컨텐츠
공연일정
공연일정
공연상세
SUBSCRIPTION/ORCHESTRA
SUBSCRIPTION/ORCHESTRA
Jaap van Zweden and Thomas Hampson ②
- SCHEDULE
- 20240329 Friday 20:00
- PLACE
- LOTTE Concert Hall
- CONDUCTOR
-
Jaap van Zweden
-
SOLOIST
-
Thomas Hampson, Baritone
- PROGRAM
-
Mozart, Nozze di Figaro' Overture, K. 492
-
Mahler, Three songs from Des Knaben Wunderhorn
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.
Scherzo: Vivace
Finale: Allegro
Total duration around 80mins(incl. intermission)
※ Please do not applaud between the movements.
Jaap van Zweden and Thomas Hampson ②
Friday 29th March, 2024 8PM LOTTE Concert Hall
Jaap van Zweden, music director
Thomas Hampson, baritone
Program
Mozart, Le nozze di Figaro, K. 492: Overture
Mahler, Songs from Des Knaben Wunderhorn
- Rheinlegendchen / Wo die schönen Trompeten blasen / Revelge / Der Tamboursg´sell / Urlicht
--------------------- Intermission 15 mins ----------------
--------------------- Intermission 15 mins ----------------
Dvořák, Symphony No. 7 in D minor, Op. 70
Allegro maestoso
Poco adagioAllegro maestoso
Scherzo: Vivace
Finale: Allegro
Total duration around 80mins(incl. intermission)
Wolfgang Amadeus Mozart(1756-1791), Le nozze di Figaro, K. 492: Overture(1786)
Wolfgang Amadeus Mozart wanted to write a comic opera, and his radar captured Beaumarchais's play La Folle Journée, ou Le Mariage de Figaro (The Mad Day, or The Marriage of Figaro). Beaumarchais's original play was a satire in which servants mocked aristocrats, and its dangerously obscene sexual expression was also causing dissatisfaction among the class in power at the time. But at the same time, the public cheered at the play because of those traits. Lorenzo da Ponte, a librettist who collaborated with Mozart, toned down problematic scenes in Beaumarchais's play to avoid the censorship from the court, and instead sped up the play to suit the pace of the opera.
In this overture, the tunes from the opera proper do not appear. Although the overture is independent of the main opera, it plays an excellent role as an introduction. The cheerful driving force is due to the phrases that are deployed in fragments in short breath. The musical idea, which unfolds playfully with swift sixteenth notes, paradoxically requires the orchestra members to perform in ensemble with a high degree of difficulty. The sonic texture of having to whimper even though there are too many notes may cause complaints, especially from string players. Trumpets and other wind instruments reciprocate the wedding's festive atmosphere with bright fanfares.
Instrumentation
2 2 2 2 ― 2 2 0 0 ― tmp ― str
Gustav Mahler(1860-1911), Songs from Des Knaben Wunderhorn(1892~1901)
The title Des Knaben Wunderhorn (The Boy's Magic Horn) comes from a collection of German folk poems and songs collected by Clemens Brentano and Achim von Arnim from various parts of Germany. Gustav Mahler was so attached to this collection that he took the lyrics of more than half of his songs from it.
Rheinlegendchen (Little Rhine Legend) is a gorgeous Ländler in triple meter, in which a girl cutting grass by the river opens her imagination as she dreams of love. It is the brightest and the most refreshing of the songs to be performed today, and the orchestration is so light and simple that it is close to chamber music.
In Wo die schönen Trompeten blasen (Where the Fair Trumpets Sound), a vocalist plays the male and female protagonists and the narrator. A man leaving for war comes to a woman's house and knocks on the door, and the unique dotted rhythm describes the knocking sound. The conversation between the man and the woman who are about to part is mournfully accompanied by woodwind and string instruments respectively, and the song ends with the lyrics that the place where the trumpet sounds―the battlefield―is his home, alluding to the man's eventual death.
In Urlicht (Primeval Light), the trumpet is impressive, and the singer accompanies the oboe toward sky (Himmel), where the highest notes are placed. In the middle part, where the singer begs an angel not to be sent back, clarinet and violin solos add strength to its ardency. At the end, we finally meet the primeval light and the harp fills the heavenly sound.
The scenes that appear most frequently in Des Knaben Wunderhorn are connected to the battlefield. One of them, Revelge (Reveille), is a song sung by a dying drummer soldier who was shot by a bullet. The sound of the battlefield is created by trumpets and snare drums, and although the content of the song is tragic, the musical idea is cheerful. This discrepancy reminds the horrors of war even more painfully.
Der Tamboursg'sell (The Drummer Boy) is a farewell song sung by a drummer boy on the battlefield who is being dragged to the execution site. The snare drum and timpani lead the funeral march with a heavily subdued rhythm, and the boy soldiers fear of facing the gallows is embodied in a clash of dissonant sound. Over the plaintive melody of the English horn and cellos, the boy bids his final farewell to the rocks, mountains, hills, and his fellow soldiers.
Instrumentation
Rheinlegendchen(1893)
1 1 1 1 - 1 0 0 0 – str
Wo die schonen Trompeten blasen(1898)
2 2 2 0 - 4 2 0 0 – str
Urlicht(1893)
2 2 2 2 - 4 2 0 0 - bell, hp, str
Revelge(1899)
2 2 2 3 - 4 3 0 0 - timp, perc, str
Der Tamboursg´sell(1901)
0 2 3 3 - 4 0 0 1 - timp, perc, vc, cb
Antonín Dvořák(1841-1904), Symphony No. 7 in D minor, Op. 70(1884~85)
When Symphony No. 7 in D minor was premiered in London under Dvořák's baton in 1885, the Royal Philharmonic Society praised it as "Dvořák's greatest symphony and an important milestone in the history of music." Czech-born Dvořák, who embodied Bohemian identity through music, wanted to prove his existence in the most prestigious genre―the symphony. Symphony No. 7 was commissioned from the Royal Philharmonic Society in London, which had a history of commissioning Beethoven's Ninth Symphony, so it was a tremendous honor for Dvořák.
The first movement (Allegro maestoso) unfolds the dark first theme in D minor with the low-register string group with the vibrating timpani sound. The second theme appears in F major, evoking the pastoral feeling, and reminds us of Dvořák's love for the natural scenery of his hometown.
The second movement (Poco adagio) honors Dvořák's mother, who passed away around the time the symphony was written, and Smetana, a contemporary composer who died in a lunatic asylum in Prague. The nickname 'Tragic Symphony' originates from this fact. The horn ensemble is impressive with its harmonious sound. At the end, the oboe, with a Bohemian folk melody, comforts the sense of loss toward the departed.
The third movement (Scherzo: Vivace - Poco meno mosso) creates a stark contrast by the intersection of two dances. As the violins lead the earthy Slavic dance, the bassoons and cellos respond with a refined Viennese waltz. In the middle section, the flutes imitate the cries of birds and call out nature.
The fourth movement (Allegro), beginning with a tragic theme, reminds us of the mood of the first movement. When the brass sinks to the low F like the pedal point of an organ, the strings unfold a intense struggle of counterpoint above it. In the final section, D minor modulates to its parallel key of D major, and continues the typical narrative of a classical symphony moving from darkness to joy.
Text by EunAh Cho / Translation SukHo Lee
Text by EunAh Cho / Translation SukHo Lee