Classical concert review: Warsaw Philharmonic with Krzysztof Urbański at the Royal Concert Hall

The Warsaw Philharmonic kicked off an eclectic concert with Grażyna Bacewicz’s Scherzo, a charming four-minute aperitif originally written for piano and orchestrated here by the orchestra’s artistic director Krzysztof Urbański. Bacewicz composed a respectable amount of orchestral works, including five symphonies. Criminally underrepresented both in the concert hall and on record, it’s a shame that the only piece of hers on the programme was orchestrated by someone else, rather than letting Nottingham audiences experience her Musica Sinfónica or Variations for Orchestra. A missed opportunity, but maybe something the Warsaw Philharmonic could rectify on a future visit.

Similarly, Lutoslawski was represented by a short piece: the ten-minute Little Suite. Comprised of four fleeting movements, it was written to a commission by the director of a Polish radio station specialising in light music. Often played by chamber ensembles, it benefitted here from the heft afforded it by a full philharmonic orchestra, but again the choice of a more substantial piece might have offered more of a flavour of composer who, while better known than Bacewicz, doesn’t get enough outings within the repertoire.

The third in the triumvirate of Polish composers occupying the first half needs no introduction, however, nor does the piece on offer. Chopin’s sweepingly romantic Piano Concerto No 2 is a firm favourite of concert-goers. The soloist was Alexandra Dariescu. Not many pianists can rock a canary yellow ballgown but she did so with aplomb. Her pianism was equally attention-grabbing. Called back for the inevitable encore, she graciously shared the limelight with orchestra leader Krzysztof Bąkowski in a delightful performance of Clara Schumann’s Romances for Violin and Piano, a true highpoint of the evening.

Eschewing the music of Poland for one of the staples of the Austro-Germanic repertoire, the second half was taken up by Beethoven’s propulsive Symphony No 7. (Rather too propulsive for critics of the day, who were overwhelmed by its sheer sustained intensity.) Described by Wagner as “the apotheosis of the dance”, it’s a symphony that lends itself to interpretation, from Klemperer’s broad, expansive approach to Chailly’s speed metal tempi. Urbański and the Warsaw Philharmonic delivered a fusion of the two and the audience responded with gusto.

The Warsaw Philharmonic played at the Royal Concert Hall on Wednesday 20 May 2026.