Philharmonia Zürich Fabio Luisi Direction Anne-Sophie Mutter Violon 22.05.2017 20:00 Grand Auditorium Lundi / Montag / Monday G

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Philharmonia Zürich Fabio Luisi Direction Anne-Sophie Mutter Violon 22.05.2017 20:00 Grand Auditorium Lundi / Montag / Monday G 2017 20:00 22.05.Grand Auditorium Lundi / Montag / Monday Grands solistes Philharmonia Zürich Fabio Luisi direction Anne-Sophie Mutter violon Tōru Takemitsu (1930–1996) Nostalghia (à la mémoire d’André Tarkovski pour violon et orchestre à cordes) (zum Gedenken an André Tarkovski für Violine und Streichorchester) (1987) 14’ Max Bruch (1838–1920) Konzert für Violine und Orchester N° 1 g-moll (sol mineur) op. 26 (1864–1868) Vorspiel: Allegro moderato, attacca: Adagio Finale: Allegro energico – Presto 24’ — Johannes Brahms (1833–1897) Symphonie N° 4 e-moll (mi mineur) op. 98 (1884/85) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato 40’ Anne-Sophie Mutter photo: Bastian Achard Liebe Philharmonie-Besucher, wir freuen uns sehr, Sie heute Abend zu einem musikalischen Höhepunkt des Konzertjahres 2017 in der Philharmonie Luxemburg begrüßen zu dürfen. Wenige Tage bevor sich das Solistendebüt von Anne-Sophie Mutter anlässlich der Salzburger Pfingstkonzerte zum vierzigsten Mal jährt, gastiert die Ausnahmekünstlerin und weltweit gefeierte Violinistin mit der Philharmonia Zürich unter der Leitung von Fabio Luisi im Großherzogtum. Vor bald vierzig Jahren, im Dezember 1977, begann auch die Erfolgsgeschichte der DZ PRIVATBANK am Finanzplatz Luxemburg. Als genossenschaftliche Privatbank hat sie sich seitdem auf indivi- duelle Lösungen für vermögende Kunden spezialisiert und zählt heute zu den leistungsstärksten Vermögensverwaltern im deutsch- sprachigen Markt. Seit Eröffnung der Philharmonie im Jahre 2005 verbindet das Konzerthaus von Luxemburg und die DZ PRIVATBANK eine enge Partnerschaft. Regelmäßig Anfang März finden im Kammermusik- saal der Philharmonie die Generalversammlung und das Manage- mentforum der Bank statt, zu der wir unsere Aktionäre und Geschäftspartner einladen. Die Veranstaltung wird anschließend in unseren Räumlichkeiten mit einem Konzert fortgesetzt. In diesem Jahr durften wir die vier Hamburger Musikerinnen von Salut Salon begrüßen. Dass die DZ PRIVATBANK ihren Gästen immer wieder erstklassige Künstler präsentieren kann, verdankt sie auch den weitreichenden Kontakten der Philharmonie Luxemburg. Wir freuen uns, heute als Sponsor eines besonderen Konzerts in der Philharmonie auftreten zu können und damit die Bedeutung dieser vertrauensvollen Zusammenarbeit zum Ausdruck zu bringen. Wir wünschen Ihnen einen bezaubernden Abend, an den Sie sich gerne zurückerinnern. Ihre DZ PRIVATBANK Der Vorstand Sur Nostalghia de Tōru Takemitsu Dans Nostalghia, composée en 1987 en tant que commande de Yehudi Menuhin, Takemitsu se réfère au film du même nom tourné quatre ans auparavant par Andreï Tarkovski. Le titre renvoie avant tout au sentiment de mal du pays, qui joue un rôle central dans l’action du film italo-soviétique. À l’inverse de la signification française la plus courante du mot « nostalgie », le terme, en russe comme en italien, s’applique non pas tant au désir de retour d’une époque révolue, mais au manque provoqué par l’absence d’une personne ou d’un lieu. Nostalghia de Takemitsu – « À la mémoire d’Andreï Tarkovski » Le film autobiographique de Tarkovski séduisit Takemitsu par le calme des mouvements de caméra, la durée des longues scènes d’un seul tenant, et la grande économie dans l’emploi de la musique. En 1987, il écrivit pour le réalisateur soviétique, décédé à Paris un an auparavant, une musique de film posthume. Après une courte introduction, la composition toute entière est com- mandée par une simple mais pathétique mélodie de violon solo. Un orchestre de cordes divisées laisse transparaître à quelques endroits une sensation d’eau et de brouillard – des éléments spécifiques non seulement à l’œuvre de Takemitsu, mais également aux films de Tarkovski. Ce sont des sentiments de désir de mort et de mal du pays que charrie Tarkovski dans son film Nostalghia, et c’est ainsi que le thème principal de l’œuvre de Takemitsu a trait à la perte et au souvenir. À la fin, la pièce revient à son com- mencement, tandis que les groupes de l’orchestre se divisent de nouveau en parties séparées, et que le violon solo se tient dans ses notes aiguës les plus hautes. 