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SUBSCRIPTION/ORCHESTRA
SUBSCRIPTION/ORCHESTRA
Ray Chen plays Mendelssohn and Tchaikovsky ①
- SCHEDULE
- Fri. 28 June 2024, 20:00
- PLACE
- LOTTE Concert Hall
- CONDUCTOR
-
Vasily Petrenko
-
SOLOIST
-
Ray Chen, Violin
- PROGRAM
-
Weber, Euryanthe, Op. 81: Overture
-
Mendelssohn, Violin Concerto in E minor, Op. 64
more
- PRICE
- R 120,000 S 90,000 A 60,000 B 30,000 C 10,000
※ Please make sure that your mobile phone is switched off.
※ Please do not applaud between the movements.
※ Please do not applaud between the movements.
Ray Chen plays Mendelssohn and Tchaikovsky ①
Friday 28th June, 2024 8PM LOTTE Concert Hall
Vasily Petrenko, conductor
Ray Chen, violin
Program_28th
Weber, Euryanthe, Op. 81: Overture
Mendelssohn, Violin Concerto in E minor, Op. 64
Allegro molto appassionato
Allegro molto appassionato
Andante
Allegretto non troppo - Allegro molto vivace
------------------ intermission 15 mins ---------------
------------------ intermission 15 mins ---------------
R. Strauss, Ein Heldenleben, Op. 40
1. Der Held
2. Des Helden Widersacher
3. Des Helden Gefährtin
4. Des Helden Walstatt
5. Des Helden Friedenswerke
6. Des Helden Weltflucht und Vollendung
Total duration around 100mins(incl. intermission)
Carl Maria von Weber(1786-1826), Euryanthe, Op. 81: Overture(composed in 1822~23, revised in 1825)
Carl Maria von Weber's opera Euryanthe, which premiered in 1823, is based on the thirteenth-century French romance L'Histoire du très-noble et chevalereux prince Gérard, comte de Nevers et la très-virtueuse et très chaste princesse Euriant de Savoye, sa mye (The History of the very noble and chivalrous Prince Gérard, Count of Nevers and the very virtuous and very chaste Princess Euriant of Savoye).
The orchestra plays an important role, reflecting the purity of women, the contrast between good and evil, and the psychology of the characters, and shows the model for the German romantic opera that foreshadows Wagner's music drama. Today, Weber's Euryanthe is rarely performed in theaters, but the overture, with which one can capture the atmosphere of the whole opera, is often performed at concerts.
The protagonist of the opera, Adolar, the lord of Nevers, has no doubts about the love of his fiancée Euryanthe, but Count Lysiart and Eglantine von Puiset, jealous of this, conspire to destroy their love.
Eglantine hears from Euryanthe the secret behind the tragic death of Adolar's sister Emma, and reveals it to Adolar. It was the secret that Adolar asked Euryanthe never to tell anyone, and Adolar begins to doubt Euryanthe's love, and, in extreme despair, goes to a rock cave and tries to kill her. However, after twists and turns, Eglantine's hideous plot is fully revealed and the love between Adolar and Euryanthe comes to fruition.
Instrumentation
2 2 2 2 — 4 2 3 0 — tmp — str
Felix Mendelssohn(1809-1847), Violin Concerto in E minor, Op. 64(composed in 1838~44, revised in 1845)
The birth of a concerto is often associated with a great soloist. The same can be said of Felix Mendelssohn's Violin Concerto in E minor. Mendelssohn composed this concerto for Ferdinand David, a great violinist of the time. David was the concertmaster of the Leipzig Gewandhaus Orchestra, which Mendelssohn was leading as a chief conductor. Mendelssohn had been planning the concerto since around 1838, but he composed it very cautiously and prudently, reflecting many of David's advice, and did not complete the piece until 1844. As a token of gratitude, he dedicated the concerto to his violinist friend, and David played the violin solo at the premiere held at the Gewandhaus in Leipzig on March 13, 1845.
Instrumentation
solo violin
2 2 2 2 — 2 2 0 0 — tmp — str
Richard Strauss(1864-1949), Ein Heldenleben, Op. 40(1898)
When Ein Heldenleben was premiered on March 3, 1899, there was controversy around who the 'Helden'(hero) of this tone poem actually was. People condemned the composer for his egocentric tendencies aggrandizing himself as a hero and also for his exaggerated orchestration.
The entire tone poem consists of six scenes being played attaca (without a pause between scenes). The first movement, 'Der Held' (The Hero), reminds us of a majestic hero from its beginning.
When the second movement, 'Des Helden Widersacher' (The Hero's Adversaries), begins, the strange sounds of woodwind instruments are heard―did Strauss try to depict his critics' pungent criticism and mockery through the sound of the orchestra?
Eventually, the beautiful melody of the violin is heard and the atmosphere changes: the third movement, 'Des Helden Gefährtin' (The Hero's Companion), has begun. Strauss explained that in this movement he expressed his wife Pauline's unpredictable temperament through the violin. Before long, an off-stage trumpet sounds, calling the hero to the battlefield.
That's how the fourth movement, 'Des Helden Walstatt' (The Hero at Battle), begins. The hero who finally won the war recalls his achievements in the fifth movement, 'Des Helden Friedenswerke' (The Hero's Works of Peace). In this movement, themes from Strauss' previous symphonic poems such as Don Juan, Also sprach Zarathustra (Thus Spake Zarathustra), Tod und Verklärung (Death and Transfiguration), and Don Quixote appear one after the other. With this, the composer is acknowledging that the hero in this symphonic poem is none other than himself.
Finally in the sixth movement, 'Des Helden Weltflucht und Vollendung' (The Hero's Retirement from this World and Completion), we hear the hero's peaceful final years.
Instrumentation
4[1.2.3.pic] 4[1.2.3.4/Eh] 4[1.2.Ebcl.bcl] 4[1.2.3.cbn] — 8 5 3 1 — tenor tuba — tmp - 2hp - str
perc: sd, cym, tri, tamtam, bd, td, sus cym
Text by EunKyu Choi / Translation SukHo Lee