University of Florida Performing Arts

presents

TheWarsaw

PhilharmonicAntoni Wit, Managing and

Artistic Director

Yulianna Avdeeva, Piano Soloist

Sunday, November 4, 2012, 7:30 p.m.

Phillips Center

The Warsaw Philharmonic2012 U.S. Tour

Antoni Wit, Managing and Artistic Director

Yulianna Avdeeva, Piano Soloist

Program

Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Ludwig van Beethoven

AllegroAdagio un poco mossoRondo: Allegro

Yulianna Avdeeva, Piano

INTERMISSION

Symphony No. 6 in B Minor, Op. 74 (Pathétique) Piotr Ilyich Tchaikovsky

Adagio — Allegro non troppoAllegro con graziaAllegro molto vivaceFinale: Adagio lamentoso

Program and artists subject to change without notice.

The photographing or sound recording of this concert or possesion of any device for such photographing or sound recording is prohibited.

Tour direction:Tim Fox and Alison Ahart WilliamsColumbia Artists Management LLC

New York, N.Y.www.cami.com

Columbia Artists Management LLC

The Creative Source for the Performing Arts

Program Notes

Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)Ludwig van Beethoven (1770-1827)

The last and most significant of Beethoven’s piano concertos, known as the Emperor Concerto, was written in 1809, the year of the death of the composer’s old teacher, Franz Joseph Haydn. More important however, is the fact that it was written in Vienna during the city-wide occupation by Napoleon’s army. The title Emperor most certainly was not Beethoven’s. Although Beethoven originally dedicated his Third Symphony to General Bonaparte, when the despot declared himself Emperor, Beethoven tore the dedication from the manuscript in disgust. By the time he wrote his Fifth Piano Concerto, Beethoven’s antagonism toward Napoleon was extremely high. It can only be surmised that the unidentified publisher who dubbed it Emperor either was himself an admirer of Napoleon or was simply inspired by the overall majesty of the concerto itself. Another possibility is that the publisher may have taken his inspiration for the appellation from Beethoven’s dedication in the score to “His Imperial Highness, Rudolph, Arch-Duke of Austria.”

Beethoven usually performed his own concertos, but by this time his deafness had become so acute that he had ceased to perform in public. The Fifth Piano Concerto was first performed in Leipzig in 1810 with Friedrich Schneider as the soloist, and received its Vienna premiere in 1812 with Karl Czerny (Beethoven’s student and later Liszt’s teacher) at the keyboard. At the time, the critic for the Allegemeine Musik Zeitung in Vienna praised Czerny for his remarkable talent but complained of the excessive length of the work. However, the Leipzig critic recognized it as “without a doubt one of the most original, imaginative, effective, but most difficult of all existing concerti.” It is indeed Beethoven’s most “symphonic” of his concertos, as well as by far the most imposing and commanding, with a fusion of virtuosity and creative inspiration that are nothing but remarkable.

The first movement (Allegro) of Beethoven’s Piano Concerto No. 5 in E-flat major is the longest of the three and is built upon a very extended sonata form. Most unusually, after a vigorous sounding tonic chord in E-flat by the full orchestra, the Concerto begins with a rhapsodic cadenza for solo piano, punctuated only by three chords in the full orchestra. This improvisatory-like introduction sets the tone of the work and leads directly into the main theme of the first movement, stated by the first violins and later taken up by the clarinets. The strings usher in a pianissimo second theme and pass on to the horns several measures later. There is development, largely centering on the first theme, and a huge crescendo leads to the pause and cadenza. However, Beethoven breaks with the custom of the time and expressly forbids any impromptu virtuosity on the part of the soloist. (At this point in the score, the composer wrote “Non si fa una cadenza, ma s’attaca subito il sequente.” [“ Do not make a cadenza here, but attack what follows immediately.”]) The orchestra joins the latter section of the cadenza to bring the movement to its conclusion.

The main part of the second movement (Adagio un poco mosso) is a sequence of “quasi-variations” on the hymn-like melody announced by the strings with muted violins. A pensive second subject is brought in softly by the piano. At the close of the movement there is an anticipation of the theme of the final movement which follows without pause.

