volodymyr Sirenko in the Lutosławski Concert Studio), and the Festival design by of Jewish Culture – Singer’s Warsaw in September 2007 (Arnold Schönberg’s A Survivor Maciej Buszewicz from Warsaw and Mozart’s Requiem conducted by Jacek Kaspszyk in the All Saints’ Church). In October 1999, Sinfonia performed at a gala of the Chopin Year in the Na- tional Philharmonic (with Nelson Freire, led by Jan Krenz). In October 2000 in the Lu- tosławski Concert Studio it performed on the occasion of an edition of piano concertos as part of the National Edition of Chopin’s Works (with Piotr Paleczny, led by Jerzy Maksymiuk), in August 2001 in the same hall (also led by Maksymiuk), Sinfonia gave a concert as part of the Ignacy Jan Paderewski Year. Sinfonia’s successive commemorative concerts in Warsaw also proved major artistic events. There were concerts celebrating Yehudi Menuhin, like the one in April 1999 in the National Philharmonic, conducted by Kazimierz Kord (‘a congenial rendition on 24 Ewa Soliƒska, the part of both the conductor and the orchestra’, wrote Ewa Soliƒska about Beethoven’s ‘W hołdzie mistrzowi’, n24 ˚ycie Warszawy, Symphony No. 3 played then ), the one from March 2001 dedicated to Penderecki’s 22 April 1999.

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Seven Gates of Jerusalem, with soloists, choir and Sin- for the benefit of a foundation against breast cancer (with Krenz as conductor), and in fonia along with the Grand Theatre Orchestra con- December that year played in the National Theatre with the motto Let Us Mind the Home- ducted by the composer, or the one from May 2004 in less (with Penderecki as conductor). the National Philharmonic with Jeremy Menuhin, In December 1989, Sinfonia gave a concert in the Academy of Music for Prime Minister conducted by Maksymiuk. Very interesting concerts Tadeusz Mazowiecki’s Economic Initiatives Fund. In November 2000, in the hall of the were held in Warsaw in honour of Penderecki. We Secondary School of Railway Industry the orchestra knows so well, the ensemble cel- have already written about the 1993 concert cele- ebrated a Railway Worker’s Day with a special performance. Sinfonia’s concerts ac- brating the composer’s 60th birthday; to celebrate his companied anniversaries of renowned Polish institutions and organisations. The or- 70th birthday and five decades of his artistic work, at chestra played, for instance, to commemorate the 85th anniversary of the Polish the beginning and end of 2003 Sinfonia performed in Security Printing Works (January 2004, Royal Castle, conductor – Maksymiuk) and the the National Philharmonic the composer’s Sinfoni- 80th anniversary of the National Bank of Poland (April 2004, Grand Theatre, conduc- etta per archi, Concerto Grosso for Three Cellos and tor – Tadeusz Wojciechowski). In March 2009, in the National Philharmonic, the 10th Orchestra, Piano Concerto Resurrection with Barry jubilee of the Polish Confederation of Private Employers Lewiatan was celebrated in a Douglas as a soloist and Te Deum, all conducted by concert of Beethoven’s Symphony No. 9, conducted by Jerzy Semkow. the composer himself. In 2008, on the occasion of his 75th birthday, Penderecki conducted the ensemble in When putting forth his idea of establishing an annual Sinfonia Varsovia to Its City Fes- September in the Lutosławski Concert Studio in his tival, dedicated to the general public, Franciszek Wybraƒczyk thought first of all of an Flute Concerto, while in November in Grand Theatre educational objective. The idea was launched in 2001; since that time the event, held in his Seven Gates of Jerusalem. In 2006, Maksymiuk’s eight time in the first twenty-five years of the orchestra’s life by Sinfonia and its Foun- 70th birthday was celebrated by Sinfonia by partici- dation, has become a permanent cultural event of Warsaw and has been greatly ac- pating in anniversary concerts conducted by claimed by numerous listeners. The Festival’s underlying idea is the presentation of Maksymiuk in the Lutosławski Concert Studio in Jan- classical music in various locations in Warsaw, including those far from its centre, where uary (works by Mozart, with Aleksandra Kurzak as a music events of the highest value are rare, i.e. in culture centres, churches and parks. soloist) and in April as well as in Królikarnia Palace The Festival takes place at the end of summertime (usually in the first half of Septem- in September. In September 2002 the orchestra ber). Admission to concerts is free and the ensemble is conducted by the greatest Pol- played in the Lutosławski Concert Studio to cele- ish and foreign artists, including representatives of the young generation (for instance, brate the 70th birthday of Wojciech Kilar (Krzesany, conductors Łukasz Borowicz and Michał Dworzyƒski and the violinist Patrycja Pieku- Orawa, Piano Concerto). In turn, in March 1991 Zyg- towska). The first eight editions of the Festival consisted of forty nine concerts of Sin- munt Krauze had a concert of his compositions with fonia, accounting for almost one third of all the concerts in Warsaw played at that time. Sinfonia in the National Philharmonic (e.g. Aus aller Apart from the halls of the National Philharmonic and the Music Academy, Festival ven- Welt stammende, Tableau vivant, Symphonie parisienne), ues included the Culture Centre in Włochy, Białoł´ka City Hall, churches in the districts Poster for while in November 2008 the composer celebrated his 70th birthday with the orches- of Mokotów (St. Dominic, St. Michael the Archangel, Our Lady of the Angels), Ursynów the 10th Franciszek tra (the concert included Krauze’s Serenade and works by Francis Poulenc and Prze- (Bl. Władysław of Gielniów), Bemowo (The Elevation of the Holy Cross), Bielany (St. Sigis- Wybraƒczyk Sinfonia Varsovia mysław Zych, with El˝bieta Chojnacka as one of the soloists). In January 1996, in S1 mund), in Białoł´ka (Our Lady of Beautiful Love), in Praga (Basilica of the Sacred Heart to Its City Festival, Studio, Sinfonia celebrated Jan Krenz’s fifty years of artistic activity, playing under him of Jesus, Sanctuary of Our Lady of Ostra Brama in Witolin), in Rembertów (Our Lady of Warsaw, his Symphony No. 1 as well as works by Hector Berlioz and Richard Strauss. Victory), in Włochy (St. Francis of Assisi, Our Lady of Loreto), Ursus (St. Joseph), Le- 4−19 September 2010, Special-programme concerts were held to celebrate the 60th anniversary of the Warsaw gionowo (St. John Kanty), parks at the Królikarnia Palace and in Wilanów Palace, the design by Ghetto Uprising (in April 2003 at Grand Theatre, under Wojciech Michniewski Sinfo- courtyard of the Royal Castle, and finally the Palace of Culture and Science, which Maciej Buszewicz nia played Ernest Bloch’s Israel Symphony and Krzysztof Knittel’s El maale rahamim...) housed the orchestra’s administrative offices. Since 2007, the Sinfonia Varsovia to Its and to commemorate the 60th anniversary of the Warsaw Uprising (in July and August City Festival has been known as Franciszek Wybraƒczyk Sinfonia Varsovia to Its City Fes- 2004 in Powstaƒców Warszawy Square, e.g. Missa Pro Pace by Kilar and the afore- tival. The range of Sinfonia’s educational activities in the nation’s capital are every now mentioned world premiere of Knittel’s Memoirs from the Warsaw Uprising). Special con- and then supplemented by meticulously prepared concerts for children. certs (including the one at the Church of the Holy Cross under Penderecki and the one in the Congress Hall with a concert performance of George Gershwin’s Porgy and Bess under Mariusz Smolij) were dedicated by Sinfonia to all the casualties of the 11 Sep- tember, 2001 tragedy. In November 1997, in the National Philharmonic Menuhin and Penderecki led Sinfonia during a concert Reliability and Solidarity; the proceeds went to the culture institutions of the city of Wrocław which suffered as a result of a flood. In October 1999, the ensemble played a charity concert in the National Philharmonic

