Beethoven electric 2D

Nova Music and Architecture
Concert Hall of CKK Jordanki

The concert takes place as part of the 24th International Festival "Nova Muzyka and Architecture" - Toruń / Kuyavian-Pomeranian 2020.


  • Urszula Dudziak - vocal
  • Adam Bałdych - violin
  • Dominik Wania - piano
  • Maciej Żuchowski - guitar
  • Sylwia Lorens - vocal
  • Mateusz Szmigel - bas
  • Mirosław Hady - drums, drums programming
  • Toruń Symphony Orchestra
  • Mikołaj Blajda - artistic management, song arrangements
  • Przemysław Draheim - introduction


  • L. van Beethoven:
    • V Symfonia c-moll op. 67, cz. I i II
    • VIII Sonata fortepianowa op.13 Patetyczna, cz. I i II
    • VIX Sonata fortepianowa op. 27 Księżycowa, cz. I i III
    • IX Symfonia d-moll op. 125, cz. IV
    • Bagatela a-moll Dla Elizy

While listening to the ‘vocalised’ versions of Beethoven’s works the reflections of Richard Wagner come to mind, who believed that the most perfect version of Symphony No. 9 in D minor Op. 125 was the one that was ‘sung’ by the orchestra: “It was most instructive to me when in 1839 in Paris I listened to the Conservatory orchestra preparing the enigmatic ‘Ninth Symphony’. It was an eye-opening experience; I finally understood the value of correct performance and the secret of good playing. The orchestra learned to find melody in Beethoven’s every bar (...); and it literally sang that melody”. And the Symphony No. 5 in C minor Op. 67 can also be sung, not to mention the famous bagatelle ‘For Elise’. But let us leave this task to Urszula Dudziak, as she can ‘sing everything’.

With the advent of the classical sonata, the polyphony, which was the natural substance of the Baroque, became self-limiting. The sonata provides the performer and the listener with a certain security, as it makes use of a fixed formal scheme and a considerable degree of tonal predictability. All this, however, does not apply to Beethoven’s sonatas, as he expands the narrow space of the sonata structure and enlivens it by endless polyphony. He tries to combine the two elements of fire and water, homophony and polyphony. In this way he invigorates the densely woven network of dependencies of the sonata with polyphony, opening it up to infinity and giving it a Romantic touch. Just see how romantic in expression is the free introduction of the grave in Piano Sonata in C minor Op. 13 ‘Pathetique’. The title of the work, which was not provided by Beethoven, was inspired by it. Piotr Orawski wrote “Grave from the Sonata ‘Pathetique’ is aggressive and sharp, with jagged punctuated rhythms, sudden collapses, dramatic contrasts and enormous tension, which explode with all their might in the fast allegro”. Emotional relief after this agitation is brought by Adagio cantabile (part II). Romantic expression is also present in the second Sonata quasi una fantasia Op. 27, called ‘The Moonlight Sonata’. This composition is a manifestation of a new style of piano music. Here, Beethoven changes the distribution of tensions in the sonata cycle and endows the key significance to movement three, not movement one, as it was customary at the time. Many composers of the 19th century will take over this way of shaping the sonata from the master from Bonn

Aneta Derkowska, PhD

There is no intermission.
The event will take place in accordance with current recommendations and guidelines.

Please read the rules and comply with the GUIDELINES FOR THE CONCERT PARTICIPANTS.
and completing the statement to be given to 
you by staff on the day of the concert.