SATURDAY REPEAT Hannu Lintu, Conductor Daniil Trifonov

Total Page:16

File Type:pdf, Size:1020Kb

SATURDAY REPEAT Hannu Lintu, Conductor Daniil Trifonov 6.5. SATURDAY REPEAT Helsinki Music Centre at 16.15 Hannu Lintu, conductor Daniil Trifonov, piano Sebastian Fagerlund: Drifts, fp (Yle commission) 11 min Maurice Ravel: Piano Concerto in G 23 min I Allegramente – Andante – Tempo 1 II Adagio assai III Presto INTERVAL 20 min Carl Nielsen: Symphony No. 4, “The Inextinguishable” 36 min I Allegro II Poco allegretto III Poco adagio quasi andante IV Allegro Interval at about 16.50. The concert ends at about 18.00. 1 SEBASTIAN Fagerlund does not, however, rule out the idea of performing them together FAGERLUND (b. 1972): as a set. DRIFTS The idea of an orchestral triptych having dominated his thoughts while Sebastian Fagerlund was already mak- composing the first part, Fagerlund ing a name for himself at around the decided to make Drifts a mainly slow turn of the millennium, but his real movement. And as such it begins, breakthrough and stylistic breakaway marked Largo misterioso. But like so came with his Clarinet Concerto of many composers, Fagerlund had dif- 2005–2006. He has since composed ficulty sticking to too-detailed a plan concertos for violin, guitar and bas- and the musical material began to as- soon, the last of which was nominat- sume a will of its own. After its slow ed for the Nordic Council’s Music Prize. beginning, Drifts picks up speed in a The biggest of his orchestral works is brisker Energico. These two basic tem- Ignite (2010), which won the coveted pos dominate the piece, but although Finnish Teosto Prize in 2010. His first the quick material began, as it were, opera was the chamber opera Döbeln to force itself to the fore, the feeling (2009), tying in with the war of 1808– of slow music still pervades in that the 1809 between Russia and Sweden (to two tempo zones may overlap or be su- which Finland at that time belonged). perimposed. His next opera, Höstsonaten (Autumn Sonata, 2014–2016) is to be premiered at the Finnish National Opera in MAURICE RAVEL September this year. Singing the lead- (1875–1937): PIANO ing part in this opera based on Ingmar Bergman’s topic will be star Swedish CONCERTO IN G mezzo Anne Sofie von Otter. Drifts is the middle section of an or- Over dinner one night in the late 1920s chestral triptych. Fagerlund already had or early 1930s, Maurice Ravel turned it in mind to compose a three-part enti- to the pianist Marguerite Long sitting ty while composing his previous orches- next to him and informed her that he tral work, Stonework (2014–2015). The was in the throes of composing a con- third, biggest and in a way consolidat- certo for her. Would she have any ob- ing part of the trilogy is a commission jection to its ending pianissimo, with from the Amsterdam Concertgebouw, trills? His question came as a complete the BBC Symphony Orchestra and the surprise to Long, since it was the first FRSO to be premiered in Amsterdam she had heard about a concerto being in April 2018. The three works have a composed for her. It was, of course, an kind of family affinity and to some ex- offer she could not refuse, coming from tent share basic material, but each is such a celebrated composer. Ravel be- an independent entity in its own right. gan by sketching a Basque Rhapsody for 2 his own use but soon abandoned the composing it, he told his friends it idea and set to work on the Concerto in would differ considerably from its pre- G, incorporating motifs he had thought decessors. Its outlines are sharper, its of for the Rhapsody. dramatic curves steeper and its con- The Concerto in G follows the familiar trasts more marked. Sometimes, the three-movement format. It begins with various types of music seem set on a snappy whip lash that sets in motion a collision course – a trait that would a Basque-influenced dance motif for- become even more pronounced in his tified with syncopations. Contrasting fifth symphony. Also new is the way this is the languorous second theme, Nielsen links his movements together one of lyrical mood-painting with jazzy without a break, as an “inextinguish- seasoning. able” entity, thus enhancing the sym- The middle movement is pensive, at- phony’s drama. mospheric and tender. Its main theme The opening eruption flings the un- is modelled on the slow movement of suspecting listener straight into the Mozart’s Clarinet Quintet, according to maelstrom. The exceptionally bluster- Ravel the most