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University of Florida Performing Arts
Presents
Wroclaw Philharmonic
Orchestra
Jacek Kaspszyk, Artistic Director
and Chief Conductor
Garrick Ohlsson, Piano
Sunday, February 12, 2012, 7:30 p.m.
Phillips Center
Opus 3 Artists
presents
WROCLAW PHILHARMONIC ORCHESTRA
Jacek Kaspszyk, Artistic Director and Conductor
Garrick Ohlsson, Piano
Program
Concert Overture in E major, Op. 12
(Konzert-Ouverture)
Karol Szymanowski
Piano Concerto No. 2 in F Minor, Op. 21
Maestoso
Larghetto
Allegro vivace
Garrick Ohlsson, piano
Frédéric Chopin
INTERMISSION
Symphony No. 7 in D Minor, Op. 70
Allegro maestoso
Poco adagio
Scherzo: Vivace
Finale: Allegro
Mr. Ohlsson appears courtesy of Opus 3 Artists.
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Antonín Dvořák
Program Notes
Concert Overture in E Major, Op. 12
Karol Szymanowski (1882-1937)
Composer Karol Szymanowski was an interesting case study in how fate takes a hand in things.
He was not a healthy child, and after suffering a leg injury at age 7, he began intensive musical
studies at home with his father, Stanislaw. Karol went on to become one of the most important
Polish composers in history.
At age 19, the young Szymanowski was off to Warsaw to continue his studies. According to
Szymanowski’s own recollections, his teachers, though competent, were decidedly uninspiring
and out of touch with the contemporary trends. He and his classmates looked to Western
Europe – and especially Germany – for their inspiration. The young Poles also looked to Western
Europe to further their careers, including founding a publishing concern in Berlin, the Young
Polish Composers’ Publishing Company. Though the company was short-lived, it did bring
Szymanowski’s music to the attention of the greater European marketplace and likely helped the
young composer find his own publisher, Universal.
Though he was a fan of the Germans – composer Richard Wagner and Richard Strauss,
in particular – Szymanowski’s first student works were said to have been derivative of his
countryman, Frédéric Chopin. He would eventually come to love the music of the so-called
French “Impressionists” – Satie, Debussy and contemporary Maurice Ravel. He also became a
scholar of ancient Greek music and a fan of the music and culture of North Africa, Italy and most
especially, Sicily. In due course, he also came to appreciate the music of Igor Stravinsky, and came
full circle later in his career and embraced the folk music of Poland – music that had also been a
muse to Chopin.
His Concert Overture, Op. 12, was among his first “mature works,” composed in 1904-05,
receiving its first performance on February 6, 1906. Szymanowski reorchestrated the work in
1912-13, the version that it is now most often performed. It shows considerable influence by the
Germans and is often compared to Strauss’ orchestral tone poems.
This Overture is a bit like a wild river ride: the splashy and exuberant opening, the burbling joy
ride that immediately follows, interspersed with serene moments of calm repose. The moody
middle section seems to portend the excitement to come as we return at the end to the roiled
rapids and high-spirited music that started things off.
Piano Concerto No. 2 in F Minor, Op. 21
Frédéric Chopin (1810-1849)
Like Szymanowski, Polish-born composer and pianist Frédéric Chopin began life destined, it
seemed, to be a great musician. By age 15, he had already surpassed the abilities of his first piano
teachers, and he had published his Op. 1, a Rondo for piano. Chopin also quickly outgrew his
hometown of Warsaw and felt the need to move abroad, first moving to Vienna, then ultimately
settling in Paris in 1831, where he took the music-loving town by storm. He became the piano
teacher of note for the Parisian upper class.
Chopin composed almost exclusively for the piano and vastly extended the repertory for
the instrument. Under his hands, the pianoforte could sing, pulse, dance, and swell, though
interestingly, and much to the chagrin of some, he is said to have rarely made use of the piano’s
most powerful (forte) dynamic, preferring the instrument’s more intimate piano and mezzopiano
(soft and medium soft) ranges.
Many of Chopin’s works were introduced in small “house” concerts designed to show off his
technical abilities and to help him gain private students. Not so his two piano concertos, which
were both conceived of as works to open doors in Europe’s music capitols. The two concertos
were written while he was still a Warsaw resident, and both works were intended as calling cards
for his soon-to-be-made travels abroad. He began work on his Piano Concerto No. 2 in F Minor,
Op. 21 in the summer of 1829; he was 19 at the time. (It was actually written a year before his
Piano Concerto in E Major, Op. 11, but was published later.)