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Letter from President Bronisław Komorowski thanking Sinfonia Varsovia At the End of the Quarter-Century for the concert which took place on 29 June 2011 ‘Musicians’ techniques were superb. Their cooperation with Fou Ts’ong was particularly har- in the courtyard monious’ (Hong Kong Economic Times, 19 February 1991), ‘Sinfonia Varsovia proved an of the Presidential Palace ideal interpreter’ (Die Welt, 3 July 1992), ‘Sinfonia Varsovia has the power of influence char- to commemorate acteristic of the most magnificent ensembles’ (Gazeta Wyborcza, 17 September 1992), ‘Sin- the 70th anniversary of the death fonia Varsovia – without any exaggeration one of the leading chamber orchestras of the of Ignacy Jan Paderewski, world’ (Gazeta Poznaƒska, 28 January 1993), ‘The Warsaw players have a natural sense Warsaw, of style’ (The New York Times, 3 October 1995), ‘… simply breath-taking, vibrant, romantic 6 July 2011 warmth from the Warsaw Sinfonia’ (Birmingham Post, 1 May 1999), ‘Sinfonia Varsovia demonstrates its top form’ (Frankfurter Allgemeine Zeitung, 15 July 1999) – this is but a handful of a huge number of similar compliments lavished on the orchestra in the press during only one decade. Asked to comment on his many years of experience with the art of Sinfonia, the Nestor of Polish music criticism, Józef Kaƒski wrote specifically for this publication:

After one concert of the orchestra at one of our major festivals, I congratulated Franciszek Wybraƒczyk on his ensemble being able to play very well irrespective of who conducts them, while even excellent orchestras happen to turn in a mediocre performance under a mediocre conductor. One of Sinfonia’s musicians confided in me that there are cases when they try not to look at the conductor. On the other hand, the orchestra is able to reach the heights of the

art of performance when led by someone like, say, Jerzy Semkow. I can still vividly remember 25 Józef Kaƒski, statement n25 Pyotr Tchaikovsky’s Pathétique the two performed years ago. made on 1 March 2009.

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Sinfonia Varsovia in the Grand Theatre – National Opera, Warsaw, 26 November 2006

Krzysztof Kosmala Janusz Marynowski

At the End of the Quarter-Century Autonomy

The close of the first twenty-five years of Sinfonia brought about a few important changes. A breakthrough moment was the ensemble’s gaining full autonomy when it comes to its organisation. Pursuant to a resolution of the Warsaw City Council of December 2007, as of early 2008 the Stanisław Ignacy Witkiewicz Studio Arts Centre was divided into two independent institutions of culture run by the city government, namely Witkiewicz Studio Theatre and Sinfonia Varsovia Orchestra. Of prime significance for the preparation and implementation of this measure was the commitment and determination of Mayor of Warsaw Hanna Gronkiewicz-Waltz and Director of the Culture Department of the Warsaw City Office Marek Kraszewski. The resolution of the City Council deter- mined as the objective of the Sinfonia Varsovia Orchestra the promotion of the national and world music heritage in Poland and abroad, the promotion of the cultural heritage of Warsaw and the organisation of a permanent artistic season in the capital. Soon afterwards, in June 2008 the managerial duo of the institution, i.e. the Artistic Di- rector Krzysztof Penderecki and the General Director Janusz Marynowski (with Krzysztof Kosmala as deputy) was transformed into a triumvirate. At the invitation of Marynowski, the French artist Marc Minkowski became Sinfonia’s Music Director. Minkowski had already made a name for himself as an eminent conductor of orchestras and operas, founder and head of Les Musiciens du Louvre, a famous orchestra specialising in Baroque music and compositions of Viennese classics.