beautiful thing Mozart ing main theme is followed by a lyri- ever composed, but there is also a cal second one beginning with parallel touch of the haunting naivism of Satie. thirds on the clarinets. This does, even Composing it nevertheless caused so, incorporate a more forceful ver- Ravel quite a headache: “How I worked sion that will later acquire final-theme over it bar by bar! It nearly killed me,” status. A master of symphonic dra- he exclaimed. ma, Nielsen enters the development The spirited writing of the first move- section in a tense, highly expectant ment returns in the finale with even mood that ultimately turns into a heat- greater gusto, and at times spiced with ed combat between opposing musical caustic humour. And at some point forces. Only the final version of the sec- Ravel abandoned the idea of ending ond theme returns in the recapitula- with pianissimo trills. tion, but Nielsen immediately compen- sates for the missing lyrical element with the warm-hearted, pastoral Poco CARL NIELSEN allegretto movement. Scored main- (1865–1931): ly for winds, this movement serves as a Scherzo, but one more akin to the SYMPHONY lighter, Intermezzo-like middle move- NO. 4, “THE ments of the Brahms symphonies. INEXTINGUISHABLE” The third, slow movement is domi- nated by sustained, almost overwhelm- ingly intense melody. At the end, it Carl Nielsen quite deliberately struck builds up to a great climax, from which out in a new direction in his fourth top-speed runs on the violins lead to symphony. Several times while he was an action-packed finale. The skirmish 3 is not, however, over yet and escalates Symphony and Seoul Philharmonic into Nielsen’s famous timpani play-off. orchestras. In 2015 he conducted At the end, the second theme of the a complete cycle of Sibelius’ sym- first movement – representing an ami- phonies in Tokyo with the Finnish cable truce – gradually makes its pres- Radio Symphony Orchestra and the ence felt and carries the symphony to New Japan Philharmonic, and toured a triumphant conclusion. Austria in January 2016 with violinist Leila Josefowicz and the Finnish Radio Kimmo Korhonen Symphony Orchestra. Programme notes translated (abridged) Lintu returns to Savonlinna Opera by Susan Sinisalo Festival in July 2017 to conduct Aulis Sallinen’s Kullervo, and in May 2017 he conducts Sibelius’ Kullervo in a special project with Finnish National Opera and HANNU LINTU Ballet with director and choreographer Tero Saarinen. Previous productions Chief Conductor of the Finnish Radio with Finnish National Opera have in- Symphony Orchestra since August cluded Parsifal, Carmen, Sallinen’s King 2013, Hannu Lintu previously held Lear, and Wagner’s Tristan und Isolde in the positions of Artistic Director and spring 2016. Lintu has also worked with Chief Conductor of the Tampere Tampere Opera and Estonian National Philharmonic Orchestra, Principal Opera. Guest Conductor with the RTÉ National Hannu Lintu has made several re-cor- Symphony Orchestra and Artistic dings for Ondine, Naxos, Avie and Director of the Helsingborg Symphony Hyperion. His recording of Prokofiev and Turku Philharmonic orchestras. Piano Concertos with Olli Mustonen Highlights of Lintu’s 2016/17 sea- and the Finnish Radio Symphony son include appearances with the Orchestra was released in September Deutsches Symphonie-Orchester Berlin, 2016, while other recent releases inclu- Staatsorchester Stuttgart, Radio- de recordings of Mahler’s Symphony Symphonieorchester Wien, Luzerner No. 1, a selection of works by Magnus Sinfonieorchester and Orquesta Lindberg, and Messiaen’s Turangalîla Sinfónica de Galicia, and in North Symphony with Angela Hewitt and America with the St Louis Symphony Valerie Hartmann-Claverie. Lintu has and the Toronto Symphony, Baltimore received several accolades for his re- Symphony and Detroit Symphony cordings, including a 2011 Grammy orchestras. Recent engagements nomination for Best Opera CD plus have included the The Cleveland and Gramophone Award nominations for Gulbenkian orchestras, the Orchestre his recordings of Enescu’s Symphony de Chambre de Lausanne, Orchestra No.2 with the Tampere Philharmonic Sinfonica di Milano Giuseppe Verdi, and Orchestra and the Violin Concertos the BBC Scottish Symphony, Iceland of Sibelius and Thomas Adès with 4 Augustin Hadelich and the Royal 2015/2016 season he performed all the Liverpool Philharmonic Orchestra. Rachmaninoff Piano Concertos with the Hannu Lintu studied cello and piano New York Philharmonic at the