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SUBSCRIPTION/ORCHESTRA
SUBSCRIPTION/ORCHESTRA
HAYOUNG CHOI PLAYS 'VARIATIONS ON A ROCOCO THEME'
- SCHEDULE
- 20231020 Friday 20:00
- PLACE
- LOTTE Concert Hall
- CONDUCTOR
-
Fabien Gabel
-
SOLOIST
-
Hayoung Choi, Cello
- PROGRAM
-
Korngold, Tales from Strauss for Orchestra, Op. 21
-
Tchaikovsky, Variations on a Rococo Theme, op. 33 for cello and orchestra
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- PRICE
- R 100,000 S 80,000 A 50,000 B 30,000 C 10,000
- SPONSOR
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※ Please make sure that your mobile phone is switched off.
※ Please do not applaud between the movements.
PROGRAM
※ Please do not applaud between the movements.
HAYOUNG CHOI PLAYS 'VARIATIONS ON A ROCOCO THEME'
Friday 20th October, 2023 8PM LOTTE Concert Hall
Fabien Gabel, conductor
Hayoung Choi, cello
PROGRAM
Korngold, Tales from Strauss for Orchestra, Op. 21
Tchaikovsky, Variations on a Rococo Theme, Op. 33
Moderato assai quasi Andante
Thema. Moderato semplice
Var. 1. Tempo della Thema
Var. 2. Tempo della Thema
Var. 3. Andante sostenuto
Var. 4. Andante grazioso
Var. 5. Allegro moderato — Cadenza
Var. 6. Andante
Var. 7 Coda. Allegro vivo
---------- intermission 15 mins -------------------
---------- intermission 15 mins -------------------
Berlioz, Symphonie fantastique, Op. 14
Rêveries – Passions. Largo – Allegro agitato e appassionato assai – Religiosamente
Total duration approximately 100mins(incl. intermission)
Rêveries – Passions. Largo – Allegro agitato e appassionato assai – Religiosamente
Un bal. Valse. Allegro non troppo
Scène aux champs. Adagio
Marche au supplice. Allegretto non troppo
Songe d’une nuit de sabbat. Larghetto – Allegro
Erich Korngold(1897-1957), Tales from Strauss for Orchestra, Op. 21(1927)
Erich Wolfgang Korngold's Tales from Strauss attracts attention because it is an homage to the composers he felt the most affection and because it lets us to identify the soil that provided nourishment to his music. The foundation of the soil is the music of the Strauss family, including the 'King of the Waltz' Johann Strauss II, and Tales from Strauss includes Radetzky March, Emperor Waltz, Acceleration Waltz, The Blue Danube and various other 'Viennese music' are intertwined like a medley.
First it appeared as a piano fantasy in the style of Leopold Godowsky or Ignaz Moscheles, but was later orchestrated. Korngold, who was born in Moravia but grew up in Vienna from the age of four, was very fond of the music of the Strauss family. He arranged or adapted many of them, and sometimes quoted or applied them in his own works as well. This enjoyable 'Viennese Waltz Fantasia' is a representative example.
Instrumentation
2[1.2+picc] 2 2 2- 3sax[2alto sax. 1tenor sax] - 2 2 3 0 - Hfe. - Harmonium. - Klav. - Str.
Pyotr Ilyich Tchaikovsky(1840-1893), Variations on a Rococo Theme, Op. 33(composed in 1876, revised in 1877)
Tchaikovsky's Variations on a Rococo Theme, composed during the winter between 1876 and 1877, is strongly reminiscent of the music of the 'Viennese Classical School.' The piece is scored for a reduced orchestra consisting of pairs of each of the double woodwind instruments, plus two horns and the usual strings, and the composer aims for a gallant-like divertimento style of writing throughout the entire work.
By adding a unique romantic feeling and sense, Tchaikovsky infuses rich emotional nuance into every nook and cranny of the work. As a result, the Variations is full of colorful and richly decorated melodies, beautiful colors, and an elegant atmosphere, befitting the modifier 'Rococo style'.
Thinking of the fact that Mozart never wrote a composition featuring the cello as the main character, Tchaikovsky's Rococo Variations seems to be a kind of compensation. Composed for the outstanding German cellist Wilhelm Fitzenhagen, who was Tchaikovsky's colleague at the Moscow Conservatory, this Variations encompasses a wide range of the cellos technical possibilities, and is universally regarded as a masterpiece among works written for cello and orchestra.
Instrumentation
violoncello solo
2 2 2 2 - 2 0 0 0 – str.
Hector Berlioz(1803-1869), Symphonie fantastique, Op. 14(1830)
In the autumn of 1827, Hector Berlioz, who was then a late bloomer student at the Paris Conservatory, went to see a play by the British Shakespeare Company performed at the Théâtre de l'Odéon. And there, he encounters two fateful subjects. One was Shakespeare's play, which the composer would be obsessed with for a long time, and the other was the Irish actress of the British Shakespeare Company, Harriet Smithson.
In particular, Berlioz was completely smitten by Smithson, who played Ophelia in Hamlet and Juliet in Romeo and Juliet, and carried out a reckless courtship with the uncontrollable passion. However, it was highly unlikely that a popular actress would pay attention to an unknown aspiring composer. That tragic experience would later sublimate into a symphony.
Berlioz added titles and annotations to the five movements of this symphony. The basic setting of the narrative of the symphony is that a young artist wanders in the agony of a broken heart and attempts suicide by taking opium, but instead of dying, he falls into a coma and experiences a strange 'fantasy.' In the fantasy, the protagonist is executed on guillotine for killing his lover, and has a nightmare of attending his own funeral, which is attended by all kinds of monsters, demons, and witches.
In addition, in this work, Berlioz presented a unique technique called 'idée fixe.' This is a compositional technique and dramatic device that expresses the woman the protagonist loves as a single melody (fixed musical phrase) and repeatedly appears while changing the rhythm and instrumentation depending on the circumstances of each movement.
Instrumentation
2[1.2+pic] 2[1.2+Eh] 2[1+Ebcl.2] 4 - 4 4[2tp.2crt] 3 2[2oph] - 4tmp - 2hp - str.
Per- bd, cym, sus cym, sd, 2low bells
Text by Bryan Hwang / Translation SukHo Lee