Scholars and writers argue incessantly about this work, some suggesting that the youth and
experience of the young composer is obvious, with the orchestral writing clearly naïve. Others
– composer/writer Robert Schumann and biographer Jim Samson among them – have found it
to be both inventive and original. Schumann wrote: “if a genius such as Mozart were to appear
today, he would write Chopin concertos rather than Mozart ones.” Samson suggested that Op. 21
is Chopin’s first truly mature work in his catalogue.
The lengthy orchestral statement that begins the first movement, marked Maestoso (majestic),
takes us through a variety of musical moods, from unbridled romanticism to stately classicism.
When the piano final enters and takes up the themes, it is as if the star of the show has been
waiting for a grand entrance. No question here: this work celebrates the pianist. Rather than the
call-and-response one often hears in concertos, this is more operatic in feel with the orchestra
playing the supportive recitative role to the pianist’s virtuosic drama.
The second movement (Larghetto, or “rather slowly”) again has the feeling of opera, only this time
it is a slow lament, with the pianist “singing” a melancholy tune; indeed, Chopin himself wrote to
a colleague that this concerto was inspired by his affection for singer Konstanze Gladkowska. At
times, a listener can practically hear the soaring lines of a soprano in the piano part.
The Allegro vivace begins with a piano part that sets a cheery and joyful tone, inspired by a Polish
dance – the Mazurka – a dance form that Chopin more or less put on the musical map. After a
rather odd orchestral interlude that also includes a solo horn call, the pianist ramps it up for a
last dazzling display.
Symphony No. 7 in D Minor
Antonín Dvořák (1841-1904)
Bohemian by birth – he was
ˇ born in a village not far from Prague in the present-day Czech
Republic – Antonín Dvorák
ˇ was originally considered to be an excellent regional composer.
That all changed when he was “discovered” by composer Johannes Brahms, who championed
the Czech composer’s music in his home of Vienna and throughout Europe. An international
reputation resulted, though Dvorák
ˇ continued to find inspiration in folk melodies and rhythms
of his native country.
After a hugely successful 1883 performance of his Stabat Mater in Royal Albert Hall in London,
ˇ himself was invited to London by the Royal Philharmonic Society to conduct a concert
Dvorák
of his works. It was his first invitation to conduct outside his native Bohemia, and it was a
resounding success. Further invitations resulted; he would ultimately perform in London
numerous times during his career.
His Symphony No. 7 in D Minor was written for the Philharmonic Society, a work about which
he wrote to his friend Antonín Rus: “ I am occupied with a new symphony (for London) and
everywhere I go I think of nothing but my work, which must be as to stir the world, and may
God grant that it will!” He labored on it for several months and finished in early 1885. It was
premiered in London in April of that year.
It did create the “stir” he desired. Sir Donald Tovey, a renowned English musicologist, theorist
and music analyst, famously wrote this of Symphony No. 7: “I have no hesitation in setting
Dvorák’s
ˇ Symphony … as among the greatest and purest examples in this art form since
Beethoven. There should be no difficulty at this time of day in recognizing its greatness.”
The expansive opening movement begins with a brooding melody in the violas and cellos,
echoed by the woodwinds. To call this simply a theme is misleading, since Dvorák
ˇ bombards us
with many ideas here. Listen for the character of the music to really change for the second theme
(finally moves to the relative major, if you are keeping track). Not in any hurry, Dvorák
ˇ bandies
about these ideas until we finally hear the cellos intone the opening theme towards the end, a
parting gesture of sorts.
The second movement begins somewhat reverentially, with woodwinds stating a tune
accompanied by pizzicato strings. Listen especially for some great solos throughout this
movement, especially horns, but also woodwinds, as well as the oft-neglected viola section. The
third movement Scherzo is a Czech dance if there ever was one. Bouncy and rhythmically vital,
the mood is chipper throughout. Again, some noteworthy solos to be heard in the contrasting
Trio section: flute, oboe and horn in particular, with another nod to the violas toward the end.
The Finale might be described as a “Dvorákian
march” – Czech-inspired melodically,
ˇ
rhythmically driving, serious yet exhilarating throughout. Perhaps Sir Tovey described it best
when he wrote: “The solemn tone of the close is amply justified by every theme and every note
of this great work, which never once falls below the highest plane of tragic music, nor contains a
line which could have been written by any composer but Dvorák.
