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Mozart Festival

Mozart Festival

Σάββατο, 21 Ιανουαρίου 2017

Wolfgang Amadeus Mozart: Overture to The Magic Flute, Flute Concerto No.1 in G major, Horn Concerto No.2 in E flat major, Overture to Don Giovanni, Symphony No.39 in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 22, 2017, 10:00 PM – Live on Livestream











Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
— Detroit Symphony Orchestra

Mozart Festival | Concert 2 of 6: Symphony 39

Detroit: Sunday, January 22, 2017, 03:00 PM (EST, GMT-5)

Prior to the #MozartFest: Symphony 39 webcast, Kathryn Libin will speak about Mozart's Overtures, or How to Launch an Opera. (02:00 PM, EST, GMT-5)



Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Ο Μαγικός Αυλός», K.620, το Κοντσέρτο για φλάουτο αρ. 1 σε Σολ μείζονα, K.313, το Κοντσέρτο για κόρνο αρ. 2 σε Μι ύφεση μείζονα, K.417, την Εισαγωγή από την όπερα «Ντον Τζοβάννι», K.527, και τη Συμφωνία αρ. 39 σε Μι ύφεση μείζονα, K.543, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες David Buck (φλάουτο) και Karl Pituch (κόρνο).

Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 22 Ιανουαρίου 2017, στις 10:00 μμ (ώρα Ντιτρόιτ: 03:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.

Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Εισαγωγές του Μότσαρτ, ή Πώς να ξεκινήσει μία όπερα».



Mozart's Overtures, or How to Launch an Opera

Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.

Sunday, January 22, 2017, 09:00 PM (EET, UTC+02:00)




MOZART FESTIVAL | JANUARY 19 - FEBRUARY 5, 2017

Concert 2 of 6

Wolfgang Amadeus Mozart (1756-1791)

♪ Overture to The Magic Flute, K.620 (1791)

♪ Flute Concerto No.1 in G major, K.313 (1778)

i. Allegro maestoso
ii. Adagio ma non troppo
iii. Rondeau. Tempo di Menuetto

David Buck, flute


♪ Horn Concerto No.2 in E flat major, K.417 (1783)

i. Allegro maestoso
ii. Andante
iii. Rondo

Karl Pituch, horn


♪ Overture to Don Giovanni, K.527 (1787)

♪ Symphony No.39 in E flat major, K.543 (1788)

i. Adagio – Allegro
ii. Andante con moto
iii. Menuetto & Trio: Allegretto
iv. Allegro


Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Sunday, January 22, 2017, 10:00 PM (EET, UTC+02:00)
[Detroit: Sunday, January 22, 2017, 03:00 PM (EST, GMT-5)]

Live on Livestream


Leonard Slatkin conducts the Detroit Symphony Orchestra












The Magic Flute (Die Zauberflöte, K.620) is an opera in two acts by Mozart to a German libretto by Emanuel Schikaneder. The work is a Singspiel, a popular form that included both singing and spoken dialogue. The work premiered in 1791, and it marked  the culmination of a period of involvement by Mozart with Schikaneder's theatrical troupe. He had previously contributed to their work in the collaboratively-written Der Stein der Weisen (The Philosopher's Stone). Mozart wrote The Magic Flute keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors. The work is noted for its prominent Masonic elements: as Schikaneder, Mozart, and Alberti (the engraver) were lodge brothers. The story portrays the education of mankind, progressing from chaos through religious superstition to rationalistic enlightenment, by means of trial and error, ultimately to make "the Earth a heavenly kingdom, and mortals like the gods".

The Flute Concerto No.1 in G major, K.313, was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K.313 being the first. The Andante for Flute and Orchestra, K.315 may have been written as an alternative slow movement for this concerto. The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns. The opening of the second movement is often known as resembling the famous theme from the Blue Danube Waltz by Johann Strauss, Jr., which was composed many years later.

