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Impressions French EXCLUSIVE PRE-CONCERT DINNER OFFERS French Impressions Saturday INTERVAL 1 September 7.30pm Federation Concert Hall Duration 20 mins Hobart POULENC Sinfonietta 10 MASTER Kazuki Yamada conductor Allegro con fuoco Cédric Tiberghien piano Molto vivace Andante cantabile HOSOKAWA Finale Blossoming II Duration 29 mins Duration 12 mins This concert will end at approximately 9.30 pm. RAVEL Piano Concerto in G Allegramente Sponsored by Adagio assai Presto Duration 21 mins Two Course Set Menu Two Course Set Menu with a Shared Side Dish $65pp with a Glass of Wine $90pp 33 HUNTER STREET HOBART 23 HUNTER STREET HOBART Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia PEACOCKANDJONES.COM.AU LANDSCAPERESTAURANT.COM.AU and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 1800 375 692 1800 436 797 3 Toshio Hosokawa (born 1955) Blossoming II 2011 by the Scottish Chamber Orchestra. Its single, 12-minute movement begins at the edge of the audible, gradually Born in Hiroshima, Toshio Hosokawa producing a soft unison that is decorated studied in Japan and, from 1976, in with ephemeral, fugitive figures. Rather Germany with Isang Yun and Klaus like some of György Ligeti’s ‘sound Kazuki Yamada is Artistic and Musical Cédric Tiberghien has performed with Huber. He has since established himself pieces’ – Atmosphères or Lontano Director of the Orchestre Philharmonique orchestras such as the Boston Symphony, as an important voice in both European – Hosokawa’s gradually adds long- de Monte Carlo. He has also been named Dresden Philharmonic, Czech Philharmonic, and Japanese music, with many held notes, each a step away from its as Principal Guest Conductor of the City of and New Japan Philharmonic, and commissions and awards from prestigious predecessor, creating soft bands of mild bodies such as the Salzburg Festival and Birmingham Symphony Orchestra from the conductors such as Christoph Eschenbach, dissonance. The relaxed pace at which the Tokyo Symphony, Berlin Philharmonic events unfold may reflect the inexorably 2018-19 season and has been Principal Guest Yannick Nézet-Séguin, Simone Young and and Cleveland orchestras. Music for the glacial-seeming progress of No– drama. Conductor of the Orchestre de la Suisse Kurt Masur. Recent performances have stage includes the operas Vision of Lear, Against a shimmering background Romande, having debuted with the orchestra included Bernstein’s Symphony No 2 which fuses elements from Shakespeare these semitonal motifs begin to sound – in 2010 in one of his first appearances in The Age of Anxiety at the Aldeburgh Festival and traditional Japanese No theatre, in different registers, creating real and Hanjo, which has been performed polyphony that gathers into a moment of Europe. In Japan, he is Principal Conductor with the BBC Scottish Symphony Orchestra worldwide. traditional diatonic harmony – something of the Japan Philharmonic, Music Partner conducted by John Wilson, the recital like, in fact, a dominant seventh chord, Much of Hosokawa’s work reflects the with both Sendai Philharmonic and Ensemble creating a sense of expectation in Chopin’s Piano at the Brighton Festival, complementary influences of the postwar the listener. Hosokawa’s orchestra is Orchestral Kanazawa, Music Director of Debussy’s Fantasie for Piano and Orchestra German avant-garde and Japanese Tokyo Philharmonic Chorus and Music small, but the palette expanded by the with the London Symphony Orchestra and traditions such as Zen Buddhism. He uses inclusion of cor anglais, bass clarinet Director of Yokohama Sinfonietta, an François-Xavier Roth at the Barbican, and an idiosyncratic late-modernist musical and so on. language to embody certain traditional ensemble he founded whilst still a student. a new Chopin CD. Cédric Tiberghien is Japanese ideas, a number of which are After a lapse into quietness, a faster- Yamada has appeared with orchestras such a keen chamber musician. Regular recital expressed in the imagery of growing and moving music takes over, dramatically as the Orchestre de Paris, St Petersburg partners include violist Antoine Tamestit, flowering. Blossoming II is one instance punctuated by colourful gestures and Philharmonic, Royal Stockholm Philharmonic, baritone Stéphane Degout, and violinist of this, as Hosokawa explains: becoming more and more assertive with striving upward-moving motifs. and Orchestra Sinfonica Nazionale della Alina Ibragimova. His discography with Over the last few years I have RAI, and soloists such as Emmanuel Ax, Alina Ibragimova includes complete cycles composed on the theme of ‘flowers’. This, too, is dispelled by eerie quiet sounds that usher in a passage of Nobuko Imai, Vadim Repin, Baiba Skride, of music by Schubert, Szymanowski and My grandfather was a master of Ikebana (the traditional Japanese art of flower varied string textures, preparing the Jean-Yves Thibaudet, and Frank Peter Mozart, and a Beethoven cycle (live from arrangement); Zeami, the original way for emphatic wind gestures based Zimmermann. Kazuki Yamada’s