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Marc Minkowski

At the End of the Quarter-Century

Marc Minkowski Minkowski and Sonia Wieder-Atherton. Sinfonia Varsovia's concert Born in 1962 in Paris, initially active as a bassoonist (a member of e.g. La Chapelle at the Grand Theatre – Royale and Les Arts Florissants), as a conductor Minkowski is a disciple of Charles National Opera, Bruck. He established his Les Musiciens du Louvre when barely twenty years of age, Warsaw, and quickly made them an orchestra playing in the major centres in France and Europe. 1 September 2008 Since 1996 the ensemble has been located in the MC2 cultural centre in Grenoble. With Les Musiciens Minkowski performed, among others in 1993 Lully’s Phaëton during a re-opening of a revamped building of the Lyon Opera, in 1995 made a recording of Rameau’s Hippolyte et Aricie, later a recipient of numerous awards, in 2005 presented Mozart’s Mitridate, re di Ponto at a festival in Salzburg, in 2006 made Gluck’s Iphigénie en Tauride in the Paris Opera, in 2007 performed Bizet’s Carmen at the Théâtre du Châtelet in Paris; in 2006 and also in 2008 he went on a long European tour with his musicians, playing Haydn’s twelve London symphonies. At the same time Minkowski cooperated extensively with other operatic ensembles. He rehearsed and conducted especially Mozart’s compositions (Idomeneo, re di Creta in the Paris Opera, Don Giovanni in Toronto, Die Zauberflöte in Madrid and Paris) and French operas: Rameau’s Les Boréades in Zurich, Boieldieu’s La dame blanche in the Opéra-Comique in Paris, Auber’s Le domino noir in Teatro La Fenice in Venice, Meyerbeer’s Robert le diable in the Staatsoper Berlin, Offenbach’s Les contes d’Hoffmann in Lousanne, Massenet’s Manon in Monte Carlo, Debussy’s Pelléas and Mélisande in Leipzig, in the Opéra- -Comique in Paris and finally in the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre, where in 2008 he received the Golden Mask, the highest Russian theatre distinction for this performance. In the years 1997–2000 Minkowski was the music director of the Flemish Opera. The artist also performed with many eminent orchestras, from Berliner Philharmoniker and Staatskapelle Dresden to Los Angeles Philharmonic and the Cleveland Orchestra. The list of Minkowski’s artistic achieve- ments is incomplete without his greatly appreciated recordings, exemplified here by only one example. Minkowski had his first concert with Sinfonia still in September 2007 in Krakow, during the Sacrum Profanum Festival. The event was dedicated exclusively to John Adams’ compositions, two of which had their Polish premieres that evening. Of the five concerts

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Declaration of Marc Minkowski taking over the post of music director of Sinfonia Varsovia, Warsaw, 17 March 2008

Poster for concerts at the Warsaw Church of the ensemble conducted by Minkowski in 2008, there were two of an identical Pol- of St. Sigismund ish-French programme (Moniuszko, Tansman, Górecki, Greif, Chopin/Glazunov, Pen- and at the Raszyn Church derecki, Chabrier), played in December in Warsaw in the National Philharmonic and of St. Stephan and St. Anne, in Paris in the Théâtre du Châtelet to celebrate the conclusion of France’s presidency 18–19 April 2009, in the European Union (‘with Minkowski as their conductor Sinfonia Varsovia takes to design by n26 flight’, wrote Dorota Szwarcman about the evening in Warsaw ). In spring 2009 Maciej Buszewicz Minkowski conducted the orchestra in the Warsaw Church of St. Sigismund during a Concert poster from concert of Mendelssohn’s Symphony No. 3 and Symphony No. 5 and then, to celebrate the Grand Theatre – the bicentennial of the Battle of Raszyn, directed Beethoven’s Symphony No. 5 in the – National Opera, local church. Minkowski’s appointment as Sinfonia’s Music Director was enthusiasti- Warsaw, 20 June 2008, cally received in Warsaw and reverberated with wide echoes. This appointment was design by nominated for Gazeta Wyborcza’s Culture Event of the Year award – Wdechy 2008 – along Maciej Buszewicz with the reborn Warsaw Theatre Encounters, Krzysztof Wodiczko’s installation on the 26 See Ruch Muzyczny 2009, Mickiewicz Monument, and the final winner, the Planete Doc Review festival of docu- No. 2, p. 30. mentaries.

