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Tickets

Nelson Freire / Hugh Wolff / Belgian National Orchestra - NOSPR

Nelson Freire / Hugh Wolff / Belgian National Orchestra

Program
Julia Adolphe
Dart Sand, Sifting Light
Ludwig van Beethoven
Piano Concerto No. 4 in G major, Op. 58
Ludwig van Beethoven
Symphony No. 7 in A major, Op. 92

The prelude for this concert will be Julia Adolphe’s Dark Sand, Sifting Light (2014) – an orchestral impression with grand piano in the background. The tones from beneath the keyboard sound unreal, as if reaching us from afar, through an open window. This is what the beginnings of Ludwig van Beethoven’s deafness might have sounded like. It is not improbable that the unexpected compositional devices in his  Piano Concerto No. 4 in G major (1806)– from opening the piece with a calm, melancholic piano solo instead of a usual orchestral ritornelle, through the image of Orpheus taming the Furies with his singing in the Andante, to beginning the final rondo in the “wrong” C-major key – are a reflection of the emotions he felt in, initially, rebelling against the loss of hearing and, eventually, reconciling with his fate. The piece was first performed by Beethoven in March 1807, at duke Lobkowitz’s palace. In December next year, the composer decided to present the Concerto to a wider audience at the Theater an der Wien. The first performance bordered on a disaster. Trying to play the piano and conduct the orchestra at the same time, Beethoven knocked down the candlesticks placed on his instrument’s lid; when the audience started to laugh, he took a break and started anew; banging the keys in heys fury, he broke several strings in the piano. It was his last public solo performance. The first performance of his Symphony No. 8 in A major (1812), on 8th December 1813, proved one of his greatest triumphs. This is how he commented on his new work: „Music is wine, which inspires creativity; I am Bacchus, who pours the exquisite drink to inebriate human souls”.

The prelude for this concert will be Julia Adolphe’s Dark Sand, Sifting Light (2014) – an orchestral impression with grand piano in the background. The tones from beneath the keyboard sound unreal, as if reaching us from afar, through an open window. This is what the beginnings of Ludwig van Beethoven’s deafness might have sounded like. It is not improbable that the unexpected compositional devices in his  Piano Concerto No. 4 in G major (1806)– from opening the piece with a calm, melancholic piano solo instead of a usual orchestral ritornelle, through the image of Orpheus taming the Furies with his singing in the Andante, to beginning the final rondo in the “wrong” C-major key – are a reflection of the emotions he felt in, initially, rebelling against the loss of hearing and, eventually, reconciling with his fate. The piece was first performed by Beethoven in March 1807, at duke Lobkowitz’s palace. In December next year, the composer decided to present the Concerto to a wider audience at the Theater an der Wien. The first performance bordered on a disaster. Trying to play the piano and conduct the orchestra at the same time, Beethoven knocked down the candlesticks placed on his instrument’s lid; when the audience started to laugh, he took a break and started anew; banging the keys in heys fury, he broke several strings in the piano. It was his last public solo performance. The first performance of his Symphony No. 8 in A major (1812), on 8th December 1813, proved one of his greatest triumphs. This is how he commented on his new work: „Music is wine, which inspires creativity; I am Bacchus, who pours the exquisite drink to inebriate human souls”.

Dorota Kozińska

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