opera Wigmore Hall). Other recent recordings practitioner of the traditional Japanese on falling scales. A brief climax introduces repertoire includes La traviata, Carmen include Histoires naturelles, music of Poulenc theatre form No–, considered the best an imitative section for solo strings that, and Rusalka. In August 2012 he conducted performer a ‘flower’. The deep roots too, dissolves into nothingness. Solo and Ravel, with Stéphane Degout, cellist winds, beginning with clarinet, instigate Xenakis’ opera Oresteia with the Tokyo of flowers in Japanese aesthetics Alexis Descharmes and flautist Matteo a series of slowly rising figures, building Sinfonietta, as well as a televised semi-staged and spirituality led me to them as Cesari. The final disc in his recent Bartók the subject of this work. The flower to a Ligetian cloud of sound that fades production of Honegger’s Joan of Arc, series was released in March 2017. Cédric I’m imagining in this work is a lotus, gradually into the silence out of which the work first emerged. Even the lotus with the Saito-Kinen Orchestra. Recordings Tiberghien studied at the Paris Conservatoire which is the symbolic flower of flower must eventually prove mutable include a recent release of Falla’s dance Buddhism. The flower and I are one; the with Frédéric Aguessy and Gérard Frémy and mortal. blossoming of the flower represents my music. Now resident in Berlin, Kazuki Yamada and was awarded the Premier Prix in 1992. shedding of my skin, my self-discovery. Gordon Kerry © 2018 was born in Kanagawa, Japan. In 2009, He was also a prize winner at several major he won the 51st Besançon International international piano competitions, culminating The piece was commissioned by the This is the first performance of this work by the Tasmanian Symphony Orchestra. Competition. with 1st Prize at the Long-Thibaud Edinburgh Festival and premièred in Competition in Paris in 1998. 4 5 Maurice Ravel (1875-1937) Piano Concerto in G The Adagio – one of Ravel’s most Allegramente sublime achievements – was modelled Adagio assai on the equivalent movement in Mozart’s Clarinet Quintet. Writing painstakingly, Presto two bars at a time, Ravel agonised over this movement for many months, During the 1920s, Ravel became a confessing later that it ‘almost killed him’. frequenter of the late-night jazz clubs Its prevailing mood is that of a nocturne, featuring black American musicians and the piano’s achingly beautiful which had sprang up all over Paris. main theme seems almost hesitant, Among Ravel’s works, the influence of yet somehow inexorable and assured. jazz is most clearly observable in this After the main theme is completed, the one, the G-major piano concerto. Later middle section becomes more agitated in the decade, while on a concert tour and tonally ambiguous. Following some of America, Ravel met George Gershwin strident, stifling chords, the main melody and heard his Rhapsody in Blue, whose is ‘released’ in the woodwinds with the influence is most obvious in the middle piano weaving arabesques and delicate of the first movement. But for all its arpeggios around it. Finally, amidst trills jazziness, Ravel thought of this as a on the piano, this most astonishing of ‘classical’ concerto: slow movements draws to a close. …it is written very much in the same The frenetic pace of the opening spirit as those of Mozart and Saint- movement is exceeded in the finale, Saëns. The music of a concerto should, Presto. Supposedly a rondo (although at in my opinion, be lighthearted and this pace it’s not easy to tell), it is filled brilliant, and not aim at profundity or with jazz sounds and dazzling piano dramatic effects. effects. In the wink of an eye it presents percussive flourishes, trombone glissandi Indeed, Ravel considered calling it a and brief snatches of big band imitations ‘Divertissement’, so keen was he to from brass and woodwind, before racing keep the concerto from self-indulgent on to its sudden but emphatic end. solemnity. In any case, it became a true concerto in which fun, self-parody, and Ravel originally intended to perform the exquisite beauty all play their part; but solo part of the concerto himself, but in there is a ‘brittleness’ in the concerto’s the end his ailing health prevented him high spirits, not to mention a pervasive from doing so. Instead, the concerto was and ‘in-spite-of-itself’ sadness to the slow premièred by Marguerite Long at the movement. Salle Pleyel in Paris in 1932, with Ravel himself conducting. The work begins with the crack-of-a-whip and it barely stops racing during the Abridged from a note by Martin entirety of its first movement. Scored with Buzacott, Symphony Australia © 1997 virtuosic dexterity and lightness, the jazzy rhythm drives on through spiky arpeggios The Tasmanian Symphony Orchestra first performed this work with conductor Vanco in the piano, a piccolo solo, tremolos Cavdarski and soloist Michel Beroff in Launceston and pizzicati in the strings and a trumpet and Hobart on 25 and 28 July 1975 and, most solo.
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