7 Banque de Luxembourg, société anonyme, 14 boulevard Royal, L-2449 Luxembourg - RCS Luxembourg B5310 Luxembourg - RCS Luxembourg L-2449 Royal, boulevard 14 anonyme, société Banque de Luxembourg, « Ce que je voudrais faire avant tout, c’est de développer mon travail dans deux directions à la fois : la tradition japonaise et la rénovation occidentale. Tout au fond de moi, je souhaiterais rendre justice à deux styles qui ont chacun droit à la forme qui leur est propre. Faire appel à ces deux éléments fondamentalement incon- ciliables en tant que noyau de nombreux processus compositionnels me paraît ne constituer qu’un premier pas. Je ne veux pas faire disparaître cette contradiction fertile – au contraire : je veux que les deux blocs se combattent. C’est ainsi que j’évite de m’éloigner de la tradition alors qu’avec chaque œuvre nouvelle je m’avance vers le futur. Je voudrais atteindre à une sonorité qui possède l’intensité du silence. » Reproduit avec l’aimable autorisation de Schott Music, Mainz, Deutschland Pour nous, le mécénat c’est offrir notre soutien à ceux qui offrent la musique à tous. La Fondation EME – Ecouter pour Mieux s’Entendre donne accès à la musique aux personnes qui en sont généralement exclues. En tant que membre fondateur, notre soutien ne se limite pas à un apport financier. Nos réseaux et les compétences de nos équipes permettent à la Fondation de développer et de pérenniser ses initiatives. www.banquedeluxembourg.com 8 Tél.: 49 924 - 1 BDL_phil_programm115x175_mai2016.indd 2 17/08/16 11:38 Pour une musique «dramatique» instrumentale Max Bruch: Concerto pour violon N° 1 op. 26 Pierre-Albert Castanet (2010) Figure singulière, le compositeur et chef d’orchestre allemand Max Bruch (1838–1920) est un véritable poète lyrique. Élève de Ferdinand Hiller et de Carl Reinecke, il forme avec Johannes Brahms et Felix Draesecke, la triade des compositeurs germaniques de la troisième génération des Romantiques. Si sa production chorale (incluant oratorios et opéras) a hissé le musicien au sommet des serviteurs de l’art vocal, son œuvre instrumentale reste sans doute à découvrir (trois symphonies, concertos pour violon, pour clarinette et alto, pour deux pianos…). Très appréciés de son vivant, bon nombre d’opus de Bruch ont puisé aux divers folklores écossais, gallois ou germaniques : Fantaisie écossaise op. 46 pour violon et orchestre dans laquelle il cite les mélodies reconnaissables de « The Dusty Miller » et de « I’m a down for lack o’Johnnie », Kol Nidrei op. 47 pour violoncelle et orchestre (variations sur des thèmes populaires hébraïques). Il faut dire que, mélodiste dans l’âme, Bruch a surtout été influencé par les personnalités de Brahms et de Mendelssohn mais le contexte historique passant le seuil du vingtième siècle l’a fait considérer – a posteriori, à l’instar d’un Serge Rachmaninov, par exemple – comme un farouche conservateur post-romantique. En 1911/12, à une époque où Schönberg, Busoni ou Scriabine conçoivent leurs pièces pianistiques d’une manière résolument atonale, Bruch ne compose-t-il pas encore un Concerto pour clarinette, alto et orchestre et une Romance pour alto et orchestre dans lesquels il s’attache à la beauté irréprochable du complexe dynamico- harmonique et à l’osmose consonante des contours mélodiques avec la couleur instrumentale du siècle précédent ? 11 Max Bruch vers 1870 Photographie de Friedrich Haarstick Parmi les trois concertos pour violon que Bruch nous a offerts, le premier – composé entre 1864 et 1868 – est le plus célèbre et le plus interprété de nos jours. Créé dans sa version définitive en 1868, il est, comme le sera plus tard le Concerto pour violon de Brahms, dédié au talentueux Joseph Joachim (1831–1907). Virtuose en diable, le Concerto pour violon N° 1 en sol mineur op. 26 de Bruch se présente classiquement en trois mouvements d’allure successi- vement vive – lente – vive. Cependant, proche de l’esprit d’une rhapsodie qui joue à dessein avec le désir inextinguible d’une liberté formelle débridée, l’Allegro moderato initial montre des aspects dramatiques (du grec drâma, signifiant « action ») notamment par l’emploi facétieux d’un matériau mélodique épars utilisant tous les registres du violon. Ici, l’idée du « drame » romantique montre la caractérologie du « pittoresque » comme élément moteur intégrant à la fois la macro structure et les micro-détails de l’œuvre concertante. 12 Ce premier mouvement aux reliefs francs sert de prélude (Vorspiel) au fabuleux Adagio d’essence mono thématique. Ornementations et variations sont de mise tout au long de l’exposition de cette page méditative. Pour finir, un pétillant et foisonnant Allegro energico – en sol majeur – semble faire sonner quelques échos tziganes, comme venus des récitals légendaires de Pablo de Sarasate – le dédicataire du Concerto pour violon N° 2 op. 44 et de la Fantaisie écossaise op. 46 de Bruch. On peut songer également à une autre filiation, celle paternelle de Brahms qui, dès 1849, avait fait la connaissance d’un violoniste hongrois en la personne d’Eduard Reményi – ancien condisciple de Joseph Joachim et spécialiste de la musique tzigane avec qui il fondra le duo récitaliste Reményi/Brahms. Après la création de son premier concerto, Bruch assurera la fonction de directeur de la Philharmonic Society de Liverpool, puis celui de la Hochschule für Musik de Berlin où il enseignera la composition. 14 Johannes Brahms : Symphonie N° 4 Mathieu Schneider (2010) La Quatrième de Brahms, créée le 25 octobre 1885 à Meiningen, constitue l’aboutissement des recherches menées par le compositeur hambourgeois dans le domaine des symphonies dites de « musique pure ». Elle est d’ailleurs souvent considérée comme la plus « clas- sique » des quatre symphonies, peut-être aussi la plus introspective et la plus mûrie, car elle fut écrite par un compositeur âgé de soixante-deux ans et fort d’une solide carrière de musicien.
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