A Poetic Afternoon with Polish Art Songs

On the occasion of Sala Sudasiri Sobha’s 10th Anniversary Sala Sudasiri Sobha in collaboration with The Feliks Nowowiejski Academy of Music in Bydgoszcz (AMFN)

proudly present a piano duo recital by Winners of AMFN Special Prize

Justyna Khil, soprano Rozalia Kierc, piano "A Poetic Afternoon with Polish Art Songs"

September 18, 2022 at 16:00hrs. at Sala Sudasiri Sobha (Ladprao 41 yaek 7-2)

Ticket: 700 THB

Students 50% discount: 350 THB

Rsvp is highly recommended via website. www.salasudasirisobha.com/concerts Tel. 080-407-8231

**ATK test is required before entering the event.**

Program features works of great art songs by Polish composers such as Szymanowski, Karłowicz, Brejza, Laks with texts of great Polish poets such as Kazimierz Przerwa-Tetmajer, Czesław Jankowski. The program also features works from Strauss & Weber.

Program

●  Richard Strauss (1864-1949) - 8 Gedichte aus ‘Letzte Blätter’ op. 10 (Eight Songs from the Last Pages op. 10), text by Hermann von Gilm 

1.  Zueignung (Dedication)

2.  Nichts (Nothing)

3.  Die Nacht (The Night)

4.  Die Georgine (The Dahlia)

5.  Geduld (Patience)

6.  Die Verschwiegenen (The Discreet Ones)

7.  Die Zeitlose (The Meadow Saffron)

8.  Allerseelen (All Souls' Day)

●  Carl Maria von Weber (1786-1826) - Wie nahte mir der Schlummer... Leise, leise (How did sleep come to me… Softly, softly), Agathe’s aria from Act II of Der Freischütz (The Freeshooter) 

— Intermission —

●  Karol Szymanowski (1882-1937) 

○  Pieśń Roksany (Roxana’s Song) from Act II of Król Roger (King Roger)

○  We mgłach (In the mists), Op. 2 No. 3, text by Kazimierz Przerwa-Tetmajer

○  Czasem, gdy długo na półsennie marzę (Sometimes, when I dream half asleep) Op. 2 No. 4, text by Kazimierz Przerwa-Tetmajer

●  Mieczysław Karłowicz (1876-1909) 

○  Czasem, gdy długo na półsennie marzę (Sometimes, when I dream half asleep), text by Kazimierz Przerwa-Tetmajer

○  Zasmuconej (To The Saddened One), text by Kazimierz Gliński

○  Rdzawe liście (Russet leaves), text by Kazimierz Przerwa-Tetmajer

○  Śpi w blaskach nocy (The sea sleeps in the glow of the night), original text in German by Heinrich Heine, adapted into Polish by Maria Konopnicka

○  Z nową wiosną (With new spring), text by Czesław Jankowski

●  Aleksandra Brejza (1963-) 

○  W lesie (In the forest), text by Kazimierz Przerwa-Tetmajer

●  Szymon Laks (1901-1983) - Pięć pieśni do słów Juliana Tuwima (Five Songs on Poems by Julian Tuwim) 

○  Modlitwa (Prayer)

○  Szczęście (Happiness)

○  Przymierze (Covenant)

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About the program

8 Gedichte aus ‘Letzte Blätter’ op. 10 (Eight Songs from The Last Pages op. 10), composed when Richard Strausswas only twenty one years old, are surprising in their maturity and cohesiveness. Hermann von Gilm’s poems, coincidentally published in the year that saw both the poet’s death and the composer’s birth, provided a text rich in metaphorical expression, perfect for a musical setting. Anger exists in tandem with longing; idyllic pictures of nature go hand in hand with descriptions of man made nightmares; genuine exclamations are followed by sardonic complaints. The cycle remains an exemplary entry in the German repertoire of lieder, also thanks to the composer’s original orchestrations. Wie nahte mir der Schlummer... Leise, leise (How did sleep come to me… Softly, softly) is a scene from Act II of Carl Maria von Weber’s Der Freischütz (The Freeshooter) - a tale of jealousy, magic, loyalty and of course, love. After its premiere in 1821, The Freeshooter ushered in the era of Romanticism in German opera. At this point of the story, we find Agathe eagerly awaiting news of her betrothed, Max, who must prove his shooting prowess in order to win her hand in marriage. Anxious in her anticipation, Agathe hesitates between optimism and pessimism, before finally letting herself get lost in the euphoric feeling of hope.