Lincoln at the Sibelius Academy, where he later Center and with the Philharmonia studied conducting with Jorma Panula. at London’s Royal Festival Hall. The He participated in masterclasses with Pittsburgh Symphony Orchestra con- Myung-Whun Chung at the Accademia ducted by Manfred Honeck also pre- Chigiana in Siena, Italy, and took miered his own Piano Concerto. first prize at the Nordic Conducting This season, Daniil Trifonov is Artist Competition in Bergen in 1994. in Residence with the Staatskapelle Dresden and will be its soloist at the BBC Proms, the Vienna Musikverein and elsewhere. With the Mariinsky Theatre DANIIL TRIFONOV Orchestra under Valery Gergiev he will perform the full Rimsky-Korsakov Despite his lack of years, Daniil Trifonov Piano Concerto cycle. Other engage- (born in Nizhny Novgorod in 1991) ments include appearances with the is already an old hand at winning pi- Berlin and Los Angeles Philharmonics, ano competitions: both the Rubinstein the Cleveland Orchestra, the Sydney in Tel Aviv and the Tchaikovsky in Symphony and the Zurich Tonhalle Moscow in 2011.
Recommended publications
  • PROKOFIEV Hannu Lintu Piano Concertos Nos
    Olli Mustonen Finnish Radio Symphony Orchestra PROKOFIEV Hannu Lintu Piano Concertos Nos. 2 & 5 SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G minor, Op. 16 33:55 1 I Andantino 11:57 2 II Scherzo. Vivace 2:59 3 III Intermezzo. Allegro moderato 7:04 4 IV Finale. Allegro tempestoso 11:55 Piano Concerto No. 5 in G major, Op. 55 23:43 5 I Allegro con brio 5:15 6 II Moderato ben accentuato 4:02 7 III Toccata. Allegro con fuoco 1:58 8 IV Larghetto 6:27 9 V Vivo 6:01 OLLI MUSTONEN, piano Finnish Radio Symphony Orchestra HANNU LINTU, conductor 3 Prokofiev Piano Concertos Nos. 2 and 5 Honestly frank, or just plain rude? Prokofiev was renowned for his uncompromisingly direct behaviour. On one occasion he berated a famous singer saying – within the hearing of her many admirers – that she understood nothing of his music. Seeing her eyes brim, he mercilessly sharpened his tongue and humiliated her still further: ‘All of you women take refuge in tears instead of listening to what one has to say and learning how to correct your faults.’ One of Prokofiev’s long-suffering friends in France, fellow Russian émigré Nicolas Nabokov, sought to explain the composer’s boorishness by saying ‘Prokofiev, by nature, cannot tell a lie. He cannot even say the most conventional lie, such as “This is a charming piece”, when he believes the piece has no charm. […] On the contrary he would say exactly what he thought of it and discuss at great length its faults and its qualities and give valuable suggestions as to how to improve the piece.’ Nabokov said that for anyone with the resilience to withstand Prokofiev’s gruff manner and biting sarcasm he was an invaluable friend.
    [Show full text]
  • Daniil Trifonov
    Sunday 16 June 2019 7–9pm Barbican LSO SEASON CONCERT ARTIST PORTRAIT: DANIIL TRIFONOV Beethoven Overture: Egmont Shostakovich Concerto No 1 for HAROLD Piano, Trumpet and Strings Interval Berlioz Harold in Italy * Gianandrea Noseda conductor Daniil Trifonov piano Philip Cobb trumpet IN ITALY Antoine Tamestit viola * Welcome Latest News On our Blog After the interval, Antoine Tamestit joins BMW CLASSICS IN TRAFALGAR SQUARE DIGITAL TECHNOLOGY GROUP: the Orchestra as viola soloist in Berlioz’s WORKS IN PROGRESS Harold in Italy, a work originally written for On 30 June, the LSO takes over Trafalgar violin and viola virtuoso Niccolò Paganini. Square as Sir Simon Rattle conducts a This month’s LSO Discovery Showcase, This four-movement symphony is inspired dance-inspired programme of music by ‘One Night, One Thousand and One by a poem by Lord Byron, describing Childe Dvořák, Poulenc, Ravel and Bushra El-Turk. Stories’, featured pieces for electronics, Harold’s pilgrimage through Italy. This There will also be performances by young live performance and video presented concert forms part of Berlioz 150, as we musicians from the LSO On Track scheme in by Ife Olalusi and Ken Burnett, members celebrate the composer’s life and music East London and from the Guildhall School. of the LSO Digital Technology Group. across 2019, marking 150 years since We spoke to Ken and Ife about their Berlioz’s death. inspirations and influences, and how elcome to tonight’s LSO concert LSO AT THE BBC PROMS 2019 they produced music for the concert. at the Barbican conducted by A very warm welcome to the retired LSO Gianandrea Noseda.