ˇ ”
— Program notes by Dave Kopplin.
About Wroclaw Philharmonic Orchestra
The NFM Wroclaw Philharmonic Orchestra was established in 1954 and from the beginning
of its existence has drawn on the rich traditions of its home city which has played host to such
great artists as Wagner, Brahms (who conducted the premiere of his Academic Festival Orchestra
there), Mahler, Bruch, Paderewski, Sarasate and Ysaÿe.
The orchestra was founded in 1954 by Adam Kopycinski and Radomir Reszke and owes its
development above all to its director-conductors, among others Jozef Karol Lasocki, Andrzej
Markowski, Tadeusz Strugala and Marek Pijarowski.
Since 2006, the Orchestra’s general director is Andrzej Kosendiak – a conductor and proponent
of early and choral music as well as the initiator of numerous musical festivals and competitions.
The orchestra’s artistic director since 2006 is maestro Jacek Kaspszyk, former artistic and
general director of the Polish National Opera and a leading guest conductor with orchestras,
including the London Symphony, Philharmonia, Bayerischer Rundfunk, Chamber Orchestra
of Europe and many others, whose masterly interpretations of monumental masterpieces have
given Wroclaw audiences the opportunity of appreciating fully the power and absolute beauty
of these works.
Major soloists appearing with the philharmonic have included Martha Argerich, Midori, Juan
Diego Florez, Ramon Jaffé, Peter Jablonski, Krzysztof Jablonski, David Oistrakh, Igor Oistrakh,
Michael Ponti, Alexander Rudin, Benjamin Schmid and Krystian Zimerman. The orchestral
soloists are graduates of the most prestigious European music academies educated under the
guidance of renowned artists and teachers. The Wroclaw Philharmonic players are not only
professional musicians but passionate aficionados of music, representing several generations who
form a truly unique ensemble.
The orchestra performs regularly, presenting around 100 programs per season. Its repertoire
is exceptionally varied, consisting of works from various musical eras and periods from the
Baroque to the Contemporary. Thanks to their work under the direction of artists specializing
in particular musical styles (e.g. Jacek Kaspszyk – late Romantic and contemporary symphonic
works; Zbigniew Pilch – baroque, classical and early romantic music), the NFM Wroclaw
Philharmonic Orchestra can boast an ability to perform every musical genre in an authentic
and historically informed manner. The orchestra also performs at music festivals, such as the
Wratislavia Cantans, Warsaw Autumn, Chopin Festival, Musica Polonica Nova and Festspiele
Mecklenburg-Vorpommern.
The orchestra has given performances in renowned concert halls throughout the world,
including Alice Tully Hall at Lincoln Center in New York, the Kimmel Center in Philadelphia,
the Musikverein in Vienna, International Arts Centre in Antwerp, Tonhalle in Zurick,
Festspielhaus in Salzburg, the Philharmonie in Cologne and Concertgebouw in Amsterdam, as
well as a concert in New York’s St. Patrick’s Cathedral in memory of Pope John Paul II.
The orchestra also participates in the Wroclaw Philharmonic’s well-established and varied
educational program – a cycle of concerts entitled Philharmonic for Youth and the Family.
The orchestra records for radio and television and has many CD recordings to its credit. Since
2007, together with CD Accord, the orchestra has been working on a project of recording
all the works of their patron – Witold Lutosławski. The first recording of the cycle, Witold
Lutosławski Opera Omnia 01 Chamber music, was released in 2008, and the next one, featuring
the composer’s two symphonies under Kaspszyk’s baton, came out in 2010. The CD received
the 2011 Fryderyk Phonographic Academy Award. The third act of the series has recently been
unveiled – it includes the Preludes and fugue for 13 instruments and the Double Concerto for
oboe, harp and chamber orchestra. In October 2009, the orchestra was awarded a gold disc for its
recording of their DVD titled Symphonically Perfect.
The orchestra celebrated Polish music, with particular regard to the Chopin Year in 2010, and the
2011-12 season includes a major tour of the United States.
About Jacek Kaspszyk
(artistic director and
conductor)
Award-winning conductor Jacek Kaspszyk has been
the artistic director of the Wroclaw Philharmonic
Orchestra since 2006 and was appointed music
director of the Polish National Radio Symphony
Orchestra in 2009. In addition to recording awards,
he was recently nominated for the prestigious
Elgar Medal, in recognition of his many fine
performances of Elgar’s works over the years,
joining distinguished colleagues like Vladimir
Ashkenazy, Andrew Litton and Leonard Slatkin.
