Sound installation: Konrad Smolenski / Everything Was Forever Until It Was No More
2025-10-24 18:00 - 2026-01-25 17:00 (Europe/Warsaw) | the Museum of Contemporary Art in Krakow MOCAK, Lipowa 4, Krakow, małopolskie, 30-702
Together with the MOCAK Museum of Contemporary Art in Krakow and the Krakow Festival Office (Sacrum Profanum Festival), we reach for the famous sound installation by Konrad Smoleński Everything Was Forever Until It Was No More, which represented Poland at the 2013 Venice Biennale.
We operate in a sustainable way, guided by the idea of artistic ecology and bringing back important existing works. Smoleński’s installation consists of two bronze bells, the tolling of which is recorded and processed electronically and then played by walls of speakers. An important element is the vibrating floor, which is also the stage for concerts, interacting with the installation. The artist, breaking stereotypes and expectations, creates a sphere of experience that the invited musicians and the public will enter. The boundaries between the music scene and the art space are thus blurred.
Konrad Smoleński – Everything Was Forever Until It Was No More
(2013-2025)
Daniel Muzyczuk, Agnieszka Pindera – curators
Opening: 24 October, 6:00 pm 18.00
Exhibition: 25 October – 25 January
Venue: MOCAK Museum of Contemporary Art

Co-organisers of the installation: MOCAK Museum of Contemporary Art in Krakow, Krakow Festival Office (installation as part of the “Sacrum Profanum” festival on 7–11 November 2025), National Centre for Culture Poland and the International Music Festival of Central and Eastern Europe Eufonie.

Polish Fantasy
2025-11-13 19:00 - 20:15 | NOSPR, plac Wojciecha Kilara 1, Katowice, 40-202, Poland
The concert programme features a combination of string quartets by early-nineteenth-century Polish composers and songs by Fryderyk Chopin in new arrangements by Tomasz Pokrzywiński.
This choice adheres to the principle of diversity underlying the then concert programmes. Selected movements of the String Quartets by Józef Elsner and Stanisław Moniuszko and the Fantasies by Franciszek Lessel and Karol Kurpiński are interspersed with Chopin’s songs, which, like an intimate diary, reflect various images of their creator.
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PROGRAMME:
Józef Elsner (1769–1854)
Largo – Allegro (mov. I)
from the String Quartet in E-flat major, Op. 8 No. 2 [7’]
(ok. 1799)
Fryderyk Chopin (1810–1849)
“Spring” from the cycle Songs, Op. 74 No. 2 [2’]
words: Stefan Witwicki (1801–1847)
arranged by: Tomasz Pokrzywiński (b. 1981)
(1838/2025)
Franciszek Lessel (1780–1838)
Fantasy [11’]
for string quartet
(the first half of the nineteenth century)
Fryderyk Chopin
“My Beloved” z cyklu Songs, Op. 74 No. 8 [3’]
words: Józef Bohdan Zaleski (1802–1886)
arranged by: Tomasz Pokrzywiński
(1841/2025)
Stanisław Moniuszko (1819–1872)
Andantino (cz. II)
from the String Quartet No.1 in D minor [4′]
(1839)
Frederic Chopin
“Lithuanian Song” from the cycle Songs Op. 74 No. 16 [2’]
słowa: Ludwik Osiński (1775–1838)
aranżacja: Tomasz Pokrzywiński
(1831/2025)
Stanisław Moniuszko
Scherzo (mov. III)
from the String Quartet No. 1 in D minor [4′]
(1839)
Fryderyk Chopin
“Faded and Vanished” from the cycle Songs Op. 74 No. 13 [4’]
words: Józef Bohdan Zaleski
arranged by: Tomasz Pokrzywiński
(1845/2025)
Stanisław Moniuszko
Finale. Allegro assai (Un ballo campestre e sue consequenze) (mov. IV)
from the String Quartet No. 1 in D minor [4′]
(1839)
Józef Elsner
Rondo. Allegro (mov. III – excerpt)
from the String Quartet in D minor, Op. 8 No. 3 [2′]
(ca. 1799)
Fryderyk Chopin
“A Fickle Maid” from the cycle Songs, Op. 74 No. 5 [1’]
words: Stefan Witwicki (1801–1847)
arranged by: Tomasz Pokrzywiński
(ca. 1829/2025)
Poseł z cyklu Pieśni op. 74 nr 7 [4’]
słowa: Stefan Witwicki
aranżacja: Tomasz Pokrzywiński
(1830/2025)
Józef Elsner
Rondo. Allegro (cz. III – fragment)
for string quartet d-moll op. 8 nr 3 [4’]
(ok. 1799)
Fryderyk Chopin
“The Lovers” from the cycle Songs Op. 74 No. 11 [3’]
words: Józef Bohdan Zaleski
arranged by: Tomasz Pokrzywiński
(1845/2025)
Karol Kurpiński (1785–1857)
Fantasy C major [12’]
for string quartet
(1823)
Adagio
Fuga
Andante
Presto
Fryderyk Chopin
“A Maiden’s Wish” from the cycle Songs Op. 74 No. 1 [2’]
words: Stefan Witwicki
arranged by: Tomasz Pokrzywiński
(1829?/2025)
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PERFORMERS:
Olga Pasiecznik
soprano
Equilibrium String Quartet:
Sulamita Ślubowska
violin
Małgorzata Malke
violin
Anna Nowak-Pokrzywińska
viola
Tomasz Pokrzywiński
cello
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Affinity: Chopin / Moniuszko / Elsner / Lessel / Kurpinski.
2025-11-14 18:00 - 19:15 | Royal Castle in Warsaw – Museum, Great Hall, Plac Zamkowy 4, Warsaw, 00-277
The concert programme features a combination of string quartets by early-nineteenth-century Polish composers and songs by Fryderyk Chopin in new arrangements by Tomasz Pokrzywiński.
This choice adheres to the principle of diversity underlying the then concert programmes. Selected movements of the String Quartets by Józef Elsner and Stanisław Moniuszko and the Fantasies by Franciszek Lessel and Karol Kurpiński are interspersed with Chopin’s songs, which, like an intimate diary, reflect various images of their creator.
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PROGRAMME:
Józef Elsner (1769–1854)
Largo – Allegro (mov. I)
from the String Quartet in E-flat major, Op. 8 No. 2 [7’]
(ca. 1799)
Fryderyk Chopin (1810–1849)
Wiosna z cyklu Pieśni op. 74 nr 2/ “Spring” from the cycle Songs, Op. 74 No. 2 [2’]
słowa / words: Stefan Witwicki (1801–1847)
aranżacja / arranged by: Tomasz Pokrzywiński (ur. 1981) / (b. 1981)
(1838/2025)
Franciszek Lessel (1780–1838)
Fantazja / Fantasy [11’]
na kwartet smyczkowy / for string quartet
(I poł. XIX wieku) / (the first half of the nineteenth century)
Fryderyk Chopin
“My Beloved” from the cycle Songs, Op. 74 No. 8 [3’]
słowa/ words: Józef Bohdan Zaleski (1802–1886)
aranżacja/ arranged by: Tomasz Pokrzywiński
(1841/2025)

