Re:Sonances
The title of the series suggests music that does not end with the final chord but remains within the listener – maturing, resonating, and stimulating the imagination. Resonance is understood here as a process in which sound moves into the space of inner experience, where music acquires a new life shaped by the listener’s individual sensitivity. In this sense, Re:Sonances 2026 becomes a meeting point for works, aesthetics and eras that, through the interpretations of ProSonus Ensemble, reveal both their contemporary relevance and their timeless expressive power.
The series consists of three original concert programs, in which ProSonus Ensemble – an ensemble distinguished by its organically shaped and unified sound – creates a space for dialogue between tradition and modernity. Each project emerges as an independent artistic concept, where repertoire, instrumentation and concert dramaturgy form a coherent whole.
The first program is devoted to the music of Alexandre Tansman and Francis Poulenc, two outstanding personalities of the Parisian musical scene of the interwar period. Although different in temperament, their musical languages arise from a similar impulse: the desire to synthesize classical form with modern expression and the subtle irony characteristic of the era.
Original arrangements by ProSonus Ensemble – including a version of Poulenc’s Sextet FP 100 for piano, clarinet and string quartet, as well as Tansman’s Quatre pièces faciles enriched by the sonority of the accordion – present these works from new perspectives, highlighting their chamber idiom and deepening their narrative dramaturgy. The program exists as a unique artistic proposal, one that can be realized in this particular form only by ProSonus Ensemble.
The second program of the series is devoted to two masterpieces by Johannes Brahms: the Piano Quintet in F minor, Op. 34 and the Clarinet Quintet in B minor, Op. 115. Presented within a single concert, they form a complete panorama of late-Romantic chamber music – from monumental architectural form to introspective, melancholy-laden musical narration.
The interpretation of ProSonus Ensemble – an ensemble defined by a consciously cultivated unity of sound and shared artistic vision – reveals the internal logic of these works, their formal tensions and emotional depth. The program is therefore not merely a pairing of two compositions but a carefully conceived dramaturgical structure forming an integral part of the series concept.
The third program, entitled “Szymanowski / Bargielski – A Dialogue Across Generations,” transports the listener into a sonic world where spirituality, nature and tradition intertwine. The dialogue between the works of Karol Szymanowski and Zbigniew Bargielski assumes here not only an aesthetic but also a genealogical dimension.
Bargielski – a student of Bolesław Szabelski, a direct heir to Szymanowski’s artistic thought – develops his predecessor’s ideas within the idiom of contemporary music. The program includes Szymanowski’s Mazurkas in both their original and newly arranged instrumentation, the dramatic String Quartet No. 2, and three works by Bargielski, including a premiere composition for clarinet, accordion and string quartet – a striking voice of contemporary sensitivity within this intergenerational dialogue.
Re:Sonances ultimately forms a broad narrative about music that transcends the boundaries of historical periods – sounds that continue to resonate within the listener long after the concert has ended. Through its unified sound, conscious shaping of form and original programming concept, ProSonus Ensemble creates a space in which tradition gains new light and contemporary listening becomes a deeply personal experience.