    [Show full text]
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • Swr2 Programm Kw 16
    SWR2 PROGRAMM - Seite 1 - KW 16 / 19. - 25.04.2021 Ludwig van Beethoven: Seit der letzten Eiszeit befruchtet die Montag, 19. April 6 ländlerische Tänze WoO 15 „Dunkle Europäische Biene“ in Bayerische Kammerphilharmonie Europa Blütenpflanzen. Doch die 0.03 ARD-Nachtkonzert Leitung: Karl Anton Rickenbacher Imkerei mit modernen ertragreichen Franz Liszt: Granville Bantock: Honigbienen hat die Ur-Biene fast „Die Ideale“ „Celtic Symphony“ verdrängt. Um sie vor dem Gewandhausorchester Leipzig Royal Philharmonic Orchestra Aussterben zu bewahren, gestalten Leitung: Kurt Masur London Bienenzüchter in Frankreich Robert Schumann: Leitung: Vernon Handley Landstriche neu und fertigen Klavierquintett Es-Dur op. 44 artgerechte Behausungen. Auch in Peter Rösel (Klavier) 5.00 Nachrichten, Wetter Deutschland engagieren sich Gewandhaus-Quartett Forscher*innen und Joseph Haydn: 5.03 ARD-Nachtkonzert Hobbyimker*innen. Denn: Die Violoncellokonzert D-Dur Hob. VIIb/4 Niels Wilhelm Gade: Wildbiene ist robust, passt sich gut Jan Vogler (Violoncello) „Sommertag auf dem Lande“, an Klimaveränderungen an und trägt Virtuosi Saxoniae Fröhliches Landleben op. 55 zum Erhalt der Artenvielfalt bei, Leitung: Ludwig Güttler Staatsphilharmonie Rheinland-Pfalz indem sie andere Pflanzen bestäubt Francesco Feo: Leitung: Ole Schmidt als die moderne Biene. „Confitebor“ Domenico Cimarosa: Anja Züger, Dorothea Wagner Oboenkonzert C-Dur 8.58 SWR2 Programmtipps (Sopran) Lajos Lencsés (Oboe) Dominika Hirschler (Alt) Kammerorchester Arcata Stuttgart 9.00 Nachrichten, Wetter Tobias Hunger (Tenor) Leitung: Patrick Strub Tobias Berndt (Bass) Anton Arenskij: Sächsisches Vocalensemble 9.05 SWR2 Musikstunde Allegro moderato aus dem Klaviertrio Batzdorfer Hofkapelle Es werde Licht! Wie das Alte d-Moll op. 32 Leitung: Matthias Jung Testament klingt (1) Trio Wanderer Mit Sabine Weber Carl Maria von Weber: Wenzel Raimund Birck: Klavierkonzert Nr.