*** intermission

Stanisław Moniuszko (1819–1872)
Andantino (mov. II)
from the String Quartet No. 1 in D minor [4’]
(1839)
Frederic Chopin
“Lithuanian Song” from the cycle Songs, Op. 74 No. 16 [2’]
words: Ludwik Osiński (1775–1838)
arranged by: Tomasz Pokrzywiński
(1831/2025)
Stanisław Moniuszko
Scherzo (cz. III) / (mov. III)
from the String Quartet No. 1 in D minor [4’]
(1839)
Fryderyk Chopin
“Faded and Vanished” from the cycle Songs, Op. 74 No. 13 [4’]
words: Józef Bohdan Zaleski
arranged by: Tomasz Pokrzywiński
(1845/2025)
Stanisław Moniuszko
Finale. Allegro assai (Un ballo campestre e sue consequenze) (mov. IV)
from the String Quartet No. 1 in D minor [4’]
(1839)

*** intermission

Józef Elsner
Rondo. Allegro (mov. III – excerpt)
from the String Quartet in D minor, Op. 8 No. 3 [2′]
(ca. 1799)
Fryderyk Chopin
“A Fickle Maid” from the cycle Songs, Op. 74 No. 5 [1’]
words: Stefan Witwicki (1801–1847)
arranged by: Tomasz Pokrzywiński
(ok. 1829/2025) / (ca. 1829/2025)
Poseł z cyklu Pieśni op. 74 nr 7 / “The Messenger” from the cycle Songs, Op. 74 No. 7 [4’]
słowa / words: Stefan Witwicki
aranżacja / arranged by: Tomasz Pokrzywiński
(1830/2025)
Józef Elsner
Rondo. Allegro (mov. III – excerpt)
from the String Quartet in D minor, Op. 8 No. 3 [4’]
(ca. 1799)
Fryderyk Chopin
“The Lovers” from the cycle Songs, Op. 74 No. 11 [3’]
words: Józef Bohdan Zaleski
arranged by: Tomasz Pokrzywiński
(1845/2025)

*** intermission

Karol Kurpiński (1785–1857)
Fantazja C-dur / Fantasy in C major [12’]
na kwartet smyczkowy / for string quartet
(1823)
Adagio
Fuga
Andante
Presto
Fryderyk Chopin
“A Maiden’s Wish” from the cycle Songs, Op. 74 No. 1 [2’]
words: Stefan Witwicki
arranged by: Tomasz Pokrzywiński
(1829?/2025)
_______
PERFORMERS
Olga Pasiecznik
soprano
Equilibrium String Quartet:
Sulamita Ślubowska
violin
Małgorzata Malke
skrzypce / violin
Anna Nowak-Pokrzywińska
altówka / viola
Tomasz Pokrzywiński
cello
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Dvořák / Symphony "From the New World"
2025-11-15 18:00 - 20:00 | Józef Elsner Philharmonic of Opole, Krakowska 24, Opole, 45-075
On November 15, the Opole Philharmonic will host the Silesian Philharmonic Symphony Orchestra under the baton of one of the most acclaimed conductors of the young generation, as well as the artistic director of the Silesian Philharmonic, Yaroslav Shemet, inviting the audience to a concert as part of two unique events: The 7th Eufonie International Festival of Central and Eastern European Music and the 13th International Days of Henryk Mikołaj Górecki “Songs Sing.”
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The evening’s program was arranged so that the ideas of the two festivals would intermingle in a musical dialogue – from Henryk Mikołaj Górecki’s energetic Three Dances, through Mieczysław Karłowicz’s reflective Odwieczne pieśni (Eternal Songs ), to one of the most famous symphonies in history – Antonín Dvořák’ s Symphony No. 9 From the New World.
The evening will open with Three dances op. 34 Henryk Mikołaj Górecki – a work in which the composer, usually associated with music full of reverie, shows his impetuous face. Reaching back to the Polish dance tradition, he transformed its characteristic motifs into dynamic forms with great rhythmic freedom. Here, jumping rhythms and sharp accents alternate with moments of lyrical respite, creating music full of contrasts and unexpected turns.
Eternal Songs Op. 10 Mieczyslaw Karlowicz’s Song is a symphonic poem in the form of a triptych. Song of Eternal Longing, Song of Love and Death and Song of All-Being form a coherent, reflective whole, in which melancholy and reverie over human fate resound. Although the work does not have a detailed program, it was inspired, among other things, by the composer’s solitary wanderings in the Tatra Mountains and his sense of oneness with nature. Karłowicz here combines late-Romantic momentum with his characteristic lyricism, and all the movements are bound together by the eternal motif entrusted to the English cornet at the beginning.
The finale of the concert will be the most famous and most frequently performed of all Antonín Dvořák’s symphonies -. Symphony No. 9 in E minor, Op. 95 From the New World . Powstała ona w latach 1892–1893 podczas pobytu kompozytora w Stanach Zjednoczonych. Inspirował się on tamtejszą muzyką – afroamerykańskimi spirituals i motywami indiańskimi – jednak nie cytował ich dosłownie, tworząc własne tematy o podobnym charakterze. Środkowe części powstały pod wpływem poematu Henry’ego Wadswortha Longfellowa Pieśń o Hiawathcie. Cztery ogniwa symfonii prowadzą słuchacza od energicznego Adagio. Allegro molto, przez liryczne Largo i taneczne Scherzo: Molto vivace, po finał Allegro con fuoco, w którym powracają echa wcześniejszych tematów. Dzieło łączy czeską melodykę z amerykańskimi inspiracjami, zachowując klarowną formę i bogactwo orkiestracyjnych barw.
PROGRAMME:
Henryk Mikołaj Górecki (1933–2010)
Three dances op. 34 [12’]
for orchestra
(1973)
Presto, marcatissimo
Andante cantabile. Tranquillo
Presto
Mieczysław Karłowicz (1876–1909)
Eternal songs op. 34 10 [22’]
symphonic poem
(1906)
Song of Eternal Longing
Song of Love and Death
Song of Universal Existence
*** intermission [20’]
Antonin Dvořák (1841–1904)
IX Symfonia e-moll Z Nowego Świata op. 34 95 [40’]
(1893)
Adagio. Allegro molto
Largo
Molto vivace
Allegro con fuoco
PERFORMERS:
Silesian Philharmonic Choir and Symphony Orchestra
Yaroslav Shemet
conductor
Jarosław Wolanin
artistic director of the choir
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Experiences: Mendelssohn / Mahler
2025-11-17 19:00 - 21:45 | Teatr Wielki – Polish National Opera, Plac Teatralny 1, Warsaw, 00-950
Instrumental works can be viewed either as sound and form, or as conveying extra-musical content. For Felix Mendelssohn-Bartholdy, despite his fascination with nature and travel, music always remained the domain of sensual sound and formal perfection, and his Violin Concerto in E minor is an evocative example of this. Mahler’ s Symphony No. 1 , on the other hand, is a programmatic work in which the composer depicted through sound the story of a young hero facing adversity.
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PROGRAMME:
Felix Mendelssohn-Bartholdy (1809–1847)
Violin Concerto in E minor, Op. 64 [26′] (1844/1845)
Allegro molto appassionato
Andante
Allegretto non troppo – Allegro molto vivace

*** intermission [20’]

Gustav Mahler (1860–1911)
Symphony No. 1 in D major (Titan) [53’]
(1896/1910)
Langsam. Schleppend. Wie ein Naturlaut
Kräftig bewegt, doch nicht zu schnell
Feierlich und gemessen, ohne zu schleppen
Stürmisch bewegt
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PERFORMERS:
Sinfonia Varsovia
Radosław Szulcconductor
Julian Rachlinviolin
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Event organizers: National Centre for Culture, Sinfonia Varsovia and the Grand Theatre – National Opera.