The Finale, marked Allegro, is a broad seven-part Rondo, perhaps the most spacious and triumphant concerto rondo in the repertoire. Both themes are stated and fully expounded by the solo instrument. Toward the end of the movement

occurs the famous passage in which the piano and timpani join in an extended duet: the pianissimo kettle drums intone the rhythm of the first movement as they accompany the piano’s diminuendo chords in long descent. The piano then makes one last dash and lets the orchestra bring the work to its forceful conclusion.

— © 1994 Columbia Artists Management Inc.

Symphony No. 6 in B Minor, Op. 74 (Pathétique)Piotr Ilyich Tchaikovsky (1840-1893)

During the year 1892, Tchaikovsky embarked on a European conducting tour that was cut short due to homesickness and a general feeling of depression. It was at this time the composer devised a plan for a “Programme Symphony;” this however, was not realized and temporarily abandoned in favor of a new Symphony in E-flat major — what is now referred to as “Symphony No. 7,” a work which was never completed and which has been somewhat reconstructed from the material employed in the Piano Concerto No. 3. The following year, on February 15, 1893, the composer began what was to become his valedictory work, the Symphony No. 6 in B minor, Op. 74 (Pathétique). Tchaikovsky admitted there was a program — not a specific story, but certainly an idea — behind the music of the Sixth Symphony; nonetheless, he refused to tell what it was, only saying, “Let him guess it who can.”

There have been plenty of guessers as to the composer’s programmatic intentions, most of them guided by the work’s nickname, Pathétique. And even though the appellation was attached, not by the composer but by his brother Modest after the work’s first performance, it may indeed be surmised to be indicative of its hidden program. The answer may have finally arrived in the middle of our century when a sheet of music paper was discovered among some sketches by the composer. In Tchaikovsky’s own handwriting, it read: “The ultimate essence of the plan of the symphony is LIFE. First movement — all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH — result of collapse.) Second movement love; third disappointments; fourth ends dying away (also short).” Research reveals the sheet comes from 1892, and it is in all likelihood, the aforementioned abandoned plan for a symphony. By 1893, the plan was modified; among these modifications was Tchaikovsky’s decision that the finale would be a long-drawn Adagio. Another modification seems to be the expression of “disappointment” in the second movement as opposed to the third. These disappointments may well have stemmed from two events in the composer’s life: the failed and tormented marriage to Antonina Milyukova, a union into which he was goaded, despite self- awareness of his sexual orientation, by her repeated threats of suicide; the other in Nadezhda von Meck’s inexplicable withdrawal as the composer’s long-time patroness, correspondent and confidante.

Although it should not be assumed that Tchaikovsky’s Pathétique Symphony was originally intended as a swan song, it indeed serves this function as it was the last work he wrote (works with opus numbers higher than 74, were actually composed at an earlier date and published posthumously). The Symphony received its premiere performance on October 28, 1893, with the composer conducting the Kirov Orchestra in St. Petersburg. Nine days later, the composer died, presumably by self-inflicted arsenic poisoning (not by drinking unboiled water and thereby contracting cholera, as has been popularly expounded). Apparently, he did this at the behest of a court of honor to avert a scandal involving the nephew of a Russian aristocrat, thus avoiding the tarnishing of his “school uniform.”

The Pathétique Symphony is Tchaikovsky’s most profoundly pessimistic work; it begins as if enshrouded in darkness and deepest despair and in this same tone it ends. The first movement is ushered in by a somber Adagio introduction. From the lowest depths of the orchestral palette, a solo bassoon intones a sad theme,

the first four notes of which foreshadow the motif of the main theme of the first movement proper; this creates from the start the aura of melancholy that is so characteristic of the work as a whole. A contrasting, tender second theme is soon heard on the muted strings, eventually leading into the Allegro non troppo that constitutes the main body of the movement. The development is concerned for the most part with the main theme; as the tempo quickens the theme is tossed about from one instrumental choir to the other becoming successively more fragmented. In due time the emotional intensity reaches its peak, but the movement ends in the same grief-stricken mood with which it commenced, including a quotation from the music of the Russian Orthodox Requiem. The coda is notable for its masterful transformation of the stormy first theme into a lyrical one; a solemn cadence for the brass over falling pizzicato scales on the strings brings the movement to its resolution.