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'Plant a tree, build a concert hall...' Krzysztof Penderecki on the grounds of

Poster the Orchestra's The 25th Anniversary new headquarters, of the Sinfonia Varsovia 11 June 2009 Orchestra, 2009, design by Mayor Maciej Buszewicz of Warsaw, Hanna Gronkiewicz-Waltz and Janusz Marynowski, General Director of the Sinfonia

Sinfonia Varsovia Varsovia on the grounds of Orchestra. its new headquarters Inauguration of at 272 Grochowska Str. the 9th Franciszek in Warsaw, Wybraƒczyk 9 September 2011 Sinfonia Varsovia At the End of the Quarter-Century to Its City Festival at the Orchestra's new headquarters, Home 13 September Sinfonia’s autonomy was quickly accompanied by a lavish endowment; on 24 April 2009 2009, almost literally on the eve of the orchestra’s 25th birthday, the city bought for it premises well known to city residents, of the former Institute of Veterinary Sciences of the University of Life Sciences in the district of Praga in 272 Grochowska Str. The palace and some other buildings from the year 1900 in an adjacent park cover a total area of two and a half hectares. This act was followed by a promise of creating a mod- ern cultural centre with a new municipal concert hall on this area. Sinfonia Varsovia finished its first quarter-century under good auspices...

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PENDERECKI Wioletta Chodowicz, Agnieszka Rehlis, Mariusz Godlewski, National Philharmonic Choir, Valeri Gergiev, Narodowy Instytut Fryderyka Chopina 2011, CD

CHOPIN Jan Lisiecki, Howard Shelley, Narodowy Instytut Fryderyka Chopina 2009, CD, award: Diapason Découverte 2010

ROSSINI Julia Lezhneva, Marc Minkowski, Warsaw Chamber Opera Choir, Postscript – Naïve Classique 2011, CD Today and Tomorrow Postscript – Chopin 2010 Today and Contribution of Sinfonia to the celebration of Fryderyk Chopin anniversary was impressive indeed and it places the orchestra among the leading Polish cultural institutions in this respect. It was Sinfonia that performed Piano Concerto in F Minor with Marc Lafor˘t and Wo- Tomorrow jciech Rodek as a conductor on the eve of the Chopin Year on 21 February 2010 in Warsaw’s Church of the Holy Cross and it was Sinfonia that closed this tremendous year- long national Chopin musical marathon with a performance of Piano Concerto in E Minor Going beyond basic time frames of this played with Daniil Trifonov on 1 March, 2011 in the National Philharmonic as well as a per- monograph, two first seasons of the second formance with Wioletta Chodowicz, Agnieszka Rehlis, Mariusz Godlewski and the National quarter of a century of Sinfonia’s activity Philharmonic Choir of a composition A Sea of Dreams did Breathe on Me... Songs of Reverie (2009–2011) brought about so many new and Nostalgia composed by Krzysztof Penderecki especially on the occasion of the Chopin’s important events and contributed so much jubilee (a few weeks earlier the ensemble played the first performance of this composition, to its oeuvre that they need at least a con- however under Valery Gergiev and not under the composer himself as it was on 1 March). cise description. The activities of the en- At the end of February 2010, as part of the ‘birthday week’, Sinfonia played Piano Concerto semble focused on the idea of worthy cel- in F Minor with Ivo Pogorelich under George Tchitchinadze in the National Philharmonic. ebration of the 200th anniversary of the In the outstanding anniversary edition of Warsaw festival ‘Chopin and his Europe’ Sinfo- birth of Fryderyk Chopin which was a nia performed as many as five times. Concerts were conducted among others by Marc great Polish and world jubilee. Not only Minkowski and Jacek Kaspszyk. Among soloists who performed together there were Hen- artistic activity of the orchestra but also riette Bonde-Hansen, Martha Argerich, Mischa Maisky, Nelson Freire, Maria João Pires or numerous music-related projects and or- Jan Lisiecki. Two Chopin concertos with Jan Lisiecki and conducted by Howard Shelley re-

Poster ganizational actions revolved around this ceived a valuable Diapason Découverte 2010 award. In its new more and more often used 13th Ludwig anniversary. seat in the Praga district, Sinfonia organized a series of Chopin recitals performed by the van Beethoven participants of the 17th International Chopin Piano Competition. Easter Festival, Sinfonia played quite a lot of Chopin compositions in this anniversary year also abroad: in Krakow, Belarus – in the National Philharmonic as part of the Minsk Spring (it was actually the first 26 March 2009, performance of the ensemble in this country), in Germany – during the Schleswig Holstein special concert

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Poster Recitals by Participants of the Chopin Competition, Warsaw 8−16 October 2010 design by Szymon Zaremba

Musik Festival in Kiel and Elmshorn, in France – in Luxembourg Garden in Paris (here Poster Chopin at Grochowska Str., both piano concerts were performed with Piotr Paleczny under Jacek Kaspszyk), in Warsaw, 21 August− Théâtre des Champs-Élysées (Piano Concerto in E Minor with Rafał Blechacz under Jerzy −4 September 2010, Semkow), as well as in Sisteron and at the festivals in Epaux, La Roque d’Antheron and design by Menton and last but not least in Hungary – in the Palace of Arts in Budapest. However, Robert Mendel the main place of the orchestra’s activities connected with Chopin internationally were successive editions of La Folle Journée Festival devoted to our best artist in this jubilee Poster La Folle Journée Festival, year – in Pays de la Loire region and in Nantes in France, in Bilbao in Spain and in Ni- Japan 2011 igata, Kanazava and Tokyo in Japan. In those places, Sinfonia performed in over fifty concerts and participated in numerous performances of Piano Concerto in E Minor and in F Minor, Variations on the Theme L∫ ci darem la mano, Fantasy on Polish Airs, Rondo a la Krakowiak as well as Andante Spianato et Grande Polonaise Brillante. The ensemble also performed works of other composers of this epoch: Elsner, Kurpiƒski, Mozart, Weber, Rossini, Bellini, Mendelssohn, Schumann or Liszt.

