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Kurt Masur | Dirigent Helen Huang | Klavier – Er- E N Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 1 (Schw 2009|2010 139 . SPIELZEIT DAS ORCHESTER DER LANDESHAUPTSTADT137. SPIELZEIT Sonderkonzert SCHUMANN · SCHOSTAKOWITSCH · TSCHAIKOWSKI Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 2 (Schw BmW nlssg ds ds BmW 3 Cb f f freude hat immer SaiSon. Gönnen Sie sich dieses einzigartige Fahrerlebnis – zu jeder Jahreszeit. Das neue BMW 3er Cabrio* ist Open Air Feeling pur. Und das versenkbare Hardtop garantiert Fahrfreude pur – dasganzeJahr!Ohneaufetwaszuverzichten.DennderKoffer- raum bietet überraschend viel Raum für Ihr Urlaubsgepäck, Ihre Skiausrüstung oder Ihr Golfbag. Und durch die umlegbare Rücksitzlehne lässt sich die Ladefäche zusätzlich erweitern. Genießen Sie das Erlebnis BMW Cabrio im exklusiven Design. Jetzt in Ihrer BMW Niederlassung Dresden. freude iSt daS neue BmW 3 Cb . BmW e fc dy cs Wg e ss . m f . * Kraftstoffverbrauch kombiniert 5,1 – 8,8l/100km, CO2 135 – 205 g/km.. Dohnaer Str. 99 - 101 01219 Dresden Telefon 0351 2852-600 Telefax 0351 2852-592 BmW nlssg ds www.b w-s. Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 3 (Schw 3 f Samstag, 29. Mai 2010 19.30 Uhr Sonntag, 30. Mai 2010 19.30 Uhr Festsaal im Kulturpalast Sonderkonzert IM RAHMEN DER DRESDNER MUSIKFESTSPIELE n. Kurt Masur | Dirigent Helen Huang | Klavier – er- e n. KLAVIERPFLEGE: GERT GÄBLER, KLAVIER- UND CEMBALOBAUER Die Dresdner Philharmonie ist Mitglied im Deutschen Bühnenverein Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 4 (Schw 4 Ilustration von Gustave Doré zu Lord Byrons dramatischem Gedicht »Manfred« Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 5 (Schw 5 Programm Robert Schumann (1810 –1856) Manfred-Ouvertüre op.115 Dmitri Schostakowitsch (1906 –1975) Konzert für Klavier und Orchester Nr. 2 F-Dur op.102 Allegro Andante Allegreo PAUSE Peter Tschaikowski (1840 –1893) Manfred-Sinfonie op.58 h-Moll Lento lugubre – Moderato con moto – Andante Vivace con spirito Andante con moto Allegro con fuoco Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 6 (Schw 6 Robert Schumann – Die Manfred-Ouvertüre Manfred »Der byronsche Held stellt den Prototyp des in der Romantik ver- breiteten ›Gezeichneten‹ dar (…). Die Situation dieses Typs ist bestimmt von einer dunklen, in der Vergangenheit liegenden und individuell kaum identifizierbaren Schuld, die als geheimnisvoller Fluch seine Gestalt umwittert. Er zerstört sich selbst und reißt in diese Zerstörung diejenigen mit, die das Unglück haben, ihm zu begegnen, besonders Frauen, die seinen dämonischen Reizen nicht widerstehen können.« Arnfried Edler Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 7 (Schw 7 twas ganz Neues und Unerhörtes» wollte Robert Schumann E Robert Schumann schreiben, als er 1848/49 * 8. Juni 1810 sein »dramatisches Gedicht« Manfred op. 115 in Zwickau auf den Text von Lord Byron komponierte. Das † 29. Juli 1856 Werk vereint in sich dramatische und oratorische in Endenich bei Bonn Elemente, die wohlmöglich dafür sorgen, dass heute eigentlich nur noch die Ouvertüre des Werkes aufgeführt wird, obgleich Schumann Manfred-Ouvertüre seine Schauspielmusik zu Lord Byrons Manfred