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Roby Lakatos Trio Feat he strings that connect us 21-29 June 2019 Tivat, Montenegro www.menofest.me This June, the beautiful town of Tivat will host the second annual Mediterranean Notes Music Festival. During the first week of summer 2019, some of the world's pre-eminent musicians will come together for a series of unique and remarkable concerts. Tivat’s magnificent Riva will be filled with the sounds of the most beautiful and captivating music ever written. We welcome all music lovers to the gateway of Boka Bay and Montenegro, to join us in a celebration of music and community! Ivan Vukčević Artistic Director 21 -29 June 2019 14 24 June | 21:30 Tivat, Montenegro Luštica Bay Chedi Hotel Ballroom Trio Skride/Vukčević/ 05 de Naverán 21 June | 21:30 Centar za kulturu Tivat Schubert, Kodály, Dohnányi World Music Day 16 Baiba Skride 25 June | 21:30 & The Menuhin Centar za kulturu Tivat Academy Soloists Between Two Mendelssohn, Schubert, Wars – A Soldier’s Tchaikovsky Tale 08 Stravinsky, Bartók 22 June | 21:30 18 Luštica Bay 27 June | 21:30 The Young Virtuosi Centar za kulturu Tivat of The International String Sextets Menuhin Academy R. Kowalski, R. Lakatos, M. Klotz, I. Vukčević, Bartók, Elgar, Piazzola P. de Naverán, H. Krijgh 12 Brahms, Tchaikovsky 23 June | 21:30 20 Centar za kulturu Tivat 29 June | 21:30 Schumann’s Synchro Hall Beethoven Porto Montenegro Quartetto Energie Tivat Nove & Irina Closing Concert Zahharenkova Roby Lakatos Trio feat. Montenegrin Schumann, Beethoven Symphony Orchestra Friday, 21 June | Centar za kulturu Tivat | 21:30 World Music Day Baiba Skride (Latvia) - Violin & The Menuhin Academy Soloists (Switzerland, Oleg Kaskiv - Leader) PROGRAM: F. Mendelssohn: Concerto for Violin and String Orchestra in D minor (1823) F. Schubert: Rondo for Violin and String Orchestra in A major, D438 (1816) (PAUSE) P. I. Tchaikovsky: Serenade for Strings, Op.48 (1880) 05 F. Schubert: World Music Day Rondo for Violin and String Orchestra in A major, D438 (1816) 1816 was a year the young Schubert had a determined focus on writing for the violin, F. Mendelssohn: and in particular - the violin as a solo instrument. This Rondo, as well as three Concerto for Violin and String Orchestra in D minor (1823) Sonatinas and a Konzertstücke - all pieces featuring the violin solo - were all completed during the same year. This piece - like many other Schubert works - was Felix Mendelssohn, at age 13 and during a period of exceptional productivity; not published until 1897, many years after the composer’s death. composed this - the first of his - Violin Concerto in D minor. Mendelssohn’s choice of a strings-only orchestra may hint at some pedagogical influence; or may owe more to the fact the during the same period, he composed no less than 12 String Symphonies. Yehudi Menuhin - who premiered the work to concert audiences in the 1950’s - P. I. Tchaikovsky: believed it to be the young composer’s blueprint for the later E minor Concerto (a Serenade for Strings in C major, Op.48 (1880) staple of the Violin lexicon) and considered it significant; so-much-so that he made three recordings of the work during his lifetime; one of which was also his The Serenade for Strings, composed in 1880 is notable for the popularity of its Valse conducting debut. movement - which is misleading when contemplating the work in its entirety. It is fitting that The Menuhin Academy Soloists appear at Mediterranean Notes with The opening movement - a clear homage to one of Tchaikovsky’s greatest Baiba Skride to continue to give a platform to this work; a work clearly integral to the influences, Mozart - establishes a conservative aesthetic, but only after the development of the young Mendelssohn, and a forerunner to some of his later remarkably intriguing double stopped introduction. This idea is brought back - masterworks. transformed - during the coda that concludes the 4th movement. Tchaikovsky suggested the largest possible forces available for the work would “be in accordance with the author’s wishes”, however it is often presented in a chamber setting. The work was originally premiered (following a private reading in 1880) in St Petersburg, on October 30, 1881. Lee Bradshaw 06 F. Schubert: World Music Day Rondo for Violin and String Orchestra in A major, D438 (1816) 1816 was a year the young Schubert had a determined focus on writing for the violin, F. Mendelssohn: and in particular - the violin as a solo instrument. This Rondo, as well as three Concerto for Violin and String Orchestra in D minor (1823) Sonatinas and a Konzertstücke - all pieces featuring the violin solo - were all completed during the same year. This piece - like many other Schubert works - was Felix Mendelssohn, at age 13 and during a period of exceptional productivity; not published until 1897, many years after the composer’s death. composed this - the first of his - Violin Concerto in D minor. Mendelssohn’s choice of a