Connoisseur's evening

Concert from the series “Evening of the Connoisseur”

We invite you to a special evening with the new concert series “Koneser's Evening” at the Philharmonic. It is a proposal created for music lovers who appreciate outstanding performances, intimate atmosphere and close contact with music. The evening will be hosted by the esteemed cellist Paweł Panasiuk, who will guide you through the secrets of the presented works, and his verbal commentary will give this event an unusual character.

Performers:

Zofia Antes — piano

Aleksandra Batog — viola

Paweł Panasiuk — conducting the concert

Programa:

Philip Scharawenka — Sonata in G minor op.1 06

Johannes Brahms — Sonata in E flat major op.120 No. 2

Johann Nepomuk Hummel — Fantasy

How many times have you admired the noble, brilliant sound of the violin or the deep and passionate voice of the cello during solo recitals? Probably many times. And yet both of these noble instruments have a sister, much less often exhibited as a solo instrument, whose sound opens up completely new musical horizons: the viola. Although for unclear reasons it has become the most frequent object of jokes in the music environment*, it is worth putting it aside and giving a chance to the one that most often escapes the ear in bands. Contrary to appearances, the music of the 19th century abounds in a viola repertoire worth knowing. This is evidenced by the works that we will hear this evening at the Warmia and Mazury Philharmonic.

Sonata in G minor Op. 106 by the Polish-German composer Philip Scharawenko is a very neat example of a romantic sonata with an unusual form. The first part, with the mysterious (and aptly) title Fantasia, is a meditative meditation, followed by two parts that are quick, though futile to look for typical virtuoso displays in them. The entire Sonata is kept in the calm character that was initiated at the beginning; the drama builds up as the work progresses, culminating in a brilliant and lively finale.

The second Sonata, which will sound this evening, came from the pen of Johannes Brahms. He was an ardent lover of chamber music and left a lot of it behind. The sonatas from Opus 120 were originally intended for clarinet, but were also arranged by the composer for viola. Why?

“The warm, medium tones of viola and clarinet make these two instruments natural musical allies. Both instruments are inherently soothing... There is a spiritual bond between the two instruments.”

Moreover, in opus 120 are the last chamber works of Brahms — hence a large dose of maturity, contemplation, graceful simplicity. “As he got older, his music became simpler in texture, more graceful, reflective and free,” notes Michael Parloff. —The term “autumnal” is invariably applied to his late works, and this adjective perfectly captures the atmosphere of the Sonata in E flat major for viola or clarinet. **

In the classical form, the composer poured a deep, yet calm, beautiful and at the same time inexpressive content. Just in time for an autumn evening...

... which we will end with Fantasia, and basically Potpourri op. 94 by Johannes Nepomuk Hummel. Yes, the same one who was recognized as one of the best pianists in the world, and exactly the same one who set the piano trends at the beginning of the 19th century. The version we will hear at the concert is the most widespread shortened version of the whole work, which in its original form is much longer***. However, it is enough to discern the nature of the work: light, virtuosic, joyful, with a simple texture, and also very, very charming. Could there be a better ending to this concert?

Agnieszka Teodora Zabińska

* Here is an example: How did the viola come about? A drunken luthier put strings on a violin case.

** https://www.parlancechamberconcerts.org/individual-program-notes/johannes-brahms-(1833-1897)/sonata-in-e-flat%2C-op.-120%2C-for-viola-and-piano (accessed 26.09.2026). Own translation.

*** https://blog.henle.de/en/2018/09/03/hummels-potpourri-op-94/