Chopin: recitals / Dubiel, Sereda, Łozowska
2025-11-19 17:00 - 20:00 | Royal Castle in Warsaw – Museum, Great Hall, Plac Zamkowy 4, Warsaw, 00-277
A series of nine free Chopin recitals performed by scholarship recipients of the Young Poland program. This is an opportunity to listen to young, talented pianists at the threshold of their artistic career. The concerts in the historic interiors of the Castle will allow you to experience the music of Frederic Chopin in a unique atmosphere.
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Mateusz Dubiel
Frederic Chopin
Fantasia in F minor, op. 49
Berceuse, op. 57
Barkarola op. 60
Mazurkas op. 41
Polonaise in A-flat major, op. 53

Marianna Sereda
Frederic Chopin
Mazurkas op. 17
Nokturn E-dur op. 62 nr 2
Waltz in A-flat major, Op. 34 No. 1
Piano Concerto in F Minor, Op. 21, Part 2 (version for solo piano)
Ballada As-dur op. 48

Julia Łozowska
Frederic Chopin
Scherzo cis-moll op. 39
Waltz in A-flat major, Op. 34 No. 1
Etude in C-sharp minor, op. 25, no. 7
Mazurkas op. 30
Barcarolle in F-sharp major, Op. 60 60
Polonaise-Fantaisie in A-flat major, op. 61
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PERFORMERS
Mateusz Dubiel
Marianna Sereda
Julia Łozowska
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Trpčeski / Makedonissimo
2025-11-19 19:00 - 20:30 | Warmińsko-Mazurska Filharmonia im. Feliksa Nowowiejskiego w Olsztynie, Bartosza Głowackiego 1, Olsztyn, 10-447
Simon Trpčeski’s Makedonissimo project is a colourful journey to the very heart of Macedonian tradition.
W transkrypcjach Pandego Shahova dawne pieśni i tańce nabierają koncertowej formy, łącząc klasyczną wirtuozerię z żywiołem folkloru. Cykl Pletenki (Warkocze) splata melodie o miłości, pracy i obrzędach w wielogłosową opowieść o pamięci i wspólnocie, ukazując, że muzyka ludowa może przemawiać uniwersalnym językiem emocji.
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PROGRAMME:
Pande Shahov (b. 1973)
Pletenki (Plaits) [83’]
transcriptions of Macedonian traditional music in collaboration with Simon Trpčeski
(2017)
Plait 1
Pembe
Buvčansko
Berovka
Maleševka
Crnogorka
Plait 2
Čije je ona devojče (dedicated to Simon Trpčeski’s parents)
Ibrahim odža
Beranče
Plait 3
Filka, moma
Sitna lisa
Staro Čunovo
Ratevka
Dračevka
Plait 4
Ne si go prodavaj
Koljo, čiflikot
Žetvarki
Čučuk
Plait 5
Veligdensko
Piperkovo
Pomniš li libe, Todoro
Janino
Warkocz 6
Metovo
Pelistersko
Postupano
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__________
PERFORMERS:
Makedonissimo:
Simon Trpčeski
piano
Hidan Mamudov
clarinet, saxophone, kaval
Aleksandar Krapovski
violin
Alexander Somov
cello
Vlatko Nushev
perkusja

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Chopin: recital / Sacharzewska, Kałduński, Żołnacz
2025-11-20 17:00 - 20:00 | Royal Castle in Warsaw – Museum, Great Hall, Plac Zamkowy 4, Warsaw, 00-277
A series of nine free Chopin recitals performed by scholarship recipients of the Young Poland program. This is an opportunity to listen to young, talented pianists at the threshold of their artistic career. The concerts in the historic interiors of the Castle will allow you to experience the music of Frederic Chopin in a unique atmosphere.
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PROGRAMME
Kamila Sacharzewska
Fryderyk Chopin
Walc Es-dur op.18
Mazurki op. 24 nr 1 , nr 2
Sonata b-moll op.35
Polonez fis-moll op.44

Adam Kałduński
Fryderyk Chopin
24 Preludia op. 28

Justyna Żołnacz
Frederic Chopin
Preludia op. 28 (1 – 18)
Ballada As-dur op. 47
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PERFORMERS
Kamila Sacharzewska
Adam Kałduński
Justyna Żołnacz
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Polski Piach plays Reksio
2025-11-20 20:00 - 21:15 | Film Museum in Lodz, Plac Zwycięstwa 1, Łódź, 90-312
Not everyone knows that behind the most famous dog in Polish animation there is a touching story of a composer who planned to write exclusively for adults. Zenon Kowalowski provided the four-legged hero with one of the most interesting and original soundtracks in the history of Polish music for animated cartoons.
The Eufonie Festival presents Reksio in a version by artists co-creating the Polski Piach project, originating from the Warsaw community of improvised and contemporary music and inspired by blues in a broad sense. Patryk Zakrocki, Piotr Mełech and Piotr Domagalski are chamber musicians who are open to the world – their interests perfectly match the ones of the animated dog.
Admission to the concert is free. Reservations are required and can be made by emailing: kasa@kinomuzeum.pl
PROGRAMME:
Zenon Kowalowski (b. 1939)
Music for the animated series Reksio (dir. Lechosław Marszałek) [60′]
arrangements: Polski Piach
(1972-1988/2025)
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PERFORMERS:
Polski Piach:
Patryk Zakrocki
guitars
Piotr Mełech
bass clarinet
Piotr Domagalski
basoila