Kaspszyk continues his long association with
Sinfonia Varsovia in Warsaw with whom he
appears regularly at the La Folle Journée festivals
in France and Japan and Chopin and his Europe
Festival in Warsaw, amongst others.
Highlights during the summer 2011 included
performances of Szymanowski’s King Roger for
Polish National Opera. This new production directed by David Pountney was televised as part
of the high-profile I, Culture program to celebrate the opening of the Polish Presidency of the
European Union. Among other special events were concerts with the Orchestra of the Age of
Enlightenment at the Chopin Festival in Warsaw and with Wroclaw Philharmonic Orchestra at
the Wratislava Cantans Festival.
Kaspszyk opened the 2011-12 season in the Far East conducting the China Philharmonic and
Guangzhou Symphony Orchestras, as well as the Malaysia Philharmonic Orchestra with pianist
Stephen Kovacevich. He made his debut with the Shanghai Symphony Orchestra in the 2010-11
season and has enjoyed regular guest invitations to China since his conducting debut there in
2004. He will return in 2013. Following debut concerts with the Orchestre Philharmonique de
Strasbourg at the end of 2011, Kaspszyk ended 2011 with a successful return to the Orchestra of
Opera North to conduct their traditional Viennese program. Kaspszyk celebrates the New Year
with a major tour of the U.S. with Wroclaw Philharmonic Orchestra and pianist Garrick Ohlsson.
In the U.K., a debut with the Philharmonia Orchestra was followed by concerts with the London
Symphony, London Philharmonic and Royal Philharmonic Orchestras. Other engagements
included performances with the Halle, Royal Scottish National, BBC Scottish and BBC National
Orchestra of Wales with whom he made his BBC Proms debut. He also became principal
conductor of Capital Radio’s Wren Orchestra.
Throughout Europe, Kaspszyk has conducted many orchestras, including Bayerische Rundfunk,
RSO Berlin, Orchestre National de France, Wiener Symphoniker, Oslo, Stockholm, Rotterdam
and Prague Philharmonics, as well as the Chamber Orchestra of Europe with whom he
toured Australia. He held the position of Principal Conductor and Music Advisor of the
Nord Nederlands Orkest (1991-1995) and Principal Guest Conductor of the Polish National
Philharmonic in Warsaw (1996-1998).
Kaspszyk has conducted orchestras in the U.S. (Cincinnati Symphony, San Diego Symphony),
Canada (Calgary Symphony, Winnipeg Symphony), Japan (Yomiuri Nippon Symphony,
Tokyo Philharmonic), as well as the Hong Kong Philharmonic and the New Zealand Symphony
Orchestra.
Highly regarded in the field of opera, from 2002 Kaspszyk was general director of the Teatr Wielki
– Polish National Opera. Under Kaspszyk’s tenure the company enjoyed not only huge success
at home, but also won international recognition with acclaimed performances at such venues
as the Beijing Festival (2001), the Bolshoi in Moscow (2002), Sadler’s Wells Theatre in London
(2004), Hong Kong Arts Festival (2005) and Perolada Festival in Spain (2006), as well as during
three highly successful tours of Japan (2001, 2003, 2005). He has conducted productions at many
renowned opera houses among others: Deutsche Oper am Rhein in Dusseldorf, Opera Comique in
Paris, Opera de Lyon, Opera de Bordeaux, Stockolm Opera, English National Opera, Opera North
Leeds, Zurich Opera, Teatro Colon in Buenos Aires and Teatro de la Maestranza in Seville. In 1998,
he was appointed artistic and music director, and between 2006 and 2008, he worked regularly
with the Lithuanian National Opera in Vilnius whose acclaimed productions of R. Strauss’s Salome
and Wagner’s Die Walkure he conducted in Vilnius, as well as at festivals in Ljubljana and Ravenna
(2007), and during a well-received residency at the Israeli Opera Tel Aviv – Yafo (2008).
