Symphony concert: Pawlak | Kos-Nowicki

The XXIV Piano Concerto in C minor KV 491, composed in 1786, is one of the most moving works in the oeuvre of Wolfgang Amadeus Mozart. This is one of only two concertos by the composer held in a minor key — a piece in which traditional elegance gives way to dark, existential expression. The very first bars, built with a restless rhythm and strongly contrasting motifs, introduce an atmosphere of tension. The orchestra receives an extremely extensive part here. Mozart — for the only time in his oeuvre — uses a larger-than-usual composition, combining both boas and clarinets in the wind section. The piano does not constantly dominate the ensemble. He often takes up his ideas, corresponds to individual groups of instruments and develops the presented material. The middle Larghetto brings momentary solace in a simple, singing melody unfolding in a transparent texture, though anxiety still smolders beneath its surface. The finale — an intricately constructed cycle of variations — returns to the dramatic character of the first part, leading the listener through a series of sharp contrasts. The XXIV Concerto thus acquires a deeply symphonic character: the piano and the orchestra constantly exchange roles, and the tension arises directly from the structure of the music itself. The dramatic language of the work foreshadows in many ways the later development of the classical concerto and shows Mozart in a particularly serious, almost pre-romantic approach.

Symphony No. 3 in F major was created in 1883, when Johannes Brahms was at the height of his fame, and his symphonic work developed in a conscious dialogue with the Beethoven tradition. Compared to earlier symphonies, the work is shorter and more focused, and its construction is based on extremely close relationships between individual themes and motifs. The first part begins with a characteristic contrast: we hear three bright, ascending chords, after which the strings immediately respond with a wide, descending movement. From this concise material, Brahms builds an extensive form in which tension arises primarily from the constant transformation of motifs. The second part has a more lyrical character, although its calm course is balanced by darker tones

and harmonic changes. The third part, instead of the traditional scherza, brings the melancholy Poco allegretto — one of Brahms's most recognizable melodies. However, its simplicity is apparent: the subject is subjected to subtle rhythmic and harmonic changes, and the subsequent returns each time acquire a slightly different expression. The uniqueness of the finale lies in the reversal of romantic conventions: Brahms abandons the glamorous climax, extinguishing the energy of the work. The themes of the earlier parts return in new contexts, and the music becomes more and more silent, ending calmly, almost without resolution.

This manner of ending is one of the most characteristic features of the symphony: the drama is not resolved by triumph, but by gradual withdrawal. Thanks to this, Symphony III is an extremely compact work, in which emotionality remains closely linked to the construction.