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SUBSCRIPTION/ORCHESTRA
SUBSCRIPTION/ORCHESTRA
ANJA BIHLMAIER CONDUCTS MAHLER'S FIFTH SYMPHONY
- SCHEDULE
- Fri. 9 June 2023, 20:00
- PLACE
- LOTTE Concert Hall
- CONDUCTOR
-
Anja Bihlmaier
-
SOLOIST
-
Daniel Lozakovich, Violin
- PROGRAM
-
Saint-Saëns, Violin Concerto No. 3 in B minor, Op. 61
-
Mahler, Symphony No. 5 in C-sharp minor
- PRICE
- R 100,000 S 80,000 A 50,000 B 30,000 C 10,000
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※ Please make sure that your mobile phone is switched off.
※ Please do not applaud between the movements.
Total duration approximately 120mins(incl. intermission)
※ Please do not applaud between the movements.
ANJA BIHLMAIER CONDUCTS MAHLER'S FIFTH SYMPHONY
Friday 9th June, 2023 8PM LOTTE Concert Hall
Anja Bihlmaier, conductor
Daniel Lozakovich, violin
PROGRAM
Saint-Saëns, Violin Concerto No. 3 in B minor, Op. 61
Allegro non troppo
Andantino quasi allegretto
Molto moderato e maestoso
--------- Intermission 15 mins ---------------
--------- Intermission 15 mins ---------------
Mahler, Symphony No. 5 in C-sharp minor
Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt
Stürmisch Bewegt. Mit Größter Vehemenz
Scherzo. Kräftig, Nicht Zu Schnell
Adagietto. Sehr Langsam
Rondo-Finale. Allegro – Allegro giocoso. Frisch
Total duration approximately 120mins(incl. intermission)
Camille Saint-Saëns(1835-1921), Violin Concerto No. 3 in B minor, Op. 61(1879~80)
Camille Saint-Saëns’s Violin Concerto No. 3 is one of the most famous of his concertos. It was dedicated to Pablo de Sarasate, the “Spanish Paganini,” and first performed by the dedicatee on 15 October 1880. The first movement is characterized by a dramatic introduction à la operatic recitative. The orchestra’s string section plays tremolo and the timpani joins in, and that is followed by the solo violin part. The second movement is characterized by a barcarolle rhythm at the pace of andantino quasi allegretto . The viola and cello’s pleasantly bouncing figure in 6/8 times brings the local color of Venetian gondolas and creates a musical space of “another world” that is tonally separate from the preceding movement. In the second half of the movement, the solo violin plays a short cadenza that resembles the florid notes of an operatic diva. The third movement, with its recitative-like introduction by the solo violin, again adopts the operatic approach of the first movement. The bouncy, brisk-paced main section has a Southern feel and flavor, like a folk dance music from Italy or Spain.
Instrumentation
solo violin
2[1.2/pic] 2 2 2 — 2 2 3 0 — tmp — str
Gustav Mahler(1860-1911), Symphony No. 5 in C-sharp minor(1902)
Gustav Mahler’s Symphony No. 5 is a first-person report and turning point for the middle-aged composer. He proclaims a complete severance from the vocal-friendly world of his previous symphonies and focuses on the orchestra’s instrumental virtuosity. In his Fifth Symphony, Mahler adopts five-movement structure, which are quite different from the narrative movement structure of his previous symphonies. The first and the second movements are tied together to make up part I, the huge scherzo in the third movement alone constitutes part II, and the popular fourth movement Adagietto and the finale are combined to form part III.
Mahler’s Fifth Symphony is also a kind of concerto for orchestra. There is no doubt that this work, which is considered as a difficult piece even today when the orchestra’s skills have been leveled upward, was a tough and harsh ordeal for the orchestra in Mahler’s day. At the introduction of the first movement, the trumpet solo plays a fanfare, and suddenly the deafening roar of the orchestra explodes. The second movement is close to a freewheeling rhapsody. The third movement is the longest movement with a duration of almost twenty minutes, and firmly holds the central position of the entire symphony. As the composer himself put it, “every note symbolizes the fullness of life, and everything melts into a swirling dance.”
The fourth movement Adagietto , played only by strings and harp, presents a sweet and dreamy phantasm with a melody that seems to swim on top of the rustling broken chords. In the final movement, highly advanced polyphonic techniques that may well be labeled ‘fireworks of counterpoint’ are employed, thus forming the movement into a tapestry of fugues and chorales. After the climax, where the brass plays a magnificent hymn-style phrase, the movement suddenly picks up speed and reaches a hectic and breathless finale.
Instrumentation
4[all/pic] 3[1.2.3/Eh] 3[1.2/D-cl.3/bcl] 3[1.2.3/cbn] — 6 4 3 1 — tmp+4 — hp — str
perc: sd, tri, tamtam, glock, whip, cym, bd/cym, bd
Text by MoonKyung Kim / Translation SukHo Lee