Kaspszyk is widely represented on CD, including an award-winning recording of Rossini’s Il
Signor Bruschino with the Polish Chamber Opera and the Edison Prize-awarded recording
of Baird’s Concerto Lugubre with the Polish National Radio Symphony Orchestra, as well as
several acclaimed recordings for Collins Classics with all four London orchestras, including
Mussorgsky’s Pictures from an Exhibition, Mahler’s Symphony No. 1, and R. Strauss’s Also Spracht
Zarathustra (LSO), Rachmaninov’s Symphony No. 2 and Verdi’s Opera Overtures (Philharmonia),
works by J. Strauss and Schubert’s Symphonies No. 5 & 8 (LPO) and Puccini’s Interludes (RPO).
His recording of Lutoslawski’s Symphonies No. 2 & 4 with the Wroclaw Philharmonic Orchestra
received the 2011 Fryderyk award for the category: album of the year, symphonic and concert
music. The album has been described as: “An important and magnificent release that gives us
the best sound the composer has ever had.” Kaspszyk and pianist Marta Argerich are featured
together on a 2010 EMI Classics Chopin CD. He enjoys a regular collaboration with Martha
Argerich, conducting at the annual Progetto Martha Argerich Festival in Lugano.
He recently recorded Beethoven piano concerti with pianist Ingrid Jacoby. The disc is due for
worldwide release this year.
Recordings with the Polish National Opera include Moniuszko’s The Haunted Manor (EMI
Classics) awarded with a Platinum Disc, Penderecki’s Ubu Rex (CD Accord) and Szymanowski’s
King Roger (CD Accord), which was nominated for record of the year by BBC Music Magazine
and highly praised by Gramophone magazine whose critic wrote of Kaspszyk: “In all, even the
tiniest details, he managed to achieve absolutely everything.”
Kaspszyk studied conducting, theory and composition at the Warsaw Academy of Music,
graduating in 1975, and that same year made his conducting debut at the Teatr Wielki – Polish
National Opera. In 1976, he was appointed principal guest conductor of the Deutsche Oper am
Rhein in Dusseldorf, and in 1977 was a prize winner at the prestigious Karajan Competition,
making his Berlin and New York debut the following year.
About Garrick Ohlsson
(pianist)
Since his triumph as winner of the
1970 Chopin International Piano
Competition, pianist Garrick Ohlsson
has established himself worldwide as
a musician of magisterial interpretive
and technical prowess. Although he
has long been regarded as one of the
world’s leading exponents of the music of
Frédéric Chopin, Ohlsson commands an
enormous repertoire, which ranges over
the entire piano literature. A student of
the late Claudio Arrau, Ohlsson has come to be noted for his masterly performances of the works
of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. His concerto repertoire
alone is unusually wide and eclectic – ranging from Haydn and Mozart to works of the 21st
century – and to date he has at his command more than 80 concertos.
In recognition of the bicentenary of Chopin’s birth, Ohlsson presented a series of all-Chopin
recital programs in Seattle, Berkeley and La Jolla, culminating at Lincoln Center in fall and
winter of 2010. In conjunction with that project a documentary, The Art of Chopin, based on
Chopin’s life and music and featuring Ohlsson, co-produced by Polish, French, British and
Chinese television stations, was released in autumn 2010. In summer of 2010, he was featured in
all-Chopin programs at the Ravinia and Tanglewood festivals, as well as appearances in Taipei,
Beijing, Melbourne and Sydney.
Ohlsson opened the 2010-11 season in Carnegie Hall with Orpheus Chamber Orchestra
followed by return visits to the Orchestras of Cleveland, Pittsburgh, Philadelphia, Washington,
D.C. (National Symphony), Milwaukee, Toronto, Miami (New World Symphony) and San Diego.
In Europe, he visited orchestras in Sweden, Denmark, Spain and England, concluding his Chopin
recital project in Detroit and New York in December.
In acknowledgement of the bicentenary of Liszt’s birth, the 2011-12 season will include recitals
of his works in cities including Chicago, Hong Kong, London and New York, where he will
also visit Carnegie Hall with the Atlanta Symphony and Lincoln Center with the New York
Philharmonic. Tours in Europe and Asia include concerts in France, England, Italy, Taiwan,
Hong Kong and Japan. Ohlsson will also return as guest soloist with orchestras in Indianapolis,
Nashville, Portland, Ottawa and San Francisco, where he is a beloved regular. In partnership with
the Wroclaw Philharmonic (Poland), he plans a tour of 12 concerts from Florida to California,
presenting works of Chopin and Beethoven.
During the summer of 2006, Ohlsson presented the complete cycle of Beethoven piano sonatas
in both the Ravinia and Tanglewood festivals, a cycle he performed for the first time in the
summer of 2005 at Switzerland’s prestigious Verbier Festival.
