Abstract
The subject of the article is the presence of translation in a concert hall, based on the example of activities in the Arthur Rubinstein Philharmonic Orchestra of Lodz in the 2013/14–2015/16 seasons. The author surveys what material is translated, in what ways it is done, and whether the translators are visible. A particular case is discussed, that of a (pseudo)poetic Polish rendition of Richard Strauss’ Vier letzte Lieder (texts by Herman Hesse and Joseph von Eichendorff) presented in 2015. This text is examined for aesthetic, linguistic and melic qualities. The aim of the analysis is to verify the functionality of the translations with respect to their recipients (texts made available to concert audiences) – hence the employment of the skopos paradigm in the analysis.
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