Just as one of the middle movements in the composer’s preceding Symphony is made up of a waltz, so is the second movement of his Sixth; however, by casting this — essentially — Scherzo movement in the asymmetrical 5/4 meter, and thus impeding the flow of the normally jovial dance, this particular waltz acquires a curious limp which lends an air of idiosyncratically serene melancholy. The principal theme of the Allegro con grazia section is a song-like melody announced by the cellos. Marked con dolcezza e flebile (sweetly and plaintively) the Trio section introduces a new theme in the violins; here the composer exploits some of the harmonic tension exhibited in the outer movements by pitting the theme against an incessantly beating pedal point in the timpani, bassoons and basses. After a return to the waltz section, a coda, combining the theme of the waltz with that of the Trio, concludes the movement.

Coming in the unusual form of a march, the third movement was unprecedented; Gustav Mahler was to follow this example in his own symphonies a decade later. Bearing the tempo marking of Allegro molto vivace, the movement begins softly as a busy triplet figure is heard alternating between strings and woodwinds. This leads to the march figure that grows stronger at each moment until the ever-whirling figuration that began the movement disappears and the triumphant theme is heard unimpeded in the entire orchestra. Angry beats from the percussion underline and strengthen its progress. In contrast to the preceding movement, here the composer seems to be recollecting past moments of joy and glory. However, towards the end of the movement these triumphs and joyful remembrances appear to be marred by the adversities of life as the persistent march, in its exultant brass sonorities, is heard against conflicting scale passages between woodwinds and strings. The intensity of this conflict increases to the very end.

The last movement, once again is not the traditional type of brilliant finale; the requiem-like manner of this concluding Adagio lamentoso seems to point to the finality of death. The strings announce the despairing first theme immediately. The nobility of the consoling second theme that is presented by violins and violas, over a syncopated horn figure, contrasts the painful chord progression of this theme. The themes seem to be of opposite natures yet they bear close musical relation, being originated from the same basic thought. These themes are worked up to an enormous climax which eventually recedes until a fateful clash of the gong brings back the second theme; this time, however, the once consoling theme is now cast in the sad minor mode, thus extinguishing the last ray of light and hope in the proceedings. For its final measures, the Symphony returns to the somber abyss of despair from which it initially emerged, reflecting that same mood of comfortless melancholy in which Tchaikovsky found himself at the end of his life — one rich in success but full of pain, trials and tribulations.

— © 1996 Columbia Artists Management Inc.

About The Warsaw Philharmonic: The National Orchestra of PolandThe first concert of the Warsaw Philharmonic Orchestra took place on November 5, 1901 in the newly built Philharmonic Hall. This inaugural concert was conducted by Emil Młynarski, co-founder, first music director and principal conductor of the Philharmonic. The soloist was the world-famous pianist, composer and future statesman Ignacy Jan Paderewski. The program of this historic concert included Paderewski’s Piano Concerto in A minor and works by other Polish composers: Chopin, Moniuszko, Noskowski, Stojowski and Zelenski.

In its early years, the Philharmonic quickly achieved a high level of professionalism, attracting outstanding soloists and conductors from all over the world. Before World War I and in the inter-war period, the Warsaw Philharmonic was the main center of musical activity in Poland and also one of the major musical institutions in Europe. Almost all the outstanding conductors and soloists of the day performed in Warsaw with the city’s Philharmonic, including Claudio Arrau, Edvard Grieg, Arthur Honegger, Vladimir Horowitz, Bronisław Huberman, Wilhelm Kempff, Otto Klemperer, Sergey Prokofiev, Sergey Rachmaninov, Maurice Ravel, Artur Rodzinski, Artur Rubinstein, Pablo Sarasate, Richard Strauss and Igor Stravinsky.

In the first years after the war, Olgierd Straszynski and Andrzej Panufnik were among the conductors of the Warsaw Philharmonic Orchestra. In January 1950, Witold Rowicki was appointed director and principal conductor. He took it upon himself to organize a new ensemble. Despite the lack of its own hall (performances were organized in e.g. sports halls and theatres) and difficult working conditions, the Orchestra, due to Rowicki’s effort, became a leading Polish ensemble.

On February 21, 1955, the new Philharmonic Hall in Jasna St. re-opened on the site of the previously destroyed hall. On that day, the Warsaw Philharmonic was granted the status of the National Philharmonic of Poland, signaling that the Philharmonic was the leading institution of its kind in Poland.