    [Show full text]
  • THURSDAY SERIES 7 John Storgårds, Conductor Golda
    2.3. THURSDAY SERIES 7 Helsinki Music Centre at 19.00 John Storgårds, conductor Golda Schultz, soprano Ernest Pingoud: La face d’une grande ville 25 min 1. La rue oubliée 2. Fabriques 3. Monuments et fontaines 4. Reclames lumineuses 5. Le cortege des chomeurs 6. Vakande hus 7. Dialog der Strassenlaternen mit der Morgenröte W. A. Mozart: Concert aria “Misera, dove son” 7 min W. A. Mozart: Concert aria “Vado, ma dove” 4 min W. A. Mozart: Aria “Non più di fiori” 9 min from the opera La clemenza di Tito INTERVAL 20 min John Adams: City Noir, fpF 30 min I The City and its Double II The Song is for You III Boulevard Nighto Interval at about 20.00. The concert ends at about 21.00. 1 ERNEST PINGOUD rare in Finnish orchestral music, as was the saxophone that enters the scene a (1887–1942): LA FACE moment later. The short, quick Neon D’UNE GRANDE VILLE Signs likewise represents new technol- ogy: their lights flicker in a xylophone, The works of Ernest Pingoud fall into and galloping trumpets assault the lis- three main periods. The young com- tener’s ears. The dejected Procession of poser was a Late-Romantic in the spirit the Unemployed makes the suite a true of Richard Strauss, but in the 1910s he picture of the times; the Western world turned toward a more animated brand was, after all, in the grips of the great of Modernism inspired by Scriabin and depression. Houses Waking provides a Schönberg. In the mid-1920s – as it glimpse of the more degenerate side happened around the time the days of urban life, since the houses are of of the concert focusing on a particular course brothels in which life swings composer began to be numbered – he to the beat of a fairly slow dance-hall entered a more tranquil late period and waltz.
    [Show full text]
  • Michael Tilson Thomas and the San Francisco
    Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] sfsymphony.org/press FOR IMMEDIATE RELEASE / FEBRUARY 12, 2020 (High resolution images are available for download from the San Francisco Symphony’s Online Photo Library. MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY EMBARK ON FINAL TOUR OF NEW YORK AND EUROPE TOGETHER WITH PERFORMANCES IN EIGHT COUNTRIES, MARCH 17–APRIL 7, 2020 Tour begins with two performances at New York’s Carnegie Hall March 17 & 18 featuring Stravinsky’s The Firebird, Saint-Saëns’ Cello Concerto No. 1 with Gautier Capuçon, the New York Premiere of San Francisco Symphony and Carnegie Hall Co-Commission I Still Dance by John Adams, and Mahler’s Symphony No. 6 European tour performances feature Pianist Daniil Trifonov in London, Hamburg, Berlin, and Vienna; and Cellist Gautier Capuçon in Munich, Amsterdam, Antwerp, Luxembourg, Lyon, and Paris SAN FRANCISCO, CA—Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) embark on their final tour of New York and Europe together before MTT concludes his distinguished 25-year tenure as Music Director at the end of the 2019–20 season. The tour begins with two concerts at New York’s Carnegie Hall March 17–18, and continues with 14 performances in ten cities across Europe, March 21–April 7. The March 17 performance at Carnegie Hall features the New York premiere of John Adams’ new composition, I Still Dance, co-commissioned by the San Francisco Symphony and Carnegie Hall. An explosive eight-minute work written in a single movement, I Still Dance features densely interwoven parts that are driven forward by propulsive arpeggiated figures.
    [Show full text]
  • 100 YEARS of MESSE ESSEN Hochtief.Com
    www.messe-essen.de 1.2013 Issue DEEP KNOWLEDGE SCHWEISSEN & SCHNEIDEN: what the joining technology elite is discussing 100 YEARS OF MESSE ESSEN hochtief.com MY OUR COMPANY HISTORY YEARS OCHTIEF In 1873, the Helfmann brothers founded a small construction business—hoping that it would be a long-term success. In 2013, HOCHTIEF celebrates its 140th anniversary and is one of the leading global construction groups. A number of remarkable projects around the globe testify to the company’s creativity. In its long history, HOCHTIEF has shaped living spaces, built spectacular landmarks, and delivered technically superlative solutions. In performing these activities, the Group could rely on its accumulated expertise and never had to be afraid of changes—a tradition HOCHTIEF can also build on in future. Turning Vision into Value. Anz_Essen-Affair_2013.indd 2 27.03.13 10:10 EDITORIAL | 3 Egon Galinnis Managing Director of Messe Essen GmbH Dear Readers, Not too much navel-gazing – we set ourselves this objective at the very start of ESSEN AFFAIRS. And your comments on our magazine have convinced us that this is still the right way to go. But we’ve made an exception for this issue. And I’m sure you won’t hold it against us, for the occasion is unique: Messe Essen was founded 100 years ago, on 21 April 1913. In the cover story on our 100-year jubilee, we not only take a look back but also gaze into the future – just like the many well-wishers who sent us their personal congratulations. I would like to take this opportunity to warmly thank all of them once again for their contributions.