op. 115 als eines seiner Hauptwerke betrachtete. Entstehung 1848 Die Dichtung Manfred lernte Schumann in Uraufführung jungen Jahren kennen, und das romantisch- 1852 in Leipzig unter düstere Seelendrama muss ihn immer wieder er- der Leitung des Kom- schüttert haben. Ein Augenzeuge berichtete: ponisten »Als er einmal in Düsseldorf die Dichtung un- ter vier Augen vorlas, stockte plötzlich die Stim- Spieldauer me. Tränen stürzten ihm aus den Augen, und ca.10 Minuten eine solche Ergriffenheit bemächtigte sich sei- Besetzung ner, dass er nicht weiterlesen konnte.« 2 Flöten Schumann wollte mit seinem Manfred ein 2 Oboen musikalisches Drama schaffen, in dem sich die 2 Klarinetten Musik den Versen als »Folie« unterordnet. Mit der Fagott Ouvertüre allerdings hat er einen Meilenstein in 2 Hörner dieser Gattungsgeschichte komponiert. Sie ent- 3 Trompeten fernt sich von der Mendelssohnschen Konzert- Posaune ouvertüre und wendet sich hin zur Lisztschen Pauken sinfonischen Dichtung: »In den Umrissen einer Schlagwerk konventionell sonatenhauptsatzförmigen Ouver- Klavier türe wird aus dem Keim einfacher Halbtonmotive Streicher eine Reihe thematischer Ausdruckscharaktere entwickelt, deren drängende, insistierende Gebär- de bei fortwährendem Changieren zwischen Dur und Moll als Abbild des zwiespältigen Charakters und des rastlosen Strebens und Suchens die see- lische Gesamtbewegung des byronschen Helden überzeugend ins Musikalische umsetzt.« Ehe das komplette Werk – übrigens unter Schumann selbst hielt Leitung von Franz Liszt – am Weimarer Hof- die Manfred-Ouvertüre theater uraufgeführt wurde, hatte Schumann die für eines seiner Ouvertüre im Gewandhaus Leipzig mit großem »kräftigsten Kinder«. Erfolg bereits selbst dirigiert. Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 8 (Schw 8 Dmitri Schostakowitsch – Konzert für Klavier und Orchester Nr. 2 F-Dur op.102 mitri Schostakowitsch komponierte sein Konzert für Klavier D zweites und letztes Klavierkonzert 1957 und Orchester Nr. 2 für seinen Sohn Maxim, ein »klavierspielendes F-Dur op. 102 Wunderkind«, der es an seinem 19. Geburtstag Entstehung 1957 bei seiner Abschlussprüfung an der Zentralen Uraufführung Musikschule in Moskau uraufführte. Das Werk 10. Mai 1957 im Mos- hat eine gewisse Leichtigkeit, die der Jugend- kauer Konservatorium lichkeit des Widmungsträgers entspricht. mit dem Staatlichen In der Tat steht das Konzert in starkem Kon- Sinfonieorchester der trast zu der im gleichen Jahr entstandenen 11. UdSSR unter Leitung Sinfonie »Das Jahr 1905« – Heinrich Lindlar von N. Anossow; der spricht von Fröhlichkeit und Lebensfreude, die Pianist war Maxim das Werk ausstrahlt. Dennoch sollte man auch Schostakowitsch hier dem Schein nicht trauen: Die unsägliche Traurigkeit des langsamen Satzes und die un- Spieldauer terschwellige Bedrohung, die hinter der Virtuo- ca.16 Minuten sität vor allem des letzten Satzes verborgen ist, Besetzung relativieren die »Positivität« beträchtlich. Solo-Klavier 2 Flöten Zum Werk selbst schreibt Heinrich Lindlar: Piccoloflöte »Die Orchesterbesetzung geht über die Haydns 2 Oboen und Beethovens kaum hinaus. Die zweifach 2 Klarinetten besetzten Flöten (plus Piccoloflöte), Oboen, B- 2 Fagotte Klarinetten und Fagotte werden durch