From 1955 to 1958 Bohdan Wodiczko, an outstanding musician and enthusiast

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of modern music conducted the Orchestra. Arnold Rezler and Stanisław Skrowaczewski also worked with the Orchestra. It was a good period for the Philharmonic: the orchestra grew, the hall gained an organ, and performances of modern music achieved great success, leading to the establishment of the First International Festival of Contemporary Music, known as the “Warsaw Autumn.” With time, it became one of the world’s most important festivals of its kind. In 1958 Witold Rowicki was again appointed artistic director and principal conductor of the Philharmonic, a post he held until 1977.

On July 1, 1977, Kazimierz Kord was appointed artistic director and principal conductor of the Warsaw Philharmonic and he directed the Philharmonic until the end of the centenary celebrations in 2001. From the beginning of his work with the Orchestra, he emphasized broadening the range of repertoire. As a result, alongside symphonies, oratorios and operatic works were also included in the concert programs for the following artistic seasons.

Since January 2002, Antoni Wit has been general and artistic director of the Warsaw Philharmonic and maestro Kazimierz Kord holds the position of honorary director.

Today both the Warsaw Philharmonic Symphony Orchestra and Choir enjoy world-wide popularity and recognition. The orchestra has made more than 130 tours on five continents. It has performed in all the major concert halls, winning applause from the audiences and critics for its charismatic music making. It has taken part in many international festivals — in Vienna, Berlin, Prague, Bergen, Lucerne, Montreux, Moscow, Brussels, Florence, Bordeaux and Athens, Nantes (“La Folle Journee”), Bilbao, Lisbon and Tokyo. The Orchestra regularly participates in the International F. Chopin Piano Competitions and the Warsaw Autumn Festivals. It also records for the Polish Radio and Television, Polish and international record companies and the film industry.

The recording achievements of the Warsaw Philharmonic Symphony Orchestra under the button of Antoni Wit have frequently been rewarded with prestigious record awards. Among others, the Orchestra won the Fryderyk 2002 Record Academy Award for the most outstanding Polish music recording for its album with works by Lutosławski, Meyer and Penderecki (CD Accord). In June 2003, the Orchestra recorded Chopin’s complete works for piano and orchestra with Kun Woo Paik (for Decca), and in September 2003 — the world premiere of Wojciech Kilar’s September Symphony.

The recording of Krzyszt of Penderecki’s St. Luke Passion made in 2002 for NAXOS and performed by the Warsaw Philharmonic Orchestra and Choir conducted by Antoni Wit, received the Classical Internet Award and was nominated for the American Grammy in 2004. The CD recording of Penderecki’s Polish Requiem by the same orchestral and choral forces (on NAXOS) won another nomination in 2005, as well as the Record Academy Award 2005 (of the Japanese music magazine Record Geijutsu). In June 2005, the Warsaw Philharmonic recorded Mahler’s Symphony No. 8 under the same label, winning the highest critical acclaim. Two other recordings by the Warsaw Philharmonic Symphony Orchestra under Wit received three “Fryderyk” Awards in 2005 (Chopin with Rafał Blechacz and Lutosławski with Rafał Kwiatkowski). 2007 brought another Grammy nomination, for Seven Gates of Jerusalem by Penderecki.

In 2007-08, the Warsaw Philharmonic Orchestra and Choir conducted by Antoni Wit recorded the complete orchestral and vocal-instrumental works by Szymanowski for NAXOS. These recordings won favorable reviews and title Editor’s Choice of popular music magazines and websites (Gramophone, BBC Music, ClassicsToday). The CD with Stabat Mater was also nominated for the Grammy in 2008 and the CDs with Symphonies No. 1 and No. 4 and with Penderecki’s Utrenja in 2009.

In 2012, the recording of Pendereckis’s Viola Concerto and Cello Concerto (soloist: Grigori Zhislin and Tatjana Vassilieva) won a prestigious international music award, ICMA.

Apart from outstanding Polish artists, the Warsaw Philharmonic has hosted many eminent artists from all over the world.