Roxana’s Song is a pivotal aria in the second act of Karol Szymanowski’s opera King Roger, which premiered in 1926 and was loosely inspired by the life of the titular monarch who reigned in 12th century Sicily. Stylistically, the opera is situated at a tripoint of mediterranean cultures - Byzantine, Arabic and Hellenic influences can be heard throughout. The work is full of Dionysian symbolism, and generally concerns the ambiguous love triangle between Roger, his wife Roxana and a heretical (yet magnetic) Shepherd. In the aria, we find Roxana already enchanted by the mysterious Shepherd, desperately trying to protect him from her husband’s wrath. We mgłach (In the mists) and Czasem, gdy długo na półsennie marzę (Sometimes, when I dream half asleep) are among Szymanowski’s early song efforts, composed still in the vein of the late Romantic tradition, and are both settings of poems by Kazimierz Przerwa-Tetmajer. Our selection of songs by Mieczysław Karłowicz also begins with a setting of the latter poem - encouraging a comparison, perhaps, but more so inviting everyone to draw their own inspiration from Przerwa-Tetmajer’s ethereal words. It is easy to be deceived by Karłowicz’s lighthearted approach to the matter at hand - while his songs are full of intrinsic charm, they also have their poignant moments. W lesie (In the forest), a song composed by Aleksandra Brejza who represents our alma mater (Feliks Nowowiejski Academy of Music in Bydgoszcz) in 2021, is also based on Przerwa-Tetmajer’s poetry, giving it an entirely different, almost meditative resonance.

Finally, Pięć pieśni do słów Juliana Tuwima (Five Songs on Poems by Julian Tuwim) is an extraordinary example of a modern Polish song cycle. Tuwim’s words, full of sharp wit and sometimes brutal honesty, meet their equal in Szymon Laks’stirring music. Composed between 1936 and 1962, the songs explore themes of love, faith and self-worth with a disarming honesty. In view of the composer’s tragic experiences during World War II, it seems appropriate to consider the songs as a deeply personal statement. Laks evokes a kaleidoscope of musical moods, oscillating between dissonant passages and jazz-inspired harmonies, all while remaining exceptionally attuned to Tuwim’s penmanship.

From the second song of our performance - Strauss’ joyful Nothing, to its final song, the program presents a wide palette of emotions and styles. We hope this dive into the world of the finest examples of German and Polish art song will bring our audience on a fascinating - and fulfilling - journey.

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About the artists: 

Justyna Khil – soprano

Born in 1997, Justyna Khil studies in Feliks Nowowiejski Academy of Music in Bydgoszcz, Poland, under Professor Hanna Michalak and Anna Wilk. She is a member of the Young Talents Development Programme „Opera Academy” in the Teatr Wielki Polish National Opera where she studies under Olga Pasiecznik, Izabella Kłosińska, Katelan Trần Terrell and Michał Biel.

She took part in many competitions, such as XXII Mikuláš Schneider-Trnavský International Vocal Competition in Trnava, Slovakia (IIIrd prize), the American International Czech and Slovak Voice Competition in Green Bay, USA (IVth prize), VII Jan Kiepura International Vocal Competition in Krynica Zdrój (IInd prize), VII Krystyna Jamroz National Vocal Competition in Busko-Zdrój (Ist prize), II Bogdan Paprocki National Vocal Competition (Ist prize), IIIrd Wassyl Slipak Young Vocalists Competition (IInd prize). With pianist Rozalia Kierc she also participated in chamber music competitions, including VII Intercollegiate Chamber Competition for Instrumental Duets and Vocal Duets (IInd prize) and I International Competition ArtSong OPUS (II prize).