Chopin: recital / Szymanowski, Tomica, Wieczorek
2025-11-21 17:00 - 20:00 | Royal Castle in Warsaw – Museum, Great Hall, Plac Zamkowy 4, Warsaw, 00-277
A series of nine free Chopin recitals performed by scholarship recipients of the Young Poland program. This is an opportunity to listen to young, talented pianists at the threshold of their artistic career. The concerts in the historic interior of the Warsaw castle will allow you to experience the music of Frederic Chopin in a unique atmosphere.
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PROGRAMME
Michał Karol Szymanowski
Frederic Chopin
Nocturne in D-flat major, Op. 27 No. 2
Scherzo in B-flat minor, Op. 31 31
Impromptu in F-sharp major, Op. 36 36
Polonaise in F-sharp minor, Op. 44 44
Prelude in C-sharp minor, Op. 45 45
Barcarolle in F-sharp major, Op. 60 60
Mateusz Tomica
Frederic Chopin
Mazurkas op. 30
Sonata in B-flat minor, op. 35
Polonaise in A-flat major, op. 53
Marcin Wieczorek
Frederic Chopin
Lento con gran espressione in C-sharp minor (WN 37)
Scherzo in B minor, Op. 20 20
Waltz in A-flat major, Op. 34 No. 1
Waltz in A minor, Op. 34 No. 2
Scherzo in B-flat minor, Op. 31 31
Andante spianato and Grande Polonaise Brillante in E flat major, Op. 22 22
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PERFORMERS
Michał Karol Szymanowski
Mateusz Tomica
Marcin Wieczorek
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Złota Batuta – Tzigane | Chór | Orkiestra Symfoniczna | Brahms – I Symfonia
2025-11-21 19:00 - 20:30 | Silesian Philharmonic, Karol Stryja Concert Hall, Sokolska 2, Katowice, 40-084
The triumpher of the 8th Grzegorz Fitelberg International Conducting Competition, Eugene Tzigane will conduct the Silesian Philharmonic Choir and Symphony Orchestra on November 21. This evening will become a musical meeting of two different sound worlds – the monumental romanticism of Johannes Brahms and the reflective sensitivity of Eugene Knapik.
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Symphony No. 1 in C minor, Op. Brahms worked on the Symphony No. 1 in C minor, Op. 68 for almost two decades. Often called “Beethoven’s Tenth Symphony”, it is an expression of Brahms’s creative struggle with the legend of his great predecessor. For a long time, the composer could not escape comparisons to Beethoven, but this path resulted in a work with an exceptional power of expression. From the dramatic opening in C minor, through the tense counterpoints, to the triumphal finale in C major, in which we can hear echoes of Beethoven’s “Ode to Joy” – this symphony is a masterful synthesis of monumental form and profound emotionality. Among the dramatic tensions, there are also intimate moments, warm and lyrical, making this work one of the most important milestones in the history of symphonic music.
As a counterpoint to Brahms’ powerful symphony, Eugeniusz Knapik’s Beauty Radiated in Eternity, full of subtlety, will sound. This work, created by one of the leading representatives of Polish contemporary music, impresses with its subtle orchestration and spacious sound. Delicate phrases, fuzzy timbres and a slowly unfolding narrative create a sonic meditation on the passage of time and the permanence of beauty. Knapik balances silence and sound with extraordinary sensitivity, inviting listeners to a moment of concentration and contemplation. The contrast between the drama of Brahms and the ethereal music of Knapik creates a program of extraordinary impact – an evening in which the monumentality of romantic expression will meet the contemplative silence.
PROGRAMME:
Johannes Brahms
Symphony No. 1 in C minor, Op. 68
Eugeniusz Knapik
Beauty Radiated in Eternity
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PERFORMERS:
Silesian Philharmonic Choir and Symphony Orchestra
Eugene Tzigane
conductor
Jaroslaw Wolanin
artistic director of the choir
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Masks: Szymanowski / Bacewicz / Bacevičius
2025-11-22 18:00 - 19:15 | Royal Castle in Warsaw – Museum, Great Hall, Plac Zamkowy 4, Warsaw, 00-277
For the generation of Polish-Lithuanian siblings – Vytautas Bacevičius and Grażyna Bacewicz – Karol Szymanowski was an icon of new music. His Masques, Op. 34, belonging to the Impressionist/Expressionist phase, present his interpretation of figures rooted in culture.
Three Grotesques by Bacewicz fit into the trend of comic and dance vitalism. In turn, Bacevičius’ works represent cosmological ideas: anticipated by Poème mystique, Op. 6 and Méditaton, Op. 29 from the Kaunas, modernist years, and embodied by Trois pensées musicales, Op. 75 from the American years. Cosmic music expressed the artist’s inner universe. The Piano Suite No. 3, Op. 60 crowns the earlier period, which was a “compromise” with the listener, while Sixième mot, Op. 72 belongs to a collection of seven compositions resembling words “conveyed” through sounds.
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PROGRAMME:
Karol Szymanowski (1882–1937)
Schéhérazade from the cycle Masques, Op. 34 No. 1 [9’]
(1916)
Tantris le bouffon from the cycle Masques, Op. 34 No. 2 [8’]
(1916)
Grażyna Bacewicz (1909-1969)
Three Grotesques [7′]
(1935)
Vytautas Bacevičius (1905–1970)
Mistinė Poema (Poème mystique) Op. 6 [6’]
(1927)
Suite No. 3, Op. 60 [6’](1956)
Allegretto
Allegro moderato
Lento
Presto
Meditacija (Méditation) Op. 29 [3’]
(1937)
Šeštas žodis (Sixième mot) Op. 72 [9’]
(1963)
Trys muzikinės mintys (Trois pensées musicales) Op. 75 [6’]
(1966)
Allegro moderato
Adagio
Vivace
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PERFORMER:
Yusuke Ishii
piano
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Stefan Wesołowski/ Song of the Night Mists
2025-11-22 19:00 - 20:30 | St. John’s Centre / Baltic Sea Cultural Center in Gdansk, Świętojańska 50, Gdańsk, 80-840
Stefan Wesołowski, in a post-classical way, with sophistication and sensitivity, combines traditional instruments with modern techniques, electronic music and sounds of nature.
His music – brimming with subtle nuances – oscillates between minimalist meditation and expressive intensity, between ambient music and a baroque-sounding organ, thus creating a unique soundscape. The Song of the Night Mists invites us to embark on a musical journey, conducive to moments of contemplation and reflection on the beauty of nature and perhaps also on the fragility of human fate.
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PROGRAMME
Stefan Wesolowski (born 1985)
Material from the album Song of the Night Mists [70′]
(2025)
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PERFORMERS
Anna Pašić
harp
Olga Anna Markowska
cello
Maja Miro
flutes
Olivier Andrushchenko
bass clarinet
Hubert Zemler
drums
Piotr Wesolowski
organ, portative organ
Stefan Wesolowski
piano, violin, electronic instruments
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Masks: Szymanowski / Bacewicz / Bacevičius
2025-11-23 18:00 - 19:15 | The Grazyna and Kiejstut Bacewicz Academy of Music in Lodz, Palace, room 12, Gdańska 32, Lodz, 90-716
Dla pokolenia polsko-litewskiego rodzeństwa – Vytautasa Bacevičiusa (1905-1970) i Grażyny Bacewicz (1909-1969) – Karol Szymanowski (1882-1937) był ikoną muzyki nowej. Jego Maski op. . 34 Cosmic music expressed the artist’s inner universe. The Piano Suite No. 3, Op. 60 crowns the earlier period, which was a “compromise” with the listener, while Sixième mot, Op. 72 belongs to a collection of seven compositions resembling words “conveyed” through sounds.
Three Grotesques by Bacewicz fit into the trend of comic and dance vitalism. In turn, Bacevičius’ works represent cosmological ideas: anticipated by Poème mystique , Op. 6 and Méditaton, Op. 29 from the Kaunas, modernist years, and embodied by Trois pensées musicales, Op. 75 from the American years. Cosmic music expressed the artist’s inner universe. The Piano Suite No. 3, Op. 60 crowns the earlier period, which was a “compromise” with the listener, while Sixième mot, Op. 72 belongs to a collection of seven compositions resembling words “conveyed” through sounds.
Free entry
PROGRAMME:
Karol Szymanowski (1882–1937)
Schéhérazade from the cycle Masques, Op. 34 No. 1 [9’]
(1916)
Tantris le bouffon from the cycle Masques, Op. 34 No. 2 [8’]
(1916)
Grażyna Bacewicz (1909-1969)
Three Grotesques [7′]
(1935)
Vytautas Bacevičius (1905–1970)
Mistinė Poema (Poème mystique) Op. 6 [6’]
(1927)
Suite No. 3, Op. 60 [6’](1956)
Allegretto
Allegro moderato
Lento
Presto
Meditacija (Méditation) Op. 29 [3’]
(1937)
Šeštas žodis (Sixième mot) Op. 72 [9’]
(1963)
Trys muzikinės mintys (Trois pensées musicales) Op. 75 [6’]
(1966)
Allegro moderato
Adagio
Vivace
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______
PERFORMER:
Yusuke Ishii
piano
Free entry

