Reflections of the musical past in the present B pärt A webern C stravinsky villa-lobos H schoenberg i perspektiv 2011 Wednesday 15 June, 7.00 pm REFLECTIONS ON BACH ANGELA HEWITT piano KATJA ZHYLEVICH mezzosoprano MIKA EICHENHOLZ conductor MARK TATLOW conductor DROTTNINGHOLMSTEATERNS ORKESTER O/MODERNT ORCHESTRA Johann Sebastian Bach (1685-1750) Ricercar à 6 from Musikalisches Opfer, BWV 1079 INTERMISSION Johann Sebastian Bach Vergnügte Ruh, beliebte Seelenlust, BWV 170 Igor Stravinsky (1882-1971) Concerto in E-flat (“Dumbarton Oaks”) Roxanna Panufnik (b. 1968) Virtue [see p. 34] Tempo giusto Mine Eye [see p. 34] Allegretto Con moto Johann Sebastian Bach Brandenburg Concerto no. 3, BWV 1048 Allegro Johann Sebastian Bach French Suite no. 4 in E-flat, BWV 815 Adagio Allemande Allegro Courante Sarabande Gavottes 1 & 2 Menuet Air Gigue Johann Sebastian Bach Keyboard Concerto in D minor, BWV 1052 Allegro Adagio Allegro Bach/Anton Webern (1883-1945) Fuga à 6 voci 24 25 Thursday 16 June, 7.00 pm HOMMAGE à B-A-C-H KJERSTIN DELLERT reader NIKLAS BROMMARE percussion / composer ANDREAS LEND cello HAYK MELIKYAN piano / composer STAFFAN SCHEJA piano HUGO TICCIATI violin ESAIAS JÄRNEGARD composer ANDREA TARRODI composer Bach / Charles Gounod (1818-1893) Ave Maria INTERMISSION Frédéric Chopin (1810-1849) Prelude no. 1 in C major, op. 28 Ferruccio Busoni (1866-1924) Fantasia nach J.S. Bach, BV 253 Niklas Brommare (b. 1964) Afterimage WORLD PREMIÈRE Johann Sebastian Bach Cello Suite no. 1 in G major, BWV 1007 Alfredo Casella (1883-1947) Due ricercari , op. 52 Prelude Allemande Esaias Järnegard (b. 1983) Snow-Struck WORLD PREMIÈRE Courante Sarabande Johann Sebastian Bach Prelude no. 9 in E Major (Well-Tempered Clavier, Book I), BWV 854 Minuets Gigue Frédéric Chopin Prelude no. 9 in E Major , op. 28 Andrea Tarrodi (b. 1981) Nocturne over B-A-C-H WORLD PREMIÈRE Hayk Melikyan (b. 1980) Piano Triptych J.S. Bach in memoriam WORLD PREMIÈRE Lontano tranquillo Franz Liszt (1811-1886) Weinen, Klagen, Sorgen, Zagen, S. 179 Vivo non troppo Mesto Iannis Xenakis (1922-2001) Rebonds Arnold Schoenberg (1874-1951) Suite for Piano, op. 25 Menuett Improvisation on B-A-C-H 26 27 Friday 17 June, 7.00 pm MEDITATIONS WITH BACH-WEBERN-PÄRT RACHEL BALDOCK oboe MATS BERGSTRÖM guitar LENA HOEL soprano AMI-LOUISE JOHNSON violin HENRIK MÅWE piano HUGO TICCIATI violin MARK TATLOW conductor THE LEONHARD STRING QUARTET LILLA AKADEMIENS KAMMARORKESTER Johann Sebastian Bach (1685-1750) Violin Concerto in E major, BWV 1042 INTERMISSION Allegro Arvo Pärt (b. 1935) Fratres Johann Sebastian Bach Partita in E major, BWV 1006 (arr. M Bergström) Gavotte en Rondeau Johann Sebastian Bach Oboe concerto in F major, BWV 1053 Menuets 1 & 2 Allegro Bourrée Siciliano Allegro Johann Sebastian Bach Komm, süsser Tod, komm, sel’ge Ruh’! BWV 478 Kommt, Seelen, dieser Tag, BWV 479 Arvo Pärt Silouan’s Song Liebster Herr Jesu, wo bleibst du so lange? BWV 484 Bist du bei mir, BWV 508 Johann Sebastian Bach Prelude and Fugue in D Sharp Minor Gedenke doch, mein Geist, bezeiten, BWV 509 (Well-Tempered Clavier, Book II), BWV 877 Anton Webern From 8 Early Songs Anton Webern (1883-1945) Variationen für Klavier , op. 27 Tief von fern (Richard Dehmel) Blumengruss (Johann Wolfgang von Goethe) Arvo Pärt Für Alina Sommerabend (Wilhelm Weigand) Heiter (Friedrich Nietzsche) Johann Sebastian Bach Die Kunst der Fuge, Contrapunctus 1 , BWV 1080 Arvo Pärt Wiegenlied Anton Webern Six bagatelles, op. 9 Arvo Pärt Collage über B-A-C-H Arvo Pärt Da pacem Domine 28 29 Saturday 18 June, 2.00 pm Seminar BACH’S LEGACY: SAME MUSIC, NEW MESSAGE ANNETTE RICHARDS Bach's Faces, Then and Now RUTH TATLOW Bach and Universal Harmonie? DAVID YEARSLEY Bach and the Terrors of War RUTH TATLOW DAVID YEARSLEY Bach and Universal Harmonie Bach and the Terrors of War The proportions formed by the senario, or the first The great 19th-century biographers bequeathed to six numbers (1:1, 1:2, 2:3, 3:4, 4:5, 5:6) were integral us a universal Bach, a composer whose music spans to a philosophy of a harmoniously ordered uni- divisions of time and place, and speaks to us verse; a philosophy which dominated western think- directly, even intimately. More recent scholarship ing for over two millennia. Bach was brought up and popular writing on Bach, especially that capita - and educated in a society when this thinking was lizing on the anniversary commemorations of the still dominant, albeit with a Lutheran emphasis. This year 2000, embrace still more ardently the moral paper will demonstrate from his writings, composi - and aesthetic value of his music to unite peoples tions and the books he read, how Bach was moti - and to collapse chronological distance between vated by the perfect proportions of harmonie, past and present. However laudable