She made her debut as Contessa Almaviva in Mozart’s Le Nozze di Figaro at Opera Nova in Bydgoszcz. Ms Khil has performed recitals, chamber and oratorio concerts on numerous stages in Poland and abroad, including in the Lviv National Philharmonic, the Teatr Wielki Polish National Opera, the Grand Theatre in Łódź, the Opera at the Castle in Szczecin, the Ignacy Paderewski Pomeranian Philharmonic, the Oskar Kolberg Świętokrzyska Philharmonic, the Witold Lutosławski Concert Studio of Polish Radio, the Tadeusz Baird Zielona Góra Philharmonic, the Feliks Nowowiejski Warmian-Masurian Philharmonic, Fort Howard Hall in Green Bay, USA.

She crafted her skills during masterclasses conducted by: Hedwig Fassbender, Mariusz Kwiecień, Jakub Józef Orliński, Ewa Podleś, Matthias Rexroth, Małgorzata Walewska, Edith Wiens, Fausto Nardi, Eytan Pessen, Maciej Pikulski.

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Rozalia Kierc (born 1999) is a Polish pianist who began her musical education at the age of seven at the Bacewicz State Primary School of Music in Wroclaw under the tutelage of Krystyna Dyzewska. Since the age of thirteen Rozalia had been studying with professor Stefan Wojtas, first at the Zelenski State Secondary School of Music in Cracow and then at the Nowowiejski Academy of Music in Bydgoszcz where she graduated with a master’s degree in 2022. She is currently pursuing a degree in chamber music, mentored by Bartlomiej Wezner. She also studied symphonic conducting at the Lipinski Academy of Music in Wroclaw with Marzena Diakun.

Since 2008 she has been a scholar of many institutions supporting young artists, including the Polish Minister of Culture, the President of Wroclaw, the Marshal of Lower Silesia, Polish Children’s Fund, Kiwanis Club, among others. In 2015, she received the Penderecki Artistic Prize. She achieved considerable artistic success in international competitions, winning over twenty first prizes, grand prix awards and special prizes, also for her efforts as a composer.

Rozalia gave her first public performance at the age of seven and debuted with orchestra two years later at the Young Pianist Festival of the Rubinstein Philharmonic in Lodz. As an enthusiast of concerto repertoire, she worked with numerous orchestras, such as Polish National Radio Symphony Orchestra, Polish Radio Symphony Orchestra, Sinfonietta Cracovia, Sinfonia Iuventus, Young Polish Philharmonic Orchestra, and various philharmonic orchestras from Poland and abroad. She performed significant concerts under the auspices of the Polish Embassies in Bern, Berlin and the Polish Consulate in Munich. She is regularly featured at music festivals in Europe, such as the New Year Music Festival in Gstaad, Nymphenburger Sommer in Munich, Mendelssohn Music Days, Musical Autumn in Cracow, Gdansk Music Festival, Polish Piano Festival or Jerzy Waldorff Summer Festival.

From early childhood Rozalia has been passionate about chamber music and has since made it her career’s focus. She is one half of Romarie Piano Duo (winners of the International Piano Duo Competition Duettissimo in 2022) with Maria Moliszewska, and regularly performs with soprano Justyna Khil, with whom she also achieved success at various competitions. Her other frequent collaborators include flutists Natalia Karaszewska and Jagoda Krzeminska-Chalupka. Rozalia is particularly involved in performing contemporary music, having premiered works by several Polish composers. Outside of music, she holds an avid interest in visual arts (especially painting and graphic design), film, figure skating and archery.