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Poster for Postscript – the La Folle Journée de Varsovie / Today and Chopin Open Festival, Tomorrow Warsaw, 11–13 June 2010, design by F11 – Pracownia ‘Crazy Days’ The logical consequence of over a decade of Sinfonia Varsovia participation in La Folle Journée on the one hand and the choice of Chopin as a main patron of the festival in 2010 on the other, was an invitation to the ‘crazy days of music’ in Warsaw in that year, moreover by no means for this only edition but with an annual continuation in mind. In this way the Polish capital joined a group of cities on three continents that included this special beneficial event in the calendars of their permanent cultural undertakings. Sinfonia performed in Warsaw not only as a participant of this event but also played a role of its organizer. The ensemble shared this considerable effort with Centre for Artis- tic Research and Creation (CREA) of René Martin from Nantes and Warsaw Founda- tion ‘Music Gardens’ with an assistance of the French Institute in Warsaw. René Mar- tin planned this Polish Chopin Open as a really versatile and very abounding presentation. For instance during the festival all works of Fryderyk Chopin for piano solo in chronological order of their composing were played (the whole series of recitals was recorded by cultural channel Mezzo of French television), as well as all compositions for piano and orchestra and all chamber works of this Polish composer. Moreover a great deal of works by other artists were included in the programme of this event, both those who inspired Chopin, those who stayed in touch with him or people who created in the same period or those who were influenced by him – from Bach to Rachmaninov. Pol- ish folk music was also not forgotten. From 11th to 13th of June, in five halls of the Grand Theatre – National Opera and the National Theatre one hundred nineteen concerts were given with the participation of almost four hundred fifty artists. Among festival performers there were Barbara Hendricks and Olga Pasichnyk, Boris Berezovsky, Anne Queffélec and Abdel Rahman El Bacha, Alona Baeva and Alexander Rudin, Jacek Kaspszyk, Jerzy Maksymiuk, Marc Minkowski, Krzysztof Penderecki and Antoni Wit. During the festival Sinfonia played in fifteen concerts both as a full orchestra and as a chamber ensemble. The success of Warsaw Chopin Open is best evidenced by a number of audience – over twenty six thousand! As part of the festival, an impressive educational project in a form of musical workshops was organized under the management of Violetta Łabanow in co-operation with ‘Music Is for Everyone’ Foundation. Two and a half thousand children from primary schools participated in the workshops. It is worth adding here that educational aspirations of Sin- fonia are also expressed by an undertaking of launching a special programme addressed to the students of musical academies. This project is realized by Jerzy Klocek, a leg- endary concertmaster of the cello section of the orchestra,

‘Crazy Days’ Postscript – Today and Tomorrow 122 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 123 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:28 PM Page 124

Poster Poster for concert Sinfonia Varsovia, at the National Chopin 2010, Philharmonic, design by Warsaw, Maciej Buszewicz 21, 23 November 2011, design by Maciej Buszewicz

‘Crazy Days’ Postscript – Today and Tomorrow 124 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 125 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:28 PM Page 126

Flyer Poster Orkiestra Sinfonia Varsovia Summer Recitals for concert at zaprasza na at Grochowska Str., the Lutosławski Warsaw, Concert Studio of July-August 2011, Polish Radio, design by Warsaw, LETNIE RECITCITTAALE F11 − Pracownia 6 January 2009, design by na Grochowskieejj Maciej Buszewicz

WSTĘP SINFONIA VAARSOVIA W CENTRUM OLNY WARSZAWA GROCHOWSKA 272

www.sinfoniavarsovia.org

Patronat medialny

Postscript – Today and Tomorrow 126 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 127 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:28 PM Page 128

Poster for concert Poster for concert at the National at the Lutosławski Philharmonic, Studio of Warsaw, Polish Radio 22 December 2010, on the occasion design by of the Maciej Buszewicz 10th anniversary of the Adam Mickiewicz Institute, Warsaw, 19 June 2010, design by Maciej Buszewicz

Postscript – Today and Tomorrow 128 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 129 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:28 PM Page 130

Poster for concert Poster for concert at the Lutosławski at the Lutosławski Studio of Studio of Polish Radio, Polish Radio, Warsaw, Warsaw, 9 January 2010, 8 January 2012, design by design by Maciej Buszewicz Maciej Buszewicz

Postscript – Today and Tomorrow 130 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 131 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:28 PM Page 132

Dyrektor Artystyczny Dyrektor Muzyczny Dyrektor Naczelny Krzysztof Penderecki Marc Minkowski Janusz Marynowski

ZAPRASZAMY warsztaty plastyczne, Zespół Dzieci´cy Zespołu Paƒstwowych DZIECI malowanie bombek Szkó∏ Muzycznych nr 4 im. Karola Szymanowskiego oraz kartek Êwiàtecznych, w Warszawie projektowanie ekologicznych prowadzenie Anna Perzanowska-Tarasiuk

ozdób choinkowych, fortepian Tomek Rosłon design: opowieÊci o polskich zwyczajach animatorzy bo˝onarodzeniowych, Centrum Promocji WST¢P Kultury Praga Płd. wspólna nauka i Êpiewanie kol´d, goÊcie WOLNY z Paƒstwowego Muzeum słodki Êwiàteczny pocz´stunek Etnograficznego sobota 17grudnia 2011 Sinfonia Varsovia Centrum oraz moc innych atrakcji w Warszawie godz. 1200-1500 Warszawa, ul. Grochowska 272 i niespodzianek

