Orchestra rehearsal and dinner, followed the next evening by the full Concert.
\;The Orches tra de la Suisse Romande (OSR) invites AIC members to a rehearsal and dinn er with the conductor/composer, the violin soloist, \; orchestra membe rs, and partners/sponsors, on Wednesday 9 March 2016, and to attend the fu ll concert on Thursday 10 March 2016 at an attractive price.
\ ;
Orchestra de la Suisse Romande
\;Conductor/composer: Matthias Pintscher
Violin: Renaud Capuç\;on
\; Gabriel Fauré\; Pellé\;as et Mé\;lisande, Suite op. 80 (1898)
Matthias Pintscher Mar'eh,
Antonin Dvorak: Symphony No. 8 in G major, op. 88 (1889)
\;
Wednesday 9 March Rehearsal and Dinner
< p align="center">RehearsalVictoria Hall
Please be aware of the House Rules!
19H00. English commentary in the bar area. \;Seate d by 19H30! Open seating.
Rehearsal will in clude Mar'eh with Capuç\;on. \;This is a working sessio n managed by the conductor.
No Limited s pace but registration mandatory
\;
Dinner
Lyrique restaurant, OSR reserved section. Latest 22H00
Attended by condu ctor, violinist, and leading orchestra members.
They will change places during the evening.
Rehearsal an d 3-course dinner, wine: CHF 60 members, guest (limit of 1) CHF 100
Limited spaces: confirmed in order of payment!
Deadli ne to register: February 24th, 2016
\;
Orchestra de la Suisse Romande
\;Victoria Hall, 10 March 2016
\;Conductor/composer: Matthias Pintscher&n bsp\;
\;Violin: Renaud Capuç\;on \;
\;Gabriel Fauré\; Pellé\;as et M é\;lisande, Suite op. 80 (1898)
\;Ma tthias Pintscher Mar'eh, for violin and orchestra (1210- 2011)
\;Antonin Dvorak: Symphony No. 8 in G major, op. 88 (1889)
\;
\; \;
F auré\;'s best-known orchestral works are his suites. His music links the end of Romanticism with the modernism of the early 20th century. When he was born, Chopin was still composing, and at his death, jazz and the a tonal music of the Second Viennese School were heard.
Pellé\;as et M é\;lisande, Op. 80: Fauré\; wrote music for the Londo n production of Maurice Maeterlinck's play in 1898. Afterwards, he drew on this music for a short orchestral suite. Fauré\; was \; the fir st of four leading composers to write music inspired by Maeterlinck's dram a, including the Debussy opera of 1902.
Pré\;lude (quasi adagio)
The Pré\;lude is based on two themes\; the first is tightly restricted, that may reflect Mé\;lisan de's introverted personality. The second theme enters with a romantic solo cello and woodwind\; this may represent Mé\;lisande as first seen b y her future husband, Golaud. The horn calls near the end of this movement may suggest Golaud's discovery of Mé\;lisande in the forest.
Fileuse (andantino quas i allegretto)
La Fileuse is an orchestral spinning song - Mé\;lisande at her spinnin g wheel in the play. A gentle oboe melody is accompanied by the strings, w ho maintain a theme imitative of spinning.
Sicilienne (allegro molto moderato)
Although in the traditionall y sad key of G minor, it represents "the one moment of happiness shared by Pellé\;as and Mé\;lisande".
Mort de Mé\;lisande (molto adagio)< /p>
The last movement, in D m inor, is inescapably tragic, with a theme of lamentation for clarinets and flutes. There are echoes of Mé\;lisande's song throughout the movem ent. The opening theme returns fortissimo on the strings. This mo vement was played at Fauré\;'s own funeral.
Matthias Pintscher (born 1971, Marl, North Rhine-Westpha lia): considered one of the preeminent composers of our day and among its most exciting conductors. Pintscher now lives in New York City. As a youth , he studied the violin and conducting. He held a Daniel R Lewis Young Com poser Fellowship with the Cleveland Orchestra, \;2000-2002. More rece ntly, he has been associated with the BBC Scottish Symphony Orchestra, the Ensemble InterContemporain as Music Director, the Cologne Philharmonie, D anish Radio, and the Julliard School, New York, as professor for compositi on. Several of his orchestral and vocal works have been performed at such venues as Carnegie Hall and the Royal Albert Hall.