Reflections: Dvořák / Knapik
2025-11-23 18:00 - 19:45 | The Warsaw Philharmonic, Concert Hall, Jasna 5, Warsaw, 00-950
The Symphony No. 9 in E minor, “From the New World”, Op. 95 (1893), the most famous of Antonín Dvořák’s symphonies, grows out of the composer’s delight in the great outdoors of the American prairies. However, to an even greater extent, it is an attempt to capture the spirit of the nascent American culture, hence the reference to the African American Spirituals and Native American Indian songs.
In a choral cantata Beauty Radiated in Eternity (2012) Eugeniusz Knapik reached for the poetry by Hafez, who had previously fascinated, among others, Goethe and Szymanowski. Knapik’s new romanticism is in fact a reference, in new conditions and on his own terms, to the ecstatic musical mysticism of the early twentieth century.
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PROGRAMME:
Antonin Dvořák (1841–1904)
The Symphony No. 9 in E minor, “From the New World”
(1893)
Adagio. Allegro molto
Largo
Molto vivace
Allegro con fuoco

*** intermission [20’]

Eugeniusz Knapik (b. 1951)
Beauty Radiated in Eternity
for choir and orchestra [33′]
(2012)
words: Hafiz Shirazi (1320-1389)
English translation by: Mahmood Jamal (1948-2020)
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_______
PERFORMERS:
Silesian Philharmonic Choir and Symphony Orchestra
Eugene Tzigane
conductor
Jaroslaw Wolanin
artistic director of the choir
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Masks: Szymanowski / Bacewicz / Bacevičius
2025-11-24 19:00 - 20:15 | The Manggha Museum, Multifunctional Auditorium, Konopnickiej 26, Cracow, 30-302

Polski Piach plays Reksio
2025-11-24 20:00 - 21:15 | Niebo Club, Nowy Świat 21C, Warsaw, 00-029
Not everyone knows that behind the most famous dog in Polish animation there is a touching story of a composer who planned to write exclusively for adults. Zenon Kowalowski provided the four-legged hero with one of the most interesting and original soundtracks in the history of Polish music for animated cartoons.
The Eufonie Festival presents Reksio in a version by artists co-creating the Polski Piach project, originating from the Warsaw community of improvised and contemporary music and inspired by blues in a broad sense. Patryk Zakrocki, Piotr Mełech and Piotr Domagalski are chamber musicians who are open to the world – their interests perfectly match the ones of the animated dog.
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PROGRAMME:
Zenon Kowalowski (b. 1939)
Music for the animated series Reksio (dir. Lechosław Marszałek) [60′]
arrangements: Polski Piach
(1972-1988/2025)
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_______
PERFORMERS:
Polski Piach:
Patryk Zakrocki
guitars
Piotr Mełech
bass clarinet
Piotr Domagalski
basoila
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Hatti Vatti / Zeit
2025-11-25 20:00 - 21:15 | Niebo Club, Nowy Świat 21C, Warsaw, 00-029
Last year, the Polish Hatti Vatti project was included in the catalogue of the Belgian R&S label, famous in the world of modern electronic music. Hatti Vatti is an alias of the Gdańsk-based producer Piotr Kaliński.
His album Zeit, recorded with three jazzmen, combines variousgenres and sounds: dub, jazz, psychedelic music, Kosmische Musik and ambient music. The first live presentation of this material will take place during the Eufonie Festival on November 25 at the Niebo club in Warsaw.
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PROGRAMME:
Material from the album Zeit [60′].
(2024)
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_____
PERFORMERS:
Hatti Vatti:
Piotr Kaliński
elektronics
Piotr Chęcki
saxophone
Pawel Stachowiak
bass guitar
Rafal Dutkiewicz
drums
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Messengers: Bach / Schubert / Čiurlionis.
2025-11-27 19:30 - 21:45 | The Warsaw Philharmonic, Concert Hall, Jasna 5, Warsaw, 00-950
The evening will open with the String Quartet in C minor by Mikalojus Konstantinas Čiurlionis – a Lithuanian artist who intertwined music and painting into one tale. His String Quartet brings together the classicising outermost movements and the expressive middle movement, whose melancholic melodies unfold against a highly chromatic accompaniment. Then we will listen to Bach’s Concerto in D minor, BWV 1052 – extremely energetic, with ingenious dialogues between the soloist and the orchestra and an atmospheric Adagio as the middle movement. At the end, we will hear the String Quartet in D minor ‘Death and the Maiden’ by Franz Schubert – a dramatic dialogue of life and death, whose final tarantella brings to mind the ‘danse macabre’.
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PROGRAMME:
Mikalojus Konstantinas Čiurlionis (1875–1911)
String Quartet in C minor [23′]
arranged by Vilhelmas Čepinskis (b. 1977)
(1901/2022)
Allegro moderato
Andante
Menuetto

Johann Sebastian Bach (1685–1750)
Harpsichord Concerto in D minor, BWV 1052
piano performance
(1736)
Allegro
Adagio
Allegro

*** intermission [20’]

Franz Schubert (1797–1828)
String Quartet in D minor, “Death and the Maiden” [41’]
arranged by: Gustav Mahler (1860–1911)
(1824/1896)
Allegro
Andante con moto
Scherzo: Allegro molto
Presto
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PERFORMERS:
Lithuanian Chamber Orchestra
Sergiej Krylov
conductor
Lukas Geniušas
piano
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George Enescu Philharmonic Orchestra - symphonic concert
2025-11-28 19:00 - 20:30 | The Romanian Athenaeum, 1-3 Benjamin Franklin Str., Bukarest, 030167, Romania
Antonín Dvořák and George Enescu had the ability to draw on the musical traditions of their nations with lightness and elegance without losing their individual musical languages.
Their passion for the culture in which they grew up left its mark on them, but it did not define them as artists, as evidenced by the greatness of the ideas they practiced. They were cosmopolitans who transformed tradition into a universal musical language of values – understandable to and fascinating for music lovers all over the world.
PROGRAMME:
George Enescu (1881–1955)
Interlude (act II)Sheperds’ Dancefrom the opera Oedipe
Symphonie concertante in B minor, Op. 8
for cello and orchestra [25′]
(1901)