Biographies

Antoni Wit, managing and artistic directorSince January 2002, Antoni Wit has been the managing and artistic director of Warsaw Philharmonic. Previously, he directed the Pomeranian Philharmonic (1974-77), Polish Radio and Television Orchestra and Choir in Cracow (1977-83), the National Polish Radio Symphony Orchestra in Katowice (WOSPR, later NOSPR: 1983-2000), and Orquesta Filarmónica de Gran Canaria (1987-92). His work with each of these orchestras is now remembered as a period of intense artistic development and as these orchestras’ heyday. His concerts and recordings with the Cracow orchestra and choir proved important for Polish music; with these musicians, he frequently toured Italy, Germany, Great Britain, France and Spain. He was NOSPR’s longest-time managing and artistic director. With NOSPR, he started regular record production, foreign tours, concerts on TV and film music recordings. It was under his directorship that the orchestra was granted the prestigious title of the National Polish Radio Symphony Orchestra.

Among the artist’s recordings and in his concert programs, the pride of place has always been given to Polish music both by historical and contemporary composers. The artist presented many world premiere performances of works by, among others, Krzysztof Penderecki (Lacrimosa, Agnus Dei), Wojciech Kilar (September Symphony, dedicated to Antoni Wit, and Sinfonia de motu), as well as a great number of first Polish performances.

Born in Cracow, he received his education there, studying conducting under Henryk Czyz at the State Higher School of Music, and law at the Jagiellonian University. He then continued his musical studies with Nadia Boulanger in Paris. In 1967-69, he was Witold Rowicki’s assistant at the Warsaw Philharmonic.

The second prize in the International Herbert von Karajan Conducting Competition in Berlin in 1971 paved the way for his great international career. He has toured and conducted in nearly all the major musical centers in Europe, the U.S., Canada, Mexico, Israel, Brazil, Argentina, Japan, Hong Kong, South Korea, Australia, New Zealand, China and Taiwan, conducting leading symphony orchestras such as the Berliner Philharmoniker, Staatskapelle Dresden, Tonhalle Zurich, the Royal Philharmonic, Philharmonia Orchestra, BBC Symphony Orchestra, Orchestre Symphonique de Montréal, Orchestra dell’Accademia di Santa Cecilia, Orchestre de la Suisse Romande, St. Petersburg Philharmonia, NHK Symphony Orchestra in Tokyo, New Zealand Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, Orquestra Sinfônica de Salvador, Filarmonica della Scala and others. In May 2009, he inaugurated the 64th Prague Spring Festival with Czech Radio Symphony Orchestra.

Symphonic music remains the main focus of Wit’s artistic work. However, he has also been highly successful in the field of the opera, conducting the premieres of The Barber of Seville, Traviata and A Masked Ball in Warsaw’s Grand Theatre, as well as Aida and The Consul in Malmö Opera, and first nights of Halka in Tokyo and Triest.

He has made about 200 complete records for such labels as EMI, CBS, Decca, NAXOS, NVC Arts, Pony Canyon, Camerata Tokyo, CD Accord, DUX and Polskie

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Nagrania. He is one of the few artists in the world whose CDs have sold more than three million copies. His collaboration with NAXOS has resulted in the release of almost 50 CDs with Polish music, which sold nearly 700,000 copies. These recordings were made predominantly with Warsaw Philharmonic Symphony Orchestra and NOSPR (WOSPR). An important feature of the NAXOS Polish music collection is its wide range. The NAXOS catalogue includes e.g. 10 CDs of compositions by Lutosławski and 14 by Penderecki. With the Warsaw Philharmonic Symphony Orchestra and Choir, he has completed a CD series of Szymanowski’s symphonic and oratorio works for NAXOS — a project supported by the Polish Ministry of Culture and National Heritage. Simultaneously, with New Zealand Symphony Orchestra and Warsaw Philharmonic Symphony Orchestra he has recorded the complete set of symphonic poems by Karłowicz.

In recognition of his achievements, he has received numerous record awards: six Grammy nominations (two of them in 2009): for Penderecki’s St. Luke Passion — 2004, Polish Requiem — 2005, Seven Gates of Jerusalem — 2007, Utrenja — 2009 and Karol Szymanowski’s Stabat Mater — 2008, Symphonies No. 1 and No. 4 — 2009.