and comfort- ANNETTE RICHARDS giving specific examples of how they influenced his ing such attitudes may be, they are wrong to emp- Bach's Faces, Then and Now actions, his compositional choices and his perfor - hasize almost exclusively the noble ethical values mances. How this affects the way we listen to and There is nothing that brings the past into the pre - projected in this music, while at the same time use Bach’s music today, and what Bach would have sent more immediately than a face well captured in downplaying some of the more unsettling, and, I thought about the way we use his music, will be portrait. The “true face” of Bach has been the argue, fundamental aspects of his oeuvre. Among covered in the later panel discussion. object of obsessive scientific research since the these dark topics are violence and destruction; mid 19th century; today his visage is everywhere indeed, many of Bach’s sacred works rely on rheto - and instantly recognizable. But the currency of the rical and musical topics associated with the domi - portrait is not new, and, indeed, was of vital impor - nant culture of war, and the composer exploited tance in the 18th century. This paper explores the these images in conjuring grisly tableaux in the ima - dynamic interest among members of the Bach ginations of 18th-century churchgoing listeners. circle in musician portraits, and discusses the Contemporary admirers of Bach should neither portrait-collecting activities of both Johann close their ears and minds to such terrifying Sebastian and after him his son, Carl Philipp moments in his music nor ignore the disquieting Emanuel Bach. We will see a selection of the pic- parallels to modern attitudes toward the represen - tures the Bach family hung on their walls, and tation of battle, torture, and death. consider the mean-ings residing then, and now, in the individual and collective faces gathered there. 30 31 Saturday 18 June, 7.00 pm BACH TO SALSA MAGNUS ALMQVIST percussion KATJA ZHYLEVICH mezzosoprano NIKLAS BROMMARE percussion ST PETERSBURG CELLO ENSEMBLE DMITRY EREMIN cello BÉTINA MARCOLIN dance GÖRAN FRÖST viola HANS NILSSON dance SVANTE HENRYSON cello MARINA PRADA dance LENA HOEL soprano IBIROCAY REGUEIRA dance HENRIK MÅWE piano NIKLAS BREMAN composer OKSANA SINKOVA flute SVERRE INDRIS JONER composer HUGO TICCIATI violin SERGEY YEVTUSHENKO composer Johann Sebastian Bach (1685-1750) Cello Suite no. 5, BWV 1011 (improvisations on electric cello) Hector Villa-Lobos (1887-1959) Bachianas Brasileiras no. 1 Introduction: Embolada Preludio: Modinha Fugue: Conversa Sergey Yevtushenko (b. 1957) Bach-Lamento WORLD PREMIÈRE Hector Villa-Lobos Bachianas Brasileiras no. 5 Aria: Cantilena Danza: Martelo INTERMISSION Astor Piazzolla (1921-1992) Étude tanguistique no. 3 J.S. Bach / Niklas Breman (b. 1966) Chaconne in D minor with dance Johann Sebastian Bach Sonata for Flute and Cembalo in E minor, BWV 1034 Andante Allegro Sverre Indris Joner (b. 1963) Bach with a Salsa Dip WORLD PREMIÈRE 32 33 VIRTUE Words by George Herbert from The Temple (c.1633) Sweet day, so cool, so calm, so bright, The bridal of the earth and sky: The dew shall weep thy fall tonight, For thou must die. MINE EYE Sweet rose, whose hue angry and brave Words by William Shakespeare (Sonnet 24) Bids the rash gazer wipe his eye: Mine eye hath played the painter and hath steeled Thy root is ever in thy grave, Thy beauty’s form in table of my heart; And thou must die. My body is the frame wherein ‘tis held. Sweet spring, full of sweet days and roses, And perspective it is best painter’s art, A box where sweets compacted lie: For through the painter must you see his skill, My music shows ye have your closes, And all must die. To find where your true image pictured lies, Only a sweet and virtuous soul, Which in my bosom’s shop is hanging still, Like seasoned timber never gives; That hath his windows glazed with thine eyes. But though the whole world turn to coal, Now see what good turns eyes for eyes have done: Then chiefly lives. Mine eyes have drawn thy shape, and thine for me Are windows to my breast, wherethrough the sun Delights to peep, to gaze therein on thee. S Yet eyes this cunning want to grace their art, T S They draw but what they see, know not the heart. I O L O S 34 MAGNUS ALMQVIST percussion MATS B ERGSTRÖM guitar RACHEL BALDOCK oboe N IKLAS BROMMARE percussion Magnus Almqvist began his musical journey at the age of 14 when Mats Bergström studied the guitar at the Royal College of Music, he discovered the joy of playing the drums. He played in his first Stockholm, and the Julliard School of Music, New York. He made rock band as a teenager and graduated from the Royal Academy his debut in the Wigmore Hall, London, in 1983 and since then has of Music in Stockholm in 1999.