3 Urzàd Dzielnicy Praga Południe m.st. Warszawy Klub Kultury Saska K´pa www.sinfoniavarsovia.org

Banner Family Christmas Meeting at Grochowska Str., Warsaw, 17 December 2011, design by Maciej Buszewicz

Banner Christmas Concert Christmas card, 2011, at Grochowska Str., design by Warsaw 18 December. 2011, Maciej Buszewicz design by Maciej Buszewicz

Postscript – Today and Tomorrow 132 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 133 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:28 PM Page 134

Letter from Postscript – the Mayor of Warsaw, Today and Hanna Gronkiewicz-Waltz, printed in the catalogue of Tomorrow the post-competition exhibition of designs Sza now ni Paƒ stwo for the building and development of Premises Pi´ç mie si´ cy te mu, w czerw cu, obie ca li Êmy, ˝e jesz cze w tym ro ku po zna jà Paƒ stwo the property at Finally, it is an absolute must to mention that a prospect of an ultimate shape of a new seat in 272 Grochowska Str. pro jekt miej skiej sa li kon cer to wej, któ ra po wsta nie w sie dzi bie Or kie stry Sin fo - 272 Grochowska Str. crystallized in this period. Let us repeat that the ensemble has begun in Warsaw, to play concerts and organize their educational undertakings in this new seat more and more nii Varso vii przy ul. Grochow skiej. Słowa dotrzy ma li Êmy. Sinfonia Varsovia often. In June 2010 an open two-stage competition for the design of a new concert hall for Odda je my w Paƒstwa r´ce kata log z praca mi, jakie w rekor do wej liczbie zosta ły na- Orchestra, 1,800 spectators and for architectural development of the real property being the former seat desła ne do orga ni za to ra konkur su, na projekt głównej miejskiej sali koncer to wej Warsaw 2010 of the Institute of Veterinary Sciences was announced. One hundred thirty seven works from dla 1800 widzów wraz zadapta cjà zabyt ko wych budyn ków. Spotkał si´ on z wiel- several dozen countries were received, of which ten were accepted for the second stage. kim za in te re so wa niem pra cow ni ar chi tek to nicz nych z ca łe go Êwia ta. Na de sła no Visualisation of fragment International jury (composed of among others the representatives of Sinfonia: General Director of the Praga-Południe district 138 prac z kil ku dzie si´ ciu kra jów. Na Pra dze po wsta nie no we cen trum kul tu ral - Janusz Marynowski and musicians Andrzej Krzy˝anowski and Grzegorz Stachurski) awarded in Warsaw, showing the planned ne Warsza wy. Wokół siedzi by Sinfo nii Varso vii, z posza no wa niem zabyt ko we go the first prize to the project presented by the atelier of an Austrian architect Thomas Pucher. gmachu dawne go Insty tu tu Wete ry na rii, zognisko wa ne zosta nà w nowej przestrze - expansion of Sinfonia Varsovia's headquarters at Grochowska Str., Among three winners of second prizes there were an atelier of renowned Zaha Hadid and two ni tak˝e inne formy sztuki – teatr, film, malar stwo, foto gra fia czy rzeêba. Powsta - design by nie tu mul ti te ka, ka wiar nia, re stau ra cja. No we cen trum kul tu ral ne do star czy za - Atelier Thomas Pucher ZT GMBH, j´ cia i roz ryw ki war sza wia kom o ró˝ nych za in te re so wa niach i w ró˝ nym wie ku. 2010 B´dzie przede wszystkim stałà siedzi bà naszej miejskiej orkie stry – Sinfo nii Var- sovii, od çwierç wieku bezdom nej. B´dzie mo˝na tu sp´dziç wiele godzin wkon- takcie ze sztukà. Mo˝na b´dzie tej sztuki si´ uczyç. Plano wa ne jest bowiem pro - wadze nie progra mów eduka cyj nych dla dzieci i młodzie ˝y, a tak˝e kursy mistrzow skie dosko na là ce umiej´t no Êci zawo do we muzy ków. W kata lo gu zapre - zen to wa ne zo sta ły wszyst kie pro jek ty na de sła ne na kon kurs, któ ry zo stał sfi nan - so wa ny ze Êrod ków m.st. War sza wy. Kon cepcja zwy ci´ ska, któ ra b´ dzie re ali zo - wa na przy ul. Gro chow skiej, do łà czy do zmian, ja kie za cho dzà w kul tu rze na Pradze – do zmoder ni zo wa ne go Teatru Powszech ne go, do powsta jà ce go Muzeum War szaw skiej Pra gi czy sa lo nu pra wo brze˝ nej War sza wy – ul. Fran cu skiej. Sin - fo nia Var so via Cen trum to wa˝ ny pro jekt dla na sze go mia sta – kan dy da ta do ty - tułu Euro pej skiej Stoli cy Kultu ry 2016. Dlate go chcieli by Êmy, ˝eby w 2016 ro- ku pla ców ka mo gła ju˝ słu ˝yç miesz kaƒ com. Han na Gron kie wicz -Waltz

Premises Postscript – Today and Tomorrow 134 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 135 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:29 PM Page 136

Visualisation of the Sinfonia Varsovia concert hall, design by Atelier Thomas Pucher ZT GMBH, 2010

