The same qualities that the {oh!} Orkiestra radiates in concert: vitality, rhythm, refined phrasing, individualism, but also a danceable, passionate musical experience, can be found in this smaller, intimate, almost pocket-sized ensemble. We offer the true essence of {oh!} – from two musicians conversing with each other to a multi-person ensemble engaging in complex and colorful conversations. We have decided to incorporate these intimate programs: those recorded on CD, and completely new repertoire offerings, into a new space and under a new name – {oh!} Essence.
The same qualities that the {oh!} Orkiestra radiates in concert: vitality, rhythm, refined phrasing, individualism, but also a danceable, passionate musical experience, can be found in this smaller, intimate, almost pocket-sized ensemble. We offer the true essence of {oh!} – from two musicians conversing with each other to a multi-person ensemble engaging in complex and colorful conversations. We have decided to incorporate these intimate programs: those recorded on CD, and completely new repertoire offerings, into a new space and under a new name – {oh!} Essence.
Two violins in a virtuosic repertoire. One can find threads relating to Poland and France. One can find the extravagance and seductive beauty of the slow movements. The CD with Violin Duets by August Fryderyk Duranowski and Antonio Lolli was released in April 2025 by the Swiss label Prospero.
"They played together insanely well – beautifully intertwining their sounds, perfectly capturing each other's articulation and phrasing, and constantly remaining in the same breath. All, of course, in the refined Baroque style. There was much virtuosity in their performance, but it was emotionally profound, not focused on superficial effect, refined, yet full of lightness and fluency."
"The {oh!} trio's trademark is their exquisite sense of style. Their performances are expressive yet charmingly and delicate. They are beautifully natural, yet remarkably refined. There's no stardom here, though all the musicians maintain an active concert life."
The art of conversation is known as one of the most exquisite skills. Diplomacy and mediation are based on the art of conducting a conversation. Its direction, intensity, and sometimes even topics are unpredictable. The best communicators meander between compelling storytelling and subtle persuasion techniques, using phrases that are memorable or emotionally stirring. They linger in the imagination for a long time. Sometimes we no longer remember the topic of the conversation, but the impression and feeling that accompanied the conversation remain. A compelling argument in favor of conversation is, for example, the fact that the most severe punishment we can impose on someone is to deprive them of the opportunity to converse. Prisons, isolation, and the deliberately cruel silences we sometimes impose upon each other make us acutely aware of the value of this form of being with another human being. Dialogues for two voices are more intimate, while those for three instruments alternate. Sometimes one of them holds our attention for longer—either with an interesting story, or with a profound and expressive reflection—as in Couperin's concerto. In quartets, it's a demonstration of winning allies—such as Guillemain's quartet. Here, we can already hear fractions, small disputes, and alternating displays of interlocutors. The concert begins with a monologue for solo harpsichord, moving on to other forms of conversation. This time in the style of the French Baroque. Sophisticated, non-literal, and unconstrained, it doesn't exhaust the listener, the interlocutor, or the subject.
What is the essence of the program "The Madness of Repetition"? What connects La Folia with the song "Une jeune filette"? Their extraordinary, almost influential popularity. What did these arias and melodies with their endless variations mean to people in the seventeenth and eighteenth centuries? The same as "What a Wonderful World" by Louis Armstrong, "I Will Always Love You" by Whitney Huston, "Summertime" sung in Janis Joplin's raspy voice, or "Ich bin von kopf biss auf liebe eingestellt" by Marlene Dietrich, the nonchalant "Non, je ne regrette rien" by Edith Piaf, and on home soil "Long Live the Ball" or "Strange Is This World" – here, there's no need to mention the names of our national stars.The simple song "Flow my tears..." by John Dowland, also known as "Lacrimae Antique," has been adapted into many versions for various instruments. This piece even became fashionable, as in 2006 he popularized his compatriot's work on an unprecedented scale. However, we remain focused on the seventeenth-century version of this piece's ornamentation. How popular was "Flow my tears"? Very popular, as Dowland himself didn't care about copyright—which, by the way, didn't even exist at the time. The first attempts to organize and thus impose limits on free popularization occur in London, thanks to Handel. Until then, the most beautiful melodies had their numerous interpretations across the continent. Fame was more important than money. Variations are a formula for presenting a captivating melody while showcasing the performer's brilliance. Some of them are so far from the original that only the name suggests a relation. This is the case with the French song "Une jeune filette," which, in its lyrics and minor key, is related to La Monica's sonatas. The different tempo, expression, and emotion of this young girl, who refused to live in a convent, demonstrate how not only the captivating melody but also the subject matters were crucial when it came to its popularization. "The Duke of Norfolk" is a brilliant, fast-paced song that offers the opportunity to impress the audience with fast playing (always appreciated), and the theme of love remains relevant in every century. "The Lass of Patie's Mill"—to explain the narrative behind the lyrics: a cheerful and beautiful miller-girl stole the heart of a not-so-inexperienced admirer. She stole it with her bare head (with her flowing hair?) and the lust in her eyes. These are the most timely complaints you can hear in all of musical literature! "Your green, green eyes drove me mad"—almost all of Poland was singing until recently! This is the essence of today's concert. Let's discover what resonated with the Baroque era. One could wonder how much it resonates with us. To sharpen our appetites and senses, we also have a few completely unrecognizable, yet masterful pieces. Like exquisite appetizers, they will start the concert.
Oriental tales and encounters as inspiration for western composers of the 17th and 18th centuriesThe program included works written under the influence of the cultures encountered, under the influence of admiration for their distinctiveness, tradition and mythology. It is difficult to find the sounds of the Orient here, as if the composers were not looking for ways to reflect its sounds, but took the opportunity to draw the listeners' attention to the stories flowing from the New - to the fabulousness of the East. The Concerto Phoenix, the sonata La Sultanne or the Concerto Comique Les Sauvages are attributed to this category of “entertainment”. Henry Purcell's Suite, along with Schmelzer's Sonata, exploit the presence of stories and other cultures for political purposes. The tragedy of Distress'd Innocence by Elkanah Settle, which explores the theme of violence against a woman as a way of degrading her husband's position, is part of the mainstream literature of the Restoration period in England and seeks to shed light on a problem commonly present in European lands. Moving the action thousands of kilometers, both authors, Settle and Purcell, make reflection less invasive, and therefore possible.Schmelzer's sonata clearly calls for the struggle to preserve European identity. It recalls the moment of victory over the Ottoman army near Vienna in 1683.