*** intermission [20’]

Antonín Dvořák (1841–1904)
VI Symfonia D-dur op. 60 [40’]
(1880)
______
PERFORMERS:
George Enescu Philharmonic Orchestra
Gabriel Bebeșelea
conductor
Jaemin Han
cello

Passion: Penderecki
2025-11-28 19:30 - 21:00 | The Warsaw Philharmonic, Concert Hall, Jasna 5, Warsaw, 00-950
Composed in 1966 The Passion According to St. Luke is one of the most important achievements of 20th century music.
Although it was created in a specific context of the millennial anniversary of Christianity in the communist Poland, it rises above temporary circumstances, turning to universal questions. It is a monumental sound drama in which Penderecki – a master of intricately woven musical images – showed the suffering and condition of a person, thus creating a moving portrait of human nature.
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PROGRAMME:
Krzysztof Penderecki (1933–2020)
The Passion According to St. Luke
(Passio et Mors Domini Nostri Iesu Christi secundum Lucam)
for three soloists, narrator, boys’ choir, three mixed choirs and orchestra [76’]
libretto: Krzysztof Penderecki – after Gospel of Luke, Psalms, Book of Lamentations, Gospel of John (excerpts from Latin translations) and liturgical texts from the 1949 Roman Missal
(1966)
Part I
O Crux, ave
Et egressus ibat
Deus, Deus meus
Domine, quis habitabit
Adhuc eo loquente ecce turba
Ierusalem, Ierusalem
Ut quid, Domine
Comprehendentes autem eum duxerunt
Iudica me, Deus
Et viri, qui tenebant illum
Ierusalem, Ierusalem
Miserere mei, Deus
Et surgens omnis multitudo

Part II
…et in pulverem mortis
Popule meus
…ibi crucifixerunt eum
Crux fidelis
…in pulverem mortis
Et stabat populus spectans
Unus autem de his
Stabant autem iuxta crucem Iesu mater eius
Stabat Mater dolorosa
Erat autem fere hora sexta
In te, Domine, speravi
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_____
PERFORMERS:
Karol Szymanowski Krakow Philharmonic Choir and Orchestra
Polish Radio Choir – Lusławice
Boys’ Choir of the Karol Szymanowski Philharmonic in Krakow
Ukrainian Boys’ and Girls’ Choir of the Cracow Philharmonic Orchestra
Maciej Tworek
conductor
Iwona Hossa
soprano
Mariusz Godlewski
baritone
Artur Janda
bass
Krzysztof Gosztyła
narrator
Janusz Wierzgacz
preparation of the Karol Szymanowski Krakow Philharmonic Choir
Dawid Ber
preparation of the Polish Radio Choir – Lusławice
Lidia Matynian
preparation of the Cracow Philharmonic Boys’ and Girls’ Choir
Olena Yatskulynets
preparation of the Ukrainian Boys and Girls Choir of the Cracow Philharmonic Orchestra
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Accessibility Statement

Passion: Penderecki
2025-11-29 18:00 - 19:30 | Europejskie Centrum Muzyki Krzysztofa Pendereckiego, Lusławice 250, Lusławice, 32-840, Poland
Composed in 1966 The Passion According to St. Luke is one of the most important achievements of 20th century music.
Although it was created in a specific context of the millennial anniversary of Christianity in the communist Poland, it rises above temporary circumstances, turning to universal questions. It is a monumental sound drama in which Penderecki – a master of intricately woven musical images – showed the suffering and condition of a person, thus creating a moving portrait of human nature.
BUY TICKET
PROGRAMME:
Krzysztof Penderecki (1933–2020)
The Passion According to St. Luke
(Passio et Mors Domini Nostri Iesu Christi secundum Lucam)
for three soloists, narrator, boys’ choir, three mixed choirs and orchestra [76’]
libretto: Krzysztof Penderecki – after Gospel of Luke, Psalms, Book of Lamentations, Gospel of John (excerpts from Latin translations) and liturgical texts from the 1949 Roman Missal
(1966)
Part I
O Crux, ave
Et egressus ibat
Deus, Deus meus
Domine, quis habitabit
Adhuc eo loquente ecce turba
Ierusalem, Ierusalem
Ut quid, Domine
Comprehendentes autem eum duxerunt
Iudica me, Deus
Et viri, qui tenebant illum
Ierusalem, Ierusalem
Miserere mei, Deus
Et surgens omnis multitudo

Part II
…et in pulverem mortis
Popule meus
…ibi crucifixerunt eum
Crux fidelis
…in pulverem mortis
Et stabat populus spectans
Unus autem de his
Stabant autem iuxta crucem Iesu mater eius
Stabat Mater dolorosa
Erat autem fere hora sexta
In te, Domine, speravi
_____
PERFORMERS:
Karol Szymanowski Krakow Philharmonic Choir and Orchestra
Polish Radio Choir – Lusławice
Boys’ Choir of the Karol Szymanowski Philharmonic in Krakow
Ukrainian Boys’ and Girls’ Choir of the Cracow Philharmonic Orchestra
Maciej Tworek
conductor
Iwona Hossa
soprano
Mariusz Godlewski
baritone
Artur Janda
bass
Krzysztof Gosztyła
narrator
Janusz Wierzgacz
preparation of the Karol Szymanowski Krakow Philharmonic Choir
Dawid Ber
preparation of the Polish Radio Choir – Lusławice
Lidia Matynian
preparation of the Cracow Philharmonic Boys’ and Girls’ Choir
Olena Yatskulynets
preparation of the Ukrainian Boys and Girls Choir of the Cracow Philharmonic Orchestra
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Organizers:

Co-financed by the Minister of Culture and National Heritage from the Culture Promotion Fund – a state special-purpose fund, as part of the “Music” program, implemented by the National Institute of Music and Dance

Exuberance: Enescu / Wajnberg / Kodály
2025-11-29 18:00 - 20:00 | The Warsaw Philharmonic, Concert Hall, Jasna 5, Warsaw, 00-950
The richness of folk music has often inspired the “serious” concert repertoire. Originality, sincerity and spontaneity inherent in folk rhythms and melodies gained an artistic quality in compositional arrangements, but they did not lose the authenticity of their prototypes.
This is also the case of the Poem, Op. 1 by George Enescu, the Cello Concerto by Mieczysław Weinberg and Dances of Galánta by Zoltán Kodály. These pieces, although composed many years ago, are still present in the repertoire and enjoy continuing popularity.
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PROGRAMME:
George Enescu (1881–1955)
Romanian Poem (Poème roumain) Op. 1
symphonic suite for orchestra and male chorus [29′]
(1897)
Part I
Un soir d’été, la veille d’une fête; on entend par moments les cloches et les chants des prêtres
La nuit est venue. Clair de lune. On entend au loin les flûtes des bergers
Part II
La lune se voile de nuages, le tonnerre gronde, l’orage éclate
L’orage se calme; réveil du matin; chant du coq; les cloches sonnent pour annoncer la fête
Le jour est venu. Rassemblement du peuple
La danse commence
Hymne national roumain