Polish studios. The winning project is fascinating in many respects. It assumes to surround the whole complex with a three-metres high wall and for the concert hall it intends an

innovatory combination of a traditional ‘shoe box’ Spatial development model shape with a ‘vineyard’ running down in terraces towards for the headquarters of the centrally located stage, whereas the rows of seats for the the Sinfonia Varsovia Orchestra, audience are winding freely around the stage like ribbons. As design by announced by the Warsaw authorities we will be able to listen to Sinfonia Varsovia in Atelier Thomas Pucher their own concert hall already in 2016... ZT GMBH, August 2011 2010

Visualisation of the main buliding, design by Atelier Thomas Pucher ZT GMBH, 2010

Premises Postscript – Today and Tomorrow 136 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 137 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:29 PM Page 138

Visualisation of the interior of the future Sinfonia Varsovia concert hall, design by Atelier Thomas Pucher ZT GMBH, 2010

Premises Postscript – Today and Tomorrow 138 2 5 Y e a r s o f t h e Sinfonia Varsovia Orchestra 139 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:29 PM Page 140

Members of the Polish Chamber Orchestra at a Concert at the National Philharmonic, 27 April 1984

Artistic Director Violins Cellos Clarinets Jerzy Maksymiuk Jan Stanienda Jerzy Klocek Zenon Kitowski Concertmaster Ewa Wasiółka Dariusz Wybraƒczyk Deputy Artistic Director Wiesław KwaÊny Maciej Jezierski Franciszek Wybraƒczyk Andrzej Staniewicz Bassoons Paweł Freydlich Zbigniew Wytrykowski Bogumił Gadawski Yehudi Menuhin Robert Dàbrowski Andrzej Budejko Violin and Conductor Double-Basses Michał Grabarczyk Krzysztof Mróz Karol Miczka Horns Bogusław PstraÊ Grzegorz Rezler Jerzy Choma Józef Kolinek Paweł Szczepaƒski Flutes Grzegorz Kozłowski Andrzej Wojakowski Paweł Gadzina Trumpets Małgorzata Lange Adam Haftkowski Janusz Bogłowski Ewa Bobrowska Antoni Adamus Oboes Mariusz Wójtowicz Jerzy Kotyczka Timpani Tomasz Miczka Violas Stanisław Skoczyƒski Włodzimierz ˚urawski Piotr Reichert Robert Pajewski Tadeusz Wykurz 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:29 PM Page 142

Employees of Sinfonia Varsovia August 2011

Krzysztof Penderecki Marc Minkowski Janusz Marynowski Artistic Director Music Director Executive Director BOES O LUTES F

Jakub Haufa Maria Machowska- Artur Gadzała Andrzej Staniewicz Łukasz Turcza Anna Gotartowska- Andrzej Krzy˝anowski Hanna Turonek Anna Jasiƒska Bolesław Słowik Adam Szl´zak Krzysztof Kosmala Bo˝ena Dadej Concertmaster Szałach Associate Pprincipal -Sienkiewicz Orchestra Speaker Deputy Director Chief Accountant Concertmaster IOLINS I V ASSOONS LARINETS B C Blanka Gołaszewska Natalia Staszczak Edyta Czy˝ewska Ka ta rzy na Krzysztof Oczko Agnieszka Zdebska Magdalena Dominika Kubica Aleksander Romaƒski Dariusz Wybraƒczyk Radosław Soroka Zbigniew Płu˝ek Wiesław Wołoszynek Head of Production Impresariat Gilew ska -Za gro dziƒ ska Krzy˝anowska Department ORNS IOLINS H II V

Inga Szczerbiƒska Bo˝ena Kasiak O Zbigniew Wytrykowski Agnieszka Guz Paweł Gadzina Grzegorz Kozłowski Krystyna Walkiewicz- Bogusław Artur Konowalik Robert Dàbrowski Paweł Szczepaƒski Henryk Kowalewicz Roman Sykta Chief Specialist for Human Resources FFICE Principal Associate Principal Librarian -Rzeczycka Powichrowski Orchestra Speaker Publications Specialist and Artistic Coordinator IOLAS RUMPETS V T

Artur Paciorkiewicz Grzegorz Stachurski Włodzimierz ˚urawski Janusz Bie˝yƒski Dariusz Kisieliƒski Jacek Nycz Małgorzata Michał Zaborski Jakub Waszczeniuk Andrzej Tomczok Jan Harasimowicz Principal Associate Principal Szczepaƒska Janusz Czy˝ewski Ewa Wodzyƒska Magdalena Todynek Office Manager Office Office ELLOS C ROMBONES T Jerzy Klocek Piotr Mazurek Katarzyna Drzewiecka- Ewa Wasiółka Piotr Krzemionka Kamil Mysiƒski Marek ˚wirdowski Tomasz Âwiatczyƒski Mariusz Opaliƒski Beata Andrzejewska Gra˝yna Zar´ba Małgorzata Zawadzka Concertmaster Acting Associate Szlachcikowska Artistic Coordinator Deputy Chief Accounting and Finance Finance Specialist Principal Associate Principal Accountant Specialist ASSES -B IMPANI T OUBLE

