Michał Dworzyński News
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2024-04-23
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2015-02-24 09:03:06
On Thursday last week, 19 February 2015, The Double Bass, a theatrical piece, opened at the Auto and General Theatre on the Square in Sandton. A lot of orchestra members were in the audience. One of them whispered to me that the Johannesburg Philharmonic Orchestra was no longer in business rescue. I was happy to learn this. The JPO website is currently down and I have not been able to access a formal statement about this from either the JPO or former creditors of the JPO as at the time of writing. I presume audiences will be given a verbal update at tomorrow’s concert. The first season of 2015 is a reduced season of only four weeks. The artists and conductors are, for the most part locally sourced, or funded with assistance from other organisations. This is keeping the costs down, but certainly not at the expense of artistic excellence. […]
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Telegraph
2013-11-28 18:55:08
LPO/Dworzynski, Royal Festival Hall, review
The London Philharmonic Orchestra's performance of Górecki's Symphony No. 3 fails to move John Allison, but there is compensation from Penderecki's Violin Concerto No. 1
2013-11-28 00:27:10
Sublime Polish melodies @ Royal Festival Hall
To the Royal Festival Hall for one of the 12 landmark concerts they’ve scheduled as part of the Rest Is Noise festival, two major pieces by post-war Polish composers, the evening package marketed as Sublime Polish melodies . Pieces Krzysztof Penderecki: Violin Concerto No.1 —Interval— Henryk Górecki: Symphony No.3 (Symphony of Sorrowful Songs), Op.36 Performers London Philharmonic Orchestra Michal Dworzynski conductor Barnabas Kelemen violin Allison Bell soprano Questions and Answers The pre-concert conversation with conductor Michal Dworzynski was interesting: Were the three great post-war Polish composers – Gorecki, Penderecki, Lutoslawski – part of movement, a generation, a common voice? No. Was there a conscious reaction against the avant-garde, against Darmstadt Modernism, sometime in the mid 1970s? Not conscious, no. So why did their styles change so strikingly, especially Penderecki, from the intense modernism of the famous Threnody ? Dworzynski […]
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