Mar&rsquo\;eh for violin and orchestra ( 2010/11) \;
&ldquo\; &lsquo\;Mar&rsquo\;eh&rsquo\; means face, sign. The Hebrew word c an also mean the aura of a face, a beautiful vision, something wonderful w hich suddenly appears before you.&rdquo\; With Mar&rsquo\;eh, Matthias Pintscher has composed a violin concerto that was premiered at the Lucerne Festival with the London Philharmonic Orchestra under Vladi mir Jurowski and violinist Renaud Capuç\;on. &ldquo\;I came across t his word when I thought of the fine lines which she can spin with her inst rument, this very intensive, but light play.&rdquo\; The &ldquo\;wonderful appearance&rdquo\; is a metaphor for the sound aura of the whole concerto . A constant materialising of new sounds out of nothing, with the violin a s protagonist. &ldquo\;I have tried to shape the whole in a very songlike fashion, so that the violin starts at the beginning and draws a line &ndas h\; or its vision &ndash\; through to the end, in the most varied register s, often quite high, where it can only be continued in harmonics. I wanted this continual pacing out of a line. In the attempt to create horizontal arcs of sound, I was concerned with always giving the sound a direction in perspective.&rdquo\;
The orchestra is part of the transparent sonority, it answers in the gesture which the violin evokes and realises its own form of Klangfarbenmelodi e [tone color melody]. &ldquo\;There are three flutes which have a pr ominent position....... They comment throughout on the violin part, consta ntly answering the violin in chamber music style. This then spreads furthe r into the broken, spectral sonority of the orchestra. The texture is alwa ys light, never compact or violent, but transparent, answering in perspect ive the fine drawing of the violin in this sound space.&rdquo\;
The continuous movement of c. 22 mi nutes incorporates concentrations and culmination points: it interprets Sc hö\;nberg&rsquo\;s term of Klangfarbenmelodie [tone color mel ody] as a continuum of sound: &ldquo\;My wish was to allow these many smal l particles to come together in the illusion of a large, light, transparen t mass which permeates from the beginning to the end. It is about the fact that the sound has a direction, not in the melodic sense, but in that the sound always continues, is never interrupted. It is about the direction o f sound in space and time.&rdquo\; &hellip\;.. &ldquo\;The piece is high, fast, filigree, but it is not about an extrovert or exalted virtuosity, bu t about introspection, which can perhaps be called &lsquo\;concentric virt uosity&rsquo\;&rdquo\;.
< em>Bä\;renreiter: The Musicians' Choice. Marie Luise Maintz \; (Tr anslation: Elizabeth Robinson)
Antoní \;n Leopold Dvořá\;k \; (1841 &ndash\; 1904): C zech composer of orchestral music and nine operas, including Rusalka. Following the nationalist example of Bedřich Smetana, Dvořá\; k frequently employed aspects, specifically rhythms, of the folk music of Moravia and his native Bohemia..
The Symphony No. 8 in G major, Op. 88, B. 163,&nb sp\; composed in 1889 on the occasion of his election to the Bohemian Acad emy of Science, Literature and Arts. Dvořá\;k conducted the premier e in Prague in February 1890. In contrast to other symphonies of both the composer and the period, the music is warm, cheerful and optimistic. Along with the Seventh and the Ninth, this symphony is regarded as one of his m ajor achievements. A typical performance of the Eighth lasts about 36 minu tes, making it one of Dvořá\;k's shorter symphonies. The orchestrat ion of piccolo and English Horn is unusual in this symphony.
The symphony is in four movements:
1 \; \; \; \ ; \; \; \; Allegro con brio (G minor &ndash\; G major)
2 \; \; \; \;&nb sp\; \; \; Adagio (E-flat major &ndash\; C minor &ndash\; C major)
3 \; \; \;&n bsp\; \; \; \; Allegretto grazioso &ndash\; Molto vivace (G mi nor, ending in G major)
4 \; \; \; \; \; \; \; Allegro ma non troppo (G major)
Dvořá\;k k ept the typical format of a symphony in four movements, but structured the m in an unusual way. All movements show a remarkable variety of themes, ma ny of them based on Bohemian material. Occasionally the development of the themes seems like improvisation. "Dvorá\;k's handling of form is in debted to Beethoven and Brahms, but he filled out the form with melodies o f an unmistakably Czech flavor and a joviality few composers at the time p ossessed.............. The music is always cheerful and optimistic."
< p style="text-align: left\;" align="center">The first movement is a powerful and glowing exposition characterized by liberal use of timpani. It opens with a lyrical G minor theme in the cellos, horns, clar inets and bassoon with trombones, violas and double basses pizzicato. This gives way to a "bird call" flute melody, reaching the key G major. The re capitulation plays the second main theme by the English horn two octaves l ower.Despite a mark Adagio, the second movement moves along at a reasona ble speed. It begins with a beautiful clarinet duet and ends quietly, but contentedly. Like Beethoven's Pastoral Symphony, the music is ins pired by tranquil landscapes, depicting a summer's day, interrupted by a t hunderstorm.
The first th eme of the third movement is a melancholy waltz. In contr ast to the "sweet and languid waltz" of the first theme, the second, funct ioning as a "trio," sounds like a Bohemian folk dance.
The finale, formally a "com plex theme-and-variations," is the most turbulent movement. It begins with a fanfare of trumpets. (Conductor Rafael Kubelik: "Gentlemen, in Bohemia the trumpets never call to battle &ndash\; they always call to the dance!" ) The melody is first played by cellos, then a cascade of instruments triu mphant. After a tempestuous middle section (several major-minor shifts), a nd return to the slow, lyrical section, it ends in a chromatic coda of bra ss and timpani.
< span style="text-decoration: underline\;">Source: wikipdia unless indicate d