*** intermission [20’]

Mieczysław Wajnberg (1919–1996)
Cello Concerto Op. 43 [31’]
(1948/1956)
Adagio
Moderato – Lento
Allegro
Allegro
Zoltán Kodály (1882–1967)
Dances of Galánta (Galántai táncok) [17’]
(1933)
Lento
Allegretto moderato
Allegro con moto, grazioso
Allegro
Allegro vivace
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_______
PERFORMERS:
Warsaw Philharmonic Male Choir and Orchestra
Gergely Madaras
conductor
Tomasz Daroch
cello
Bartosz Michałowski
dyrektor chóru
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Event within the framework of the Romania-Poland Cultural Season 2024–2025.
The Romania-Poland Cultural Season 2024–2025 is organized by the Romanian Ministry of Culture and the Romanian Cultural Institute, together with the Polish Ministry of Culture and National Heritage and the Adam Mickiewicz Institute, with the support of the Polish Institute in Bucharest.

Polski Piach plays Reksio
2025-11-29 19:00 - 20:15 | St. John’s Centre / Baltic Sea Cultural Center in Gdansk, Świętojańska 50, Gdańsk, 80-840

The Essence of the World
2025-11-29 19:30 - 21:00 | The Bottling House/ Koneser, Plac Konesera 3, Warsaw, 03-736
Music, like the art of oratory, often expresses itself as if between the sounds.
Such voices can be found in melodically sensitive and frugal pieces by Valentin Silvestrov (Intermezzo), Pēteris Vasks (Plainscapes) and Henryk Mikołaj Górecki (Lullabies and Dances, Op. 47). 47). Z kolei Conversio Erkki-Svena Tüüra i Tempo di valse z Musica ricercata Györgya Ligetiego to przykłady przewrotnego podejścia do formy. Muzyka nowa zaś – Up Dariusza Przybylskiego i Aria Justė Janulytė – ponownie koncentruje się na samym dźwięku. Dodatkowo, między tymi dziełami zabrzmią improwizowane intermezza.
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PROGRAMME:
Dariusz Przybylski (born 1984)
Up for violin Op. 87 [7′]
(2015)
Pēteris Vasks (ur. 1946)
Plainscapes (Andante misterioso) [5’]
arrangement for violin and accordion: Karolina Mikołajczyk (ur. 1993) & Iwo Jedynecki (ur. 1991)
(2002/2025*)
Karolina Mikołajczyk, Iwo Jedynecki
Interludium I [2’]
(2025*)
György Ligeti (1923–2006)
Tempo di valse (poco vivace – „à l’orgue de Barbarie”) (cz. IV)
z cyklu Musica ricercata [2’]
arrangement for accordion: Max Bonnay (ur. 1947)
(1953/1994)
Henryk Mikołaj Górecki (1933–2010)
Lento mesto ma cantabile (cz. IV)
Lento tranquillo, cantabile e dolce (cz. I)
from the series Kołysanki i tańce op. 47 [8’]
arrangement for violin and accordion: Karolina Mikołajczyk & Iwo Jedynecki
(1982/2025*)
Wałentyn Silwestrow (ur. 1937)
Intermezzo (cz. III)
from the series Pięć utworów na skrzypce i fortepian [3’]
arrangement for violin and accordion: Karolina Mikołajczyk & Iwo Jedynecki
(2004/2025*)
Erkki-Sven Tüür (ur. 1959)
Conversio [10’]
arrangement for violin and accordion: Karolina Mikołajczyk & Iwo Jedynecki
(1994/2025*)
Justė Janulytė (b. 1982)
Aria [13′]
version for violin and accordion
(2008/2025*)
Karolina Mikołajczyk, Iwo Jedynecki
Interludium II [2’]
(2025*)
Pēteris Vasks
Plainscapes (Tempo I) [9’]
arrangement for violin and accordion: Karolina Mikołajczyk & Iwo Jedynecki
(2002/2025*)
Karolina Mikolajczyk, Iwo Jedynecki
Epilogue [4′]
(2025*)

* world premiere
between the works – an acting interpretation of poems by Urszula Kozioł (1931–2025)
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_____
PERFORMERS:
Duo: Karolina Mikołajczyk & Iwo Jedynecki
violin, accordion
Pola Blasik
actress
Anna Grycewicz
actress
Tomasz Cyz
staging
Karolina Bramowicz
space
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Voyage: Enescu/ Dvořák
2025-11-30 18:00 - 19:30 | The Cracow Philharmonic, Zwierzyniecka 1, Cracow, 31-103
Antonín Dvořák and George Enescu had the ability to draw on the musical traditions of their nations with lightness and elegance without losing their individual musical languages.
Their passion for the culture in which they grew up left its mark on them, but it did not define them as artists, as evidenced by the greatness of the ideas they practiced. They were cosmopolitans who transformed tradition into a universal musical language of values – understandable to and fascinating for music lovers all over the world.
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PROGRAMME:
George Enescu (1881–1955)
Romanian Rhapsody in A major, Op. 11 No. 1 [11’] (1901)
(1901)
Symphonie concertante in B minor, Op. 8
for cello and orchestra [25’]
(1901)

*** intermission [20’]

Antonín Dvořák (1841–1904)
VI Symfonia D-dur op. 60 [40’]
(1880)
______
PERFORMERS:
George Enescu Philharmonic Orchestra
Gabriel Bebeșelea
conductor
Jaemin Han
cello
The event is organised by the Krakow Philharmonic.
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The event is part of the Romania–Poland Cultural Season 2024–2025.
The Romania-Poland Cultural Season 2024-2025 is organised by the Romanian Ministry of Culture and the Romanian Institute of Culture, together with the Polish Ministry of Culture and National Heritage and the Adam Mickiewicz Institute, with the support of the Polish Institute in Bucharest.