He was also awarded the Diapason d’Or and Grand Prix du Disque de la Nouvelle Academie for his interpretation of Prokofiev’s complete piano concertos (with Kun Woo Paik as soloist) in 1993, and his recording of Messiaen’s Turangalîla symphony won Cannes Classical Award (Midem Classique 2002). Wit received the Classical Internet Award for his performance of Penderecki’s St. Luke Passion in 2004, the Record Academy Award 2005 of the Japanese music magazine Record Geijutsu for his recording of Penderecki’s Polish Requiem, and four “Fryderyk” Awards of the Polish Phonographic Academy.

The first two records from the series of complete works by Szymanowski won Gramophone Editor’s Choice, the next two — BBC Music Magazine Editor’s Choice and the last two in the series — editor’s choice of the musical web portal ClassicsToday. The Penguin Guide gave the highest recommendation to 16 of his recordings.

In June 2005, Wit made a CD recording of Symphony No. 8 by Mahler for NAXOS with the Warsaw Philharmonic Orchestra and Choir as well as other guest choirs. The album received the highest notes in international reviews, which placed the performance among the best interpretations of this work in history. In 2006, the artist recorded the Alpine Symphony by R. Strauss with Staatskapelle Weimar. This album was critically and publicly acclaimed worldwide, e.g. a BBC Magazine reviewer placed it in the “Karajan League,” praising the conductor’s great sensitivity and refined nuances of interpretation. With the same ensemble, Wit also released on CD two other works by R. Strauss: Sinfonia domestica and Metamorphosen, which likewise met with a critical acclaim.

For the best performance of a Polish work at the Warsaw Autumn International Festival of Contemporary Music, the artist won the Orpheus Critics’ Award (twice — in 1984 and 1996). In 1998, “for outstanding artistic creations and the promotion of Polish music at home and abroad, reaching millions of listeners worldwide,” the Polish Radio awarded him with the “Diamond Baton.” In 2006, the Italian President decorated Wit with the Officer’s Cross of the Order of Merit to the Republic of Italy. In January 2010, he received the Karol Szymanowski Foundation Award “for outstanding artistic creations making Karol Szymanowski’s music famous in Poland and abroad, and especially for the recording of the composer’s complete symphonic and vocal-instrumental works.” In September 2010 the Masovian Voivodeship Regional Council granted him the C.K. Norwid Award for “the work of a lifetime.”

Wit also engages in teaching activity — he is a professor of conducting in the Fryderyk Chopin University of Music in Warsaw. His students have won many top prizes in music competitions in Poland and abroad.

Yulianna Avdeeva, piano soloistFollowing her sensational win of the First Prize at the International Fryderyk Chopin Competition 2010 in Warsaw, Yulianna Avdeeva has given debut performances with the New York Philharmonic (under Alan Gilbert) in Warsaw and New York, and with the NHK Symphony Orchestra (Charles Dutoit) in Tokyo. Other recent highlights include performances with the Czech Philharmonic (Herbert Blomstedt), Finnish Radio Symphony (Santtu-Matias Rouvali) orchestras, as well as a return to the Warsaw Philharmonic Orchestra. Last season she undertook recital tours in Japan, Taiwan and Italy, and appeared at the Palau de la Música Catalana in Barcelona, Essen’s Philharmonie, Zurich’s Tonhalle, La Roque d’Anthéron Festival and Schwetzinger Festpiele.

In autumn of 2012, Avdeeva tours the U.S. with the Warsaw Philharmonic Orchestra under Antoni Wit. Other orchestral highlights in the 2012-13 season include debuts with the Orchestra dell’Accademia Nazionale di Santa Cecilia (Gaetano D’Espinosa) and Rundfunk-Sinfonieorchester Berlin (Marek Janowski), as well as performances with Sinfonieorchester Wuppertal and the Kraków and Cape Town Philharmonic orchestras. In future seasons, Avdeeva will make her London orchestral debut with the London Philharmonic Orchestra and Vladimir Jurowski in January 2014.

Her upcoming recitals include a return to the International Piano Series at London’s Southbank Centre in February 2013, along with appearances at Sociedad Filarmónica de Bilbao, Klangräume Festival in Waidhofen, Muziekgebouw Frits Philips Eindhoven, Kultur und Kongresszentrum Liederhalle in Stuttgart, Salle Molière in Lyon and a return to the Rheingau Musik Festival in summer 2013.