strings-only orchestra may hint at some pedagogical influence; or may owe more to the fact the during the same period, he composed no less than 12 String Symphonies. Yehudi Menuhin - who premiered the work to concert audiences in the 1950’s - P. I. Tchaikovsky: believed it to be the young composer’s blueprint for the later E minor Concerto (a Serenade for Strings in C major, Op.48 (1880) staple of the Violin lexicon) and considered it significant; so-much-so that he made three recordings of the work during his lifetime; one of which was also his The Serenade for Strings, composed in 1880 is notable for the popularity of its Valse conducting debut. movement - which is misleading when contemplating the work in its entirety. It is fitting that The Menuhin Academy Soloists appear at Mediterranean Notes with The opening movement - a clear homage to one of Tchaikovsky’s greatest Baiba Skride to continue to give a platform to this work; a work clearly integral to the influences, Mozart - establishes a conservative aesthetic, but only after the development of the young Mendelssohn, and a forerunner to some of his later remarkably intriguing double stopped introduction. This idea is brought back - masterworks. transformed - during the coda that concludes the 4th movement. Tchaikovsky suggested the largest possible forces available for the work would “be in accordance with the author’s wishes”, however it is often presented in a chamber setting. The work was originally premiered (following a private reading in 1880) in St Petersburg, on October 30, 1881. Lee Bradshaw 07 Saturday, 22 June | Luštica Bay | 21:30 E. Elgar: The Menuhin Academy Introduction and Allegro for String Quartet and Strings, Op.47 (1905) Elgar’s nod to a resurrected version of the Concerto Grosso is his Introduction and Soloists Allegro for String Quartet and Strings. The Menuhin Academy Soloists Written in dedication to Samuel Sanford, who had been involved in having Elgar (Oleg Kaskiv - Leader and Soloist) awarded an honorary Doctorate from Yale University; and which led to the tradition of the Pomp and Circumstance March being used thereafter during conferral ceremonies. PROGRAM: This virtuosic work is reflective of Elgar’s own history as a violinist, and provides one E. Elgar: M. Arnold: of the most notoriously difficult Contrabass parts in the entirety of the orchestral Introduction and Allegro for String Concerto for Two Violins repertoire. Quartet and Strings, Op.47 (1905) and Strings, Op.77 (1962) Soloists – Yuna Shinohara & Soloists – Oleg Kaskiv and G. Faure: Anna Orlik, Violins; Yat Lee, Viola; Vasyl Zatsikha, Violins “Élégie” for Cello and Strings, Op.24 (1880) Yosuke Kaneko, Cello G. Lekeu: “Élégie” was written by the French composer Gabriel Fauré in 1880, and first G. Fauré: Adagio for Strings (1891) published and per-formed in public in 1883. Originally for cello and piano, the piece “Élégie” for Cello and Strings, was later orchestrated by Fauré. The work, in E-flat major, features a sad and Op.24 (1880) E. Bloch: sombre opening and climaxes with an intense, tempestuous central section, before Soloist – Fran Carmona Navarro, Cello Abodah for Violin And Strings the return of the elegiac opening theme. (1929) B. Bartók: Soloist - Oleg Kaskiv, Violin Romanian Folk Dances for Violin B. Bartók: Romanian Folk Dances for Violin and Strings, Sz.68 (1915-1917) and Strings, Sz.68 (1915 – 1917) A. Piazzola: Soloist – Kasimir Uusitupa, Violin “Chau Paris” for Strings Originally composed for piano, this version of Bartok’s Romanian Folk Dances finds (1955) C. Saint-Saëns: its melodic origins in gypsy folk tunes from various provincial regions of what was once known as Transylvania. Havanaise for Violin and Strings, M. Skoryk (1938): Op.83 (1887) “Fête des violons” for Strings The themes (collected by Bartok personally on his travels through the country) were Soloist – Chaofan Wang, Violin (1980) often heard in their original forms being played by gypsy musicians, and (PAUSE) subsequently taken down in notation form by Bartók. 08 A very short work - Bartok considered the entire collection to be about three ‘A Yom Kippur Melody’, completed in December of the same year and immediately minutes in length - it identifies and strictly adheres to various ‘modes’ that the premiered by Menuhin and Louis Persinger in Los Angeles. The melody is a gypsy folk melodies presented themselves in in their original forms. traditional Eastern European Ashkenazi synagogal chant, Vehakkohanim, rendered by the cantor during the ‘Musaf’ (‘Additional’) Service in the early afternoon on the C. Saint-Saëns: Day of Atonement – the most solemn festival in the Jewish calendar. Havanaise for Violin and Strings, Op.83 (1887) G. Lekeu: The Havanaise in E major is a composition for violin and orchestra based on the Adagio for Strings (1891) habanera rhythm, written in 1887 by Camille Saint-Saëns for Cuban violinist Rafael Diaz Albertini.
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