    [Show full text]
  • Mozart & Shostakovich
    CONCERT PROGRAM April 10-11, 2015 Hannu Lintu, conductor Jonathan Chu, violin Beth Guterman Chu, viola MOZART Sinfonia concertante in E-flat major for Violin, Viola, and (1756-1791) Orchestra, K. 364 (1779-80) Allegro maestoso Andante Presto Jonathan Chu, violin Beth Guterman Chu, viola INTERMISSION SHOSTAKOVICH Symphony No. 8 in C minor, op. 65 (1943) (1906-1975) Adagio Allegretto Allegro non troppo— Largo— Allegretto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors series. These concerts are presented by Thompson Coburn LLP. Hannu Lintu is the Felix and Eleanor Slatkin Guest Artist. The concert of Friday, April 10, includes free coffee and doughnuts provided through the generosity of Krispy Kreme. The concert of Saturday, April 11, is underwritten in part by a generous gift from Marjorie M. Ivey. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of Link Auction Galleries and are located at the Customer Service table in the foyer. 24 FROM THE STAGE Beth Guterman Chu, Principal Viola, on Mozart’s Sinfonia concertante: “Mozart wrote for the viola tuned up a half step, so the viola is playing in D major instead of E-flat, which makes the passagework easier and makes for a brighter sound. Musicians stopped because violists got better. We can play E-flat without the tuning. I know of only one recording where it is done. I’m sure it changes the sound of the piece as we know it, with all open strings. “There are two deterrents for playing Mozart’s way.
    [Show full text]
  • Season 2019-2020
    23 Season 2019-2020 Saturday, February 1, at 8:00 The Philadelphia Orchestra Sunday, February 2, at 2:00 Yannick Nézet-Séguin Conductor Daniil Trifonov Piano Boulanger Of a Sad Evening Beethoven Piano Concerto No. 5 in E-flat major, Op. 73 (“Emperor”) I. Allegro II. Adagio un poco mosso— III. Rondo: Allegro Intermission Farrenc Symphony No. 2 in D major, Op. 35 I. Andante—Allegro II. Andante III. Scherzo: Vivace IV. Andante—Allegro This program runs approximately 2 hours. These concerts are sponsored by Ralph Muller and Beth Johnston. These concerts are part of The Philadelphia Orchestra’s WomenNOW and BeethovenNOW celebrations. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons. Vail Music Festival. The excitement through music The Philadelphia Orchestra Orchestra also has a rich in the Philadelphia region, continues the tradition of history of touring, having across the country, and educational and community first performed outside around the world.
    [Show full text]
  • Daniil Trifonov
    Daniil Trifonov Thursday, February 1, 2018 at 8:00pm This is the 798th concert in Koerner Hall PROGRAM Federico Mompou: Variations on a Theme of Chopin Robert Schumann: “Chopin” from Carnaval: Scènes mignonnes sur quatre notes, op. 9 Edvard Grieg: “Hommage à Chopin“ from Moods, op. 73 Samuel Barber: Nocturne (Homage to John Field), op. 33 Pyotr Il’yich Tchaikovsky: “Un poco di Chopin,” op. 72, no. 15 Sergei Rachmaninov: Variations on a Theme of Chopin, op. 22 Tema: Largo Variation 1: Moderato Variation 2: Allegro Variation 3: L’istesso tempo Variation 4: L’istesso tempo Variation 5: Meno mosso Variation 6: Meno mosso Variation 7: Allegro Variation 8: L’istesso tempo Variation 9: L’istesso tempo Variation 10: Più vivo Variation 12: Moderato Variation 13: Largo Variation 14: Moderato Variation 15: Allegro scherzando Variation 16: Lento Variation 17: Grave Variation 20: Presto Variation 21: Andante Variation 22: Maestoso – Tempo 1 Tema INTERMISSION Fryderyk Chopin: Variations on “Là ci darem la mano” from Mozart’s Don Giovanni, op. 2 Introduction. Largo—Poco più mosso Thema. Allegretto Variation 1. Brillante Variation 2. Veloce, ma accuratamente Variation 3. Sempre sostenuto Variation 4. Con bravura Variation 5. Adagio and Alla Polacca Fryderyk Chopin: Piano Sonata No. 2 in B flat Minor, op. 35 I. Grave - Doppio movimento II. Scherzo III. Marche funèbre: Lento IV. Finale: Presto Federico Mompou Born in Barcelona, Spain, April 16, 1893; died there, June 30, 1987 Variations on a Theme of Chopin (1938-57) Catalan composer Federico Mompou composed the earliest sketches for his Variations on a Theme of Chopin in 1938 in Paris, almost a century after the Polish composer died in his adopted city.