D Krzysztof Mróz Michał SobuÊ Marek Bogacz Karol Kinal Piotr Kostrzewa Principal Associate Principal Robert Rolczyk Ryszard Dembicki Office Logistics 68-148 SV Ksiazka jubileuszowa PL+GB PRESS 9/3/12 1:29 PM Page 144

photographs Marco Borggreve p. 76, 110, 143 Marc Minkowski ProGraphicjekt gradesignficz Maciej Busze wicz Aleksander Długajczyk p. 26 Krzysztof Dubiel p. 52, 142 Maria Machowska ReEditor dak El˝ bie ta StaÊ kie wicz F11-Pracownia p. 143 Inga Szczerbiƒska Andrzej Fedorowicz p. 6 Professional cooperation Inga Szczerbiƒska Krzysztof Jarosz p. 52, 143 Henryk Kowalewicz Arturo Mari p. 31 PrzygotowanieAssistance in preparation materiałów ofarchiwalnych archival materials Paul Mitchell p. 45 Anna Mieczyƒska Jean-Paul Mandegou p. 48–52, 142–143 Andrzej Staniewicz, Grzegorz Kozłowski Robert Dàbrowski, Piotr Krzemionka, Małgorzata Szczepaƒska, Michał SobuÊ Krzysztof Mróz Janusz Marynowski p. 27, 29, 30, 34, 39 Translation: Marcin Turski Andrzej Mówczan p. 18, 20–21, 26 Anna Olszewska-Marcinkiewicz Janina Nasierowska p. 142 Anna Guz Paweł Skaliƒski Zbigniew Gustaw Olszyna p. 142 Anna Jasiƒska Mirosław Pietruszyƒski p. 35, 43, 51–53 i 143 Andrzej Tomczok, Konrad Bukowian, Krzysztof Kosmala, Bo˝ena Dadej, Natalia Staszczak, Ewa Wodzyƒska, Magdalena Todynek, 76, 109, 111 Thomas Rabsch p. 76 Roy Round copyright EMI limited p. 23 Andrzej p. Rybczyƒski p. 37 Tomasz Âwiatczyƒski p. 48–52 i 142–143 Grzegorz Kozłowski, Paweł Gadzina, Ewa Wasiółka, Łukasz Turcza, Anna Gotartowska, Dariusz Wybraƒczyk,

Wiesław Wołoszynek, Krystyna Walkiewicz, Janusz Bie˝yƒski, Roman Sykta,

Edyta Czy˝ewska, Zbigniew Płu˝ek, Mariusz Opaliƒski, Krzysztof Oczko, Marek

Bogacz, Radosław Soroka, Karol Kinal, Michał Zaborski, Maria Kominek Andrzej Âwietlik p. 6–7, 12–13, 32–33, 46–47, 54–55, 66– –67, 74–75, 78–79, 86–87, 96–97, 104–105, 114– –115, 117–118, 138–139 Sinfonia Varsovia, The International Piano Festival in La Roque d’Anthéron – Château Bas Mimet, August 2011 www.sinfoniavarsovia.org and 35, 36, 48, 49–53 i 142–143 Jerzy Klocek, Zbigniew Wytrykowski, Krzysztof Mróz, Artur Paciorkiewicz, Bolesław Słowik, Paweł Szczepaƒski,

Aleksander Romaƒski, Grzegorz Stachurski, Artur Konowalik, Artur Gadzała, © Copy ri ght by Grzegorz WiÊniew ski, Warsza wa 2012 Marek ˚wirdowski, Tomasz Âwiatczyƒski, Piotr Kostrzewa, Janusz Olechowski,

© Copy ri ght for the English Translation by Beata Hellmann, Warszawa 2012 Kamil Mysiƒski, Jakub Haufa, Katarzyna Drzewiecka, Jacek Nycz, Andrzej © Co py ri ght for the English Translation by Anna Olszewska-Marcinkiewicz, Krzy˝anowski, Jakub Waszczeniuk, Janusz Marynowski, Janusz Czy˝ewski, 108 Warszawa 2012 Krzysztof Wojciechowski p. 11 © Copy ri ght by Paƒstwo wy Insty tut Wydaw ni czy, Warsza wa 2012 Andrzej ˚órawski p. 76

the Sinfonia Varsovia archives p. 8, 9, 17, 24, 25, 34, 38, Krzysztof Penderecki Printed in Poland 76, 140, 143 Paƒstwowy Instytut Wydawniczy w likwidacji, Warszawa 2012 Włodzimierz ˚urawski, Józef Ko- ul. Foksal 17, 00-372 Warszawa private archives p. 49–53, 142–143 linek, Jan Stanienda, Wiesław KwaÊny, Bogusław Powichrowski, Hanna Turonek, e-mail: [email protected] www.piw.pl Krzysztof Bzówka, Dariusz Kisieliƒski, Urszula Janik, Katarzyna Gilewska, First edition Anna Wybraƒczyk, Adam Szl´zak, Piotr Tarcholik, Agnieszka Zdebska, Printed by: Drukarnia Wydawnicza im. W. L. Anczyca S.A. Magdalena Krzy˝anowska, Paweł MaÊlanka, Dominika Kubica, Piotr Mazurek, ul. Wrocławska 53, 30-011 Kraków Jan Harasimowicz, Blanka Gołaszewska, Bo˝ena Kasiak, Beata Andrzejewska, tel (012) 623 75 43 Gra˝yna Zar´ba, Małgorzata Zawadzka, Robert Rolczyk, Ryszard Dembicki www.drukarnia-anczyca.com.pl

other sources p. 31 – Robert Jarocki, Z albumu Romana ISBN 978-83-06-03317-5 Jasiƒskiego, Warsaw: Paƒstwowy Instytut Wydawniczy, 2011