ein Hör- 4 Hörner nerquartett in F abgestützt, flankiert nur vom Pauken Paukenpaar und Tamburin, bei Grundierung und Schlagwerk Durchwebung des Klangbildes durch die Fünfer- Streicher familie des Streichorchesters. Dem Klaviersolis- ten sind manuell wie kompositorisch angemesse- ne Aufgaben zugeschrieben, gleichsam im Geiste klassischer Schule der Geläufigkeit (mit Witz und Verve bis in die zehn Spielfinger hinein). Satz I, Allegro (F-Dur, 4/4-Takt), wird durch Klang- tupfer staccatierender Holzbläser eröffnet und nach sechs Takten bereits vom Soloklavier fortge- führt. Dem wanderfrohen und fanfarigen Haupt- thema folgen mehrere aus diesem abgewandelte Seitenthemen, von Klangschärfung unterbro- chen, bis hin zur Klimax einer 36-taktigen Kla- vierkadenz, die Haupt- und Seitenthemen in vir- tuos imitatorischer Manier verknüpft. Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 9 (Schw 9 Satz II, Andante (c-Moll, 3/4-Takt), entfaltet sich Dmitri Schostakowitsch zu einem dreiteiligen ›Lied ohne Worte‹, an dessen * 25. September 1906 wehmutsvoller Schönheit die sordinierten Strei- in St. Petersburg cher im Wechsel mit dem Klavier und seinen weit- † 9. August 1975 bogigen Triolen-Figurationen gleicherweise Anteil in Moskau haben. Satz III, Allegro (F-Dur, 2/4-Takt), schließt sich attacca an, ein Finale von Rossinischer Aufge- räumtheit, gepaart mit Lisztscher Bravour, gezü- gelt und gezäumt aber durch Schostakowitschs ureigene Leichtigkeit der Entwicklung, Verfügung und Auflösung sich jagender Stimmen.« Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 10 (Sch 10 Der Sturz in den Abgrund. Peter Tschaikowski – Die Manfred-Sinfonie Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 11 (Sch 11 er »wahre« Tschaikowski, wie die Nachwelt Peter Tschaikowski D ihn zu kennen glaubt, gab sein Innerstes * 25. April 1840 nur in leidenschaftlichen Seelendramen preis, in Wotkinsk/Russland in pathetischen Bekenntnissen und tönender Au- † 25. Oktober 1893 tobiografie. In einem Werk wie der Manfred- in St. Petersburg Sinfonie, das die finstersten Abgründe mensch- licher Psyche auslotet, schien er ganz in seinem Element. Doch konnte sich Tschaikowski in Manfred-Sinfonie Wahrheit für das Vorhaben einer Partitur nach op. 58 h-Moll Lord Byrons Manfred-Dichtung von 1816/17 an- Entstehung 1885 fangs überhaupt nicht erwärmen. Die Idee Uraufführung stammte ja auch keineswegs von ihm selbst; sie 11. März 1886 in Mos- war vielmehr eine Anregung von außen, ein Vor- kau unter Leitung von schlag aus zweiter Hand und mit langer Vorge- Max Erdmannsdörfer schichte: Der einflussreiche russische Gelehrte Wladimir Stassow hatte im Winter 1867/68 un- Spieldauer ter dem Eindruck von Hector Berlioz’ Sinfonie ca. 40 Minuten »Harold in Italien« – deren Protagonist kein an- Besetzung derer ist als Byrons Childe Harold – das Pro- 3 Flöten (3. mit gramm für eine viersätzige Manfred-Sinfonie Piccoloflöte) entworfen und versucht, seinen Landsmann Mili 2 Oboen Balakirew für deren Komposition zu gewinnen. Englischhorn Balakirew jedoch ging nicht selbst ans Werk, 2 Klarinetten sondern bedrängte Berlioz mit dem Projekt, das Bassklarinette er kurzerhand als sein eigenes ausgab. Es sei
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