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SUBSCRIPTION/ORCHESTRA
SUBSCRIPTION/ORCHESTRA
MARKUS STENZ AND JOSHUA BELL ①
- SCHEDULE
- 20230518 Thursday 20:00
- PLACE
- Concert Hall, Seoul Arts Center
- CONDUCTOR
-
Markus Stenz
-
SOLOIST
-
Joshua Bell, Violin
- PROGRAM
-
Chausson, Poeme, Op. 25
-
Vieuxtemps, Violin Concerto No. 5, Op. 37
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- 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.
PROGRAM
Total duration approximately 100mins(incl. intermission)
※ Please do not applaud between the movements.
MARKUS STENZ AND JOSHUA BELL ①
Thursday, 18th May, 2023 8PM Concert Hall, Seoul Arts Center
Markus Stenz, conductor
Joshua Bell, violin
PROGRAM
Chausson, Poème, Op. 25
Vieuxtemps, Violin Concerto No. 5 in A minor, Op. 37
Allegro non troppo - Moderato
Adagio
Allegro con fuoco
---------- Intermission 15 mins ------------
---------- Intermission 15 mins ------------
Debussy, Prélude à l'après-midi d'un faune, L. 86
Stravinsky, Le Sacre du printemps
I. L'Adoration de la Terre (Adoration of the Earth)
I. L'Adoration de la Terre (Adoration of the Earth)
1. Introduction
2. Les Augures printaniers (Augurs of Spring)
3. Jeu du rapt (Ritual of Abduction)
4. Rondes printanières (Spring Rounds)
5. Jeux des cités rivales (Ritual of the Rival Tribes)
6. Cortège du sage: Le Sage (Procession of the Sage: The Sage)
7. Embrasse de la terre (Kiss of the Earth)
8. Danse de la terre (Dance of the Earth)
II. Le Sacrifice (The Sacrifice)
9. Introduction
10. Cercles mystérieux des adolescentes (Mystic Circles of the Young Girls)
11. Glorification de l'élue (Glorification of the Chosen One)
12. Evocation des ancêtres (Evocation of the Ancestors)
13. Action rituelle des ancêtres (Ritual Action of the Ancestors)
14. Danse sacrale (L'Élue) (Sacrificial Dance)
Total duration approximately 100mins(incl. intermission)
Ernest Chausson(1855-1899), Poème for Violin and Orchestra, Op. 25(1896)
Ernest Chausson entered the Paris Conservatoire at the age of twenty-four and belatedly achieved his dream of becoming a composer, but sadly passed away in a bicycle accident at the early age of forty-four. It is fortunate that Poème is by our side enabling us to remember his name. His works were influenced by his teachers César Franck and Jules Massenet, and are located in a position that connects Fauré and Debussy.
Poème was written in response to a request from Eugène Ysaÿe for a violin concerto, and was completed on 29 June 1896. This piece is elaborately consisted of five parts. The odd-numbered parts develop slowly at the tempo of ‘lento’ (slow), and the even-numbered parts—‘animato’ (lively) and ‘allegro’ (fast) respectively—share a theme. The musicologist Jean Galois compared Chausson’s Poème to the organization of a classical tragedy in five acts, and the work is in fact related to a literary work. The original title of this piece is “The Song of Love Triumphant”, which was taken from a novel by Ivan Turgenev, who was acquainted with the composer.
Instrumentation
solo violin
2 2 2 2 — 4 2 3 1 — tmp — hp — str
Henri Vieuxtemps(1820-1881), Violin Concerto No. 5 in A minor, Op. 37(1858~61)
Henri Vieuxtemps achieved huge success as a violinist and composer in his lifetime, and his Violin Concerto No. 5 is frequently performed today. This piece was written in 1860 as an examination piece for Hubert Léonard, who was then the teacher at the Brussels Conservatory. The concerto was premiered by Vieuxtemps himself in September of the following year, and it was published with lightning speed that same year. Even today, it is appreciated as one of the major violin concertos of the Romantic era with a balance of splendid technique and melodious tunes. The whole concerto is divided into three movements that are played without pause in between.
Instrumentation
solo violin
1 2 2 2 — 2 2 0 0 — tmp — str
Claude Debussy(1862-1918), Prélude à l'après-midi d'un faune, L. 86(1892~94)
Impressionism in music placed weight on the auditory expression of visual objects. Claude Debussy, the composer who was active during this period, was a representative of the musical impressionism, and his Prelude to the Afternoon of a Faun expresses the impression he received from Stéphane Mallarmé’s poem L’après-midi d’un faune (Afternoon of a Faun) through music.
Debussy’s music creates a fantastical atmosphere with free and sophisticated melodies and chords that are not bound by tonality, and it sings vague and dreamy joy. In particular, the flute playing the theme has an important role in dominating the overall impression of this symphonic poem, and the first melody, which expresses a languid afternoon and has a vague sense of key, has become a representative melody of Debussy. The ensuing ensemble of horn and harp is very sensuous and impressive. Even after that, the chords of strings without a clear sense of direction are very sensuous, and the woodwind melodies dancing on top of them are highly voluptuous.
Instrumentation
3 3[1.2.Eh] 2 2 — 4 0 0 0 — 1perc — 2hp — str
perc: crot
Igor Stravinsky(1882-1971), Le Sacre du printemps(1910~13)
The young Igor Stravinsky studied composition under Nikolai Rimsky-Korsakov, but he got close to people active in Europe rather than his own country as he had conflicts with other students under his teacher’s tutelage. Sergey Diaghilev, who led the Ballet Russes, was one of them, and he commissioned several ballets from Stravinsky. The results, L’Oiseau de feu(The Firebird) and Petrushka, were hugely successful, and Stravinsky earned great trust from Diaghilev. The conception of The Rite of Spring also began around this time. Inspired by Sergey Gorodetsky’s poem Yarila, the story was embodied with the help of artist Nicholas Roerich after the premiere of Petrushka in June 1911, and was titled “Sacred Spring”. The title “The Rite of Spring” as we know comes from a French title “Le Sacre du printemps ”.
The music boldly reveals an exotic aspect with folk melodies played by the bassoon, and expresses a barbaric character with percussive effect that stands out in the foreground. In this process, the sense of key is diluted, making it unfamiliar and difficult to predict the flow of music. These characteristics can be traced back to two influences. The first influence came from listening to Schoenberg’s Pierrot lunaire in Berlin in January 1912 and thinking that atonal music was the direction to go forward, and the other influence was the ‘World of Art’ movement that insisted on creating a new reality through folk art. Through The Rite of Spring Stravinsky opened new possibilities to composers who were thinking about the possibility of new music, and he was duly admired as a genius composer. The Rite of Spring became one of the most influential works in the twentieth century.
The premiere took place on 29 May 1913 at the Théâtre des Champs-Elysées in Paris. The stage was choreographed by Vaslav Nijinsky, and Roerich was in charge of staging and costumes. The conductor was Pierre Monteux.
Instrumentation
5[1.2.3+pic2.pic1.afl] 5[1.2.3.4+Eh2.Eh1] 5[1.2.3+bcl2.Ebcl.bcl1] 5[1.2.3.4+cbn2.cbn1] - 8[7-8wag tb] 5[1.2.3.4+bass tp. picc tp.] 3 2 - 2tmp - per - str.
perc: bd, tamtam, tri, tambn, guiro, cym, crot
Text by JooHo Song / Translation SukHo Lee