Fratres: Parać / Pärt / Šipuš
2025-11-30 18:00 - 20:00 | The Warsaw Philharmonic, Concert Hall, Jasna 5, Warsaw, 00-950
Faced with the hustle and bustle of everyday life, new music often tends to explore silence, simplicity and spiritual depth. Arvo Pärt, Frano Parać and Berislav Šipuš create contemplative pieces, rooted in the tradition of new simplicity and new spirituality.
The lyrical Dona nobis pacem by Parać, the meditative Fratres and the majestic Salve Regina by Pärt and the dramatic, polystylistic Passion by Šipuš combine a variety of means with a universal, humanistic message.
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PROGRAMME:
Frano Parać (ur. 1948)
Dona nobis pacem
for mixed choir [5′]
words: liturgical text
(1993)
Arvo Pärt (b. 1935)
Fratres
for cello, strings and percussion [11′]
(1977)
Salve Regina
for mixed choir, strings and celesta [12′]
words: Marian antiphon
(2001)

*** intermission [20’]

Berislav Šipuš (ur. 1958)
Pasja (Pasija) [43’]
for soloists, narrator, mixed choir and instrumental ensemble
libretto: Berislav Šipuš – na podstawie fragmentów poezji Vesny Krmpotić, Seada Alića, Jurego Kaštelana, Antuna Branki Šimića i Vlado Gotovaca
(2020)
Introit
Navještenje
Molitva
Osuda
Isus pada prvi put
Isus susreće majku
Šimun pomaže Isusu
Isus govori Šimunu
Veronika pruža rubac Isusu
Isus pada drugi put
Isus tješi žene Jeruzalema
Isus pada treći put. Svlačenje
Pribijanje na križ
Smrt na križu
Skidanje s križa
Grob
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DOWNLOAD Libretto Pasja / Passion Berislav Šipuš
______
PERFORMERS:
Croatian Radiotelevision Choir and Symphony Orchestra
Tomislav Fačini
conductor, choir director
Monika Cerovčec
soprano
Martina Gojčeta Silić
mezzosoprano
Roko Radovan
tenor
Marko Špehar
bass
Sreten Mokrović
narrator
Lana-Lucija Horvatić
cello
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Declaration of availability
Pętla indukcyjna dostępna w rzędach 12 i 13.

Voyage: Enescu / Dvořák
2025-12-01 19:30 - 21:45 | The Warsaw Philharmonic, Concert Hall, Jasna 5, Warsaw, 00-950
Antonín Dvořák and George Enescu had the ability to draw on the musical traditions of their nations with lightness and elegance without losing their individual musical languages.
Their passion for the culture in which they grew up left its mark on them, but it did not define them as artists, as evidenced by the greatness of the ideas they practiced. They were cosmopolitans who transformed tradition into a universal musical language of values – understandable to and fascinating for music lovers all over the world.
BUY TICKET
PROGRAMME:
George Enescu (1881–1955)
Romanian Rhapsody in A major, Op. 11 No. 1 [11’] (1901)
(1901)
Symphonie concertante in B minor, Op. 8
for cello and orchestra [25’]
(1901)

*** intermission [20’]

Antonín Dvořák (1841–1904)
VI Symfonia D-dur op. 60 [40’]
(1880)
DOWNLOAD THE CONCERT PROGRAM
______
PERFORMERS:
George Enescu Philharmonic Orchestra
Gabriel Bebeșelea
conductor
Jaemin Han
cello
Declaration of availability
Pętla indukcyjna dostępna w rzędach 12 i 13.

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Event within the framework of the Romania-Poland Cultural Season 2024–2025.
The Romania-Poland Cultural Season 2024–2025 is organized by the Romanian Ministry of Culture and the Romanian Cultural Institute, together with the Polish Ministry of Culture and National Heritage and the Adam Mickiewicz Institute, with the support of the Polish Institute in Bucharest.

Little Eufonie: concert on December 6 (0-3 years)
2025-12-06 11:00 - 11:45 | The Royal Łazienki Museum, The Palace on the Isle, Ballroom, Agrykola 1, Warsaw, 00-460
We invite you to a family concert for children aged 0-3 years at the Royal Baths Park. It will be an opportunity not only to listen to Chopin’s music and melodies from his favorite regions, but also to make music together. Children and parents will be able to sing, dance and play along with the musicians, discovering the world of sounds and live instruments that inspired little Frederick. This is a unique opportunity for the whole family to get a glimpse of Chopin’s childhood and spend time musically in the warm, joyful atmosphere of a real summer resort two centuries ago.
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Mr. Pichon, or Frycek on vacation
Little Frederic Chopin was not only a brilliant musician, but also an energetic, curious boy. He most enjoyed his summer trips to Szafarnia – it was there, under the amusing pseudonym “Mr. Pichon,” that he wrote humorous letters, discovered the charms of country life and learned the melodies of Kuyavia. These sounds stayed in his memory forever, and later returned in the mazurkas and polonaises we know and love today.
A concert for children aged 0-3.
PERFORMERS:
Zuzanna Sejbuk – piano
Jolanta Kossakowska – singing, violin
Zofia Kolbe-Wojdyr – singing, bagpipes, drum
Anna Broda – singing, dulcimer
Bart Pałyga – bass
Ada Wdziękońska – animator
Tickets: PLN 20 per person. The ticket is valid for both the child and the guardian.
Duration: 45 minutes
Declaration of availability

Quo Vadis
2025-12-06 18:00 - 19:00 | The Cracow Philharmonic, Zwierzyniecka 1, Cracow, 31-103
While walking the streets of Rome, we are stopped every step by breaths of history. Numerous remains of ancient buildings testify to the former greatness of the Eternal City – a majestic witness to the events described by Henryk Sienkiewicz in his 1896 novel Quo vadis. Against the background of the twilight of the empire and the bloody birth of Christianity, he placed one of the most famous love themes in the history of Polish literature, telling the story of the relationship between Ligia, who came from a barbarian tribe, and the patrician Marcus Vinicius.
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As is well known, all roads lead to Rome, and one of them to the Italian capital at the beginning of the 20th century came the composer Felix Nowowiejski. While absorbing the charming atmosphere of la dolce vita, he simultaneously followed the traces of the Roman Empire’s past. In 1903, he composed “dramatic scenes” in the Eternal City to a libretto by German writer Antonie Jüngst, based on a book by Sienkiewicz. Thus was born the monumental oratorio Quo vadis for solo voices, choir, orchestra and organ. Leaving aside the love theme of Ligia and Vinicius, Jüngst and Nowowiejski focused on the conflict between Christians and pagans, conceived in terms of the eternal struggle between good and evil. The work consists of five parts, describing the fire of Rome, the Roman Forum, the famous catacombs, the oldest Roman road Via Appia and the ruins of the Colosseum.
The premiere of Quo vadis took place in 1907 in Usti nad Labem. Two years later in Amsterdam, the composer presented the work to the public in a new version and was spectacularly successful with it. After the concert, he was honored with a gilded laurel wreath as a token of his appreciation, and also received a ring from Queen Wilhelmina. If someone had asked Nowowiejski at the time where he was going – quo vadis? – the one with a clear conscience could answer that… to celebrate triumphs on world stages. Despite the demanding cast, the Polish composer’s oratorio, popular in the interwar period, was often performed in Europe and abroad.
PROGRAMME:
Feliks Nowowiejski (1877–1946)
Quo vadis, scenes based on the novel by Henryk Sienkiewicz for solo voices, choir, orchestra and organ op. 30 (1907)
PERFORMERS:
Cracow Philharmonic Orchestra and Choir
Piotr Sułkowski
conductor
Wojciech Gierlach
baritone
Wioletta Chodorowicz
soprano
Janusz Wierzgacz
choir preparation
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