Ohlsson is an avid chamber musician, who has collaborated with the Cleveland, Emerson,
Takács and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis
and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio.
A prolific recording artist, Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel,
Bridge, BMG, Delos, Hänssler, Nonesuch, Telarc and Virgin Classics labels. His 10-disc set of the
complete Beethoven sonatas for Bridge Records is now complete and has garnered considerable
critical praise, including a Grammy for Vol. 3. In addition, in February 2011 he released a disc
of works by Franz Liszt. In the fall of 2008, the English label Hyperion re-released his 16-disc set
of the complete works of Chopin, and recently released a disc of all the Brahms piano variations
and a two-disc set of Carl Maria von Weber’s four piano sonatas.
A native of White Plains, N.Y., Ohlsson began his piano studies at the age of 8. He attended the
Westchester Conservatory of Music, and at 13 entered The Juilliard School in New York City.
His musical development has been influenced in completely different ways by a succession
of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha
Gorodnitzki, Rosina Lhévinne and Irma Wolpe. Although he won First Prizes at the 1966 Busoni
Competition in Italy and the 1968 Montréal Piano Competition, it was his 1970 triumph at
the International Chopin Competition in Warsaw, where he won the Gold Medal, that brought
him worldwide recognition as one of the finest pianists of his generation. Since then he has
made nearly a dozen tours of Poland, where he retains immense personal popularity. Ohlsson
was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society
Distinguished Artist Award in Ann Arbor, Mich. He makes his home in San Francisco.
WROCLAW PHILHARMONIC ORCHESTRA
Jacek Kaspszyk, Artistic Director and Conductor
Violin I
Radosław Pujanek
Marcin Markowicz
Marcin Danilewski
Andrzej Woźnica
Bartosz Bober
Dariusz Blicharski
Beata Solnicka
Dorota Tokarek
Ewa Dragon
Karolina Krężelewska
Dorota Bogaczewicz
Dorota Bobrowicz
Maria Brzuchowska
Karolina Bartoszek
Lilianna Koman-Blicharska
Beata Dziekańska
Violin II
Wojciech Hazuka
Tomasz Bolsewicz
Wioletta Porębska
Tomasz Kwieciński
Zuzanna Dudzic-Karkulowska
Marzena Wojsa
Dorota Żak
Sylwia Welc
Halina Pyrek-Kostka
Krzysztof Iwanowicz
Magdalena Sudara
Andrzej Michna
Wojciech Bolsewicz
Grzegorz Baran
Viola
Artur Tokarek
Artur Rozmysłowicz
Magdalena Gołemberska
Bożena Nawojska
Ewa Hofman
Paweł Brzychcy
Aleksandra Wiśniewska
Bogusława Dmochowska
Michał Mazur
Zbigniew Marciniak
Marek Kamiński
Natalia Makal
Cello
Roster
Maciej Młodawski
Maciej Kłopocki
Ewa Dymek-Kuś
Radosław Gruba
Miłosz Drogowski
Lidia Broszkiewicz
Anna Korecka
Dorota Kosendiak
Robert Stencel
Ewa Prochownik
Double Bass
Janusz Musiał
Damian Kalla
Krzysztof Królicki
Zbigniew Gębołyś-Łozowski
Czesław Kurtok
Jacek Sosna
Jan Galik
Marek Politański
Flute
Jan Krzeszowiec
Ewa Mizerska
Małgorzata Świętoń
Oboes
Sebastian Aleksandrowicz
Wojciech Merena
Stefan Małek
Harp
Krzysztof Waloszczyk
Horn
Igor Szeligowski
Adam Wolny
Mateusz Feliński
Czesław Czopka
Jan Grela
Robert Wasik
Trumpet
Łukasz Gothszalk
Aleksander Zalewski
Paweł Spychała
Trombone
Paweł Maliczowski
Wojciech Nycz
Mariusz Syrowatko
Tuba
Akash Kumar
Percussion
Sebastian Sojka
Zbigniew Subel
Miłosz Rutkowski
Krystyna Wojciechowska
Shoko Sakai
Aleksandra Wasik
English Horn
Stefan Małek
Clarinet
Jan Tatarczyk
Maciej Dobosz
Mariola Molczyk
Michał Siciński
Bassoon
Katarzyna Zdybel
Alicja Kieruzalska
Józef Czichy
FOR OPUS 3 ARTISTS
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