Avdeeva’s repertoire spans a wide range of music from Bach to 20th century music. She is known for performing on period instruments; in August 2011 and 2012 she played Chopin’s PianoConcertos on an Erard piano at the Festival Chopin and his Europe, with the Orchestra of the Age of Enlightenment (Jacek Kaspszyk) and the Orchestra of the Eighteenth Century (Frans Brüggen). She will perform again with the Orchestra of the Eighteenth Century and Brüggen when they tour to Japan in spring 2013.

In addition to her solo recital and concerto performances, Avdeeva is an enthusiastic chamber musician, working with the Philharmonia Quartet (made up of members of the Berliner Philharmoniker) and violinist Julia Fischer amongst others. Last season she appeared with Fischer twice at the Menuhin Festival Gstaad, giving a duo recital and also performing Mendelssohn’s Concerto for Violin, Piano and Strings in D Minor. She performed Beethoven’s Triple Concerto with Ye-Eun Choi and Maximilian Hornung and the Staatsorchester Stuttgart under Manfred Honeck, and will play the same work when she returns to the Czech Philharmonic Orchestra in December 2013, again under Honeck.

Beginning her piano studies at the age of 5 with Elena Ivanova at the Gnessin Special School of Music, Avdeeva attended the Zurich University of the Arts (studying with Konstantin Scherbakov) and the renowned International Piano Academy Lake Como (under artistic director William Grant Naboré) where she continues to work with Dmitri Bashkirov and Fou Ts’ong. Avdeeva has won several other international competitions including the Bremen Piano Contest in 2003, the Concours de Genève 2006 and the Arthur Rubinstein Competition in Poland.

The Warsaw Philharmonic: The National Orchestra of PolandU.S. Tour: October 17 — November 13, 2012

Orchestra Roster

First ViolinEwa Marczyk Krzysztof BakowskiPiotr CegielskiJustyna BogusiewiczJoanna JakobsMarian KowalskiAleksandra KupczykJan LewtakMateusz Marczyk Marcin MazurekGrzegorz OsinskiKrzysztof Ploch Marek PowidełMichał SzałachJan Aniołek

Second ViolinPiotr TadzikBogdan SniezawskiAnna BednarczykDariusz DegaGrzegorz GroblewskiAndrzej KacperczykAndrzej KurekZuzanna MaslankaPiotr SekowskiDobrosława Siudmak-NurKrzysztof TrzcionkowskiIzabela WitczakBozena Michalska

ViolaMarek Marczyk Marek IwanskiMarzena HodyrMagdalena BrzozowskaBarbara Duda-SzprochBarbara GruszczynskaJakub KowalikAgnieszka OrłowskaKrzysztof SzczepanskiMaciej KucharekWiesława Duszak

CelloRobert Putowski Karolina Jaroszewska-

RajewskaKazimierz GruszczynskiPiotr SapilakMateusz SzmytMariusz TonderaAngelica WaisJerzy WołochowiczTomków Bogusław

Double bass Jerzy CembrzynskiJanusz DługokeckiPiotr Chyła Zygmunt CybAndrzej JekiełekArtur ZasepaMarcin Wilinski

Flute Krzysztof MalickiUrszula JanikJoanna GatniejewskaSeweryn Zapłatynski

Oboe Aleksandra Rojek-DudaPiotr LisŁukasz Dzikowski

ClarinetMirosław PokrzywinskiKrystyna SakowskaBartosz Karwowski

Bassoon Andrzej BudejkoLeszek WachnikGrzegorz Gołab

HornsGrzegorz SabełFeliks GmitrukMaciej KostrzewaGabriel CzopkaRobert Duda

TrumpetKrzysztof BednarczykKazimierz AdamskiMariusz Niepiekło Dorota Cholewa

TromboneAndrzej SienkiewiczPawel Cieslak Krzysztof Wojtyniak

Bass TromboneKrzysztof Kott

Tuba Arkadiusz Wiedlak

PercussionDaniel KaminskiBogdan LauksTomasz BielakPiotr Domanski

Vice Director Nowak Wojciech

Orchestra inspector Tadeusz Boniecki

Stage CrewRafał IzykiewiczTomasz Spiewak Maczka Krzysztof

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