    [Show full text]
  • Gidon Kremer, Violin Daniil Trifonov, Piano
    Tuesday, January 13, 2015, 8pm First Congregational Church Gidon Kremer, violin Daniil Trifonov, piano PROGRAM Wolfgang Amadeus Mozart (1756–1791) Fantasia for Piano in D minor, K. 397 (1782) Mieczysław Weinberg (1919–1996) Sonata No. 5 for Violin and Piano in G minor, Op. 53 (1953) Andante con moto Allegro molto Allegro moderato Allegro — Andante — Allegretto Mozart Sonata for Piano and Violin in E-flat major, K. 481 (1785) Molto allegro Adagio Thema con variazioni: Allegretto INTERMISSION Weinberg Sonata No. 3 for Solo Violin, Op. 126 (1978) Franz Schubert (1797–1828) Fantasy for Violin and Piano in C major, D. 934 (1827) Andante molto — Allegretto — Andantino — Tempo I — Allegro vivace — Allegretto — Presto Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsors Liz and Greg Lutz and Lance and Dalia Nagel. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 15 PROGRAM NOTES Wolfgang Amadeus Mozart (;A?@–;AC;) Romanticism. Repetitions of this sad song are Fantasia for Piano in D minor, K. =CA twice interrupted by sweeping cadenza-like eruptions be fore the Fantasia pauses on an in - Composed in 1782. conclusive harmony, takes a small breath, and trots off with a cheerful D major melody of In 1782, one year after he had bolted from opera buffa jocularity. Mozart, perhaps unsure Salzburg to take up life as a freelance composer of how to bring these two vastly different kinds and pianist in Vienna, Mozart developed a new, of music into balance, did not finish notating gleaming admiration for the music of Bach, the piece.
    [Show full text]
  • FRIDAY SERIES 6 Hannu Lintu, Conductor Augustin Hadelich
    23.11. FRIDAY SERIES 6 Helsinki Music Centre at 19:00 Hannu Lintu, conductor Augustin Hadelich, violin Pelageya Kurennaya, sopranoe Henri Dutilleux: L’arbre des songes 25 min 1. Librement, Interlude 2. Vif, Interlude 2 3. Lent, Interlude 3 4. Large et animé. INTERVAL 20 min Gustav Mahler: Symphony No. 4 in G Major 58 min I. Bedächtig, nicht eilen II. In gemächlicher Bewegung, ohne Hast III. Ruhevoll, poco adagio IV. Sehr behaglich Also playing in this concert will be five students from the Sibelius Academy, University of the Arts Helsinki, chosen for the Helsinki Music Centre’s Orchestra Academy: Andrew Ng, violin I, Elizabeth Stewart, violin 2, Anna-Maria Viksten, viola, Basile Ausländer, cello, and Kaapo Kangas, double bass. The Helsinki Music Centre Orchestra Academy is a joint venture by the Helsinki Philharmonic Orchestra, the FRSO and the Sibelius Academy aiming at training that is of an increasingly high standard and with a more practical and international orientation. Players, conductors and composers take part in the project under professional guidance. The Orchestra Academy started up in autumn 2015.. Interval at about 19:40. The concert will end at about 21:15. Broadcast live on Yle Radio 1 and streamed at yle.fi/areena.Dutilleux’s L’arbre des songes will be shown in the programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on Yle Teema on 10.2. with a repeat on Yle TV 1 on 16.2. 1 HENRI DUTILLEUX The concerto falls into four main sec- tions joined by three interludes looking (1916–2013): VIOLIN back to the one just ended and ahead CONCERTO L'ARBRE to the one to follow.
    [Show full text]