Wolfgang Amadeus Mozart's Horn Concerto No.2 in E flat major, K.417, was completed in 1783. This is one of two horn concerti of Mozart to omit bassoons. It is also one of Mozart's two horn concerti to have ripieno horns (horns included in the orchestra besides the soloist), though in contrast to K.495, the solo horn in this one does not duplicate the first ripieno horn's part in the tutti passages. Mozart's good-natured ribbing of his friend is evident in the manuscript inscription "W. A. Mozart took pity on Leitgeb, ass, ox and fool in Vienna on 27 May 1783". The work is in three movements and does not last more than 20 minutes. Given its duration, the Concerto is typically grouped with Mozart's other 3 for the instrument.

Mozart completed Don Giovanni in 1787, and the opera was premiered in Prague on October 29, 1787. Don Giovanni is one of the three operas that resulted from Mozart's collaboration with the great librettist Lorenzo Da Ponte (the other two operas being Le nozze di Figaro and Cosi fan tutte). Mozart himself called his opera dramma giocosso (literally "merry drama") and here in the overture we can see how drama and comedy shift as quickly and as unpredictably as only one man – Mozart – could do. The overture begins with the Commendatore theme. The tragic chords of the very beginning, the following ostinato rhythm, as well as the ascending and descending lines in the first violins and flutes create the impression of something fateful to follow. Contrasting with the general dark mode of the introduction of the overture is the sonata allegro with its typical Mozartean wit and energy. The second theme of the sonata allegro deserves special attention: its forte-piano contrast clearly represents the Don Giovanni-Leporello tandem. Originally Mozart designed the overture to lead directly to the music of the first act, showing that the overture is an inseparable part of the entire drama. It is a well known fact that it took only one day for Mozart to complete the overture to the opera (and that day happened to be the day before the opera's premiere).

The Symphony No.39 in E flat major, K.543, is the first work of the famous symphonic triptych (K.543, K.550 and K.551) Mozart composed in the summer of 1788. Although we do not know exactly why he wrote these three masterpieces at that time, it is assumed that they were intended for a series of concerts in Vienna. Despite his waning popularity in Vienna and his desperate financial situation, Mozart succeeded in forgetting his daily concerns and created a masterpiece of good spirits and self-confidence. The stately introduction leads into a graceful, urbane theme that seems to flow without effort. But a highlight of this work is the Trio of the Minuet, a pastoral Ländler for woodwinds that contrasts strikingly with the pounding energy of the Minuet.


David Buck (Principal Flute, DSO member since 2012)

Praised by The Oregonian for his "supple tone, rhythmic dynamism, and technical agility", David Buck joined the Detroit Symphony Orchestra as Principal Flute in 2012. He previously held principal positions with the Los Angeles Philharmonic and the Oregon Symphony, and has made guest principal appearances with the Pittsburgh, Baltimore and Chicago Symphony Orchestras.

David has performed as a soloist with the Detroit Symphony Orchestra, Detroit Chamber Winds & Strings and the Oregon Symphony, collaborating with conductors including Leonard Slatkin, John Storgårds, Paul Watkins and Teddy Abrams. In 2014, he recorded John Williams' rarely heard Concerto for Flute and Orchestra with Maestro Slatkin and the DSO for Naxos.

During the summer months, David has appeared at the Great Lakes Chamber Music Festival, Oregon Bach Festival, Colorado Music Festival, Tanglewood, Kent/Blossom, Spoleto Festival del Due Monde in Spoleto, Italy and the Pacific Music Festival in Sapporo, Japan. He is a member of the Detroit Chamber Winds & Strings and a former member of the LA Phil New Music Group.

David is a graduate of The Juilliard School, where he earned his Bachelor of Music degree and Graduate Diploma. His primary teachers have been Robert Langevin, Jeffrey Khaner, Jeanne Baxtresser and David Cramer. A native of Philadelphia, David lives in Royal Oak, Michigan with his wife, flutist Jung-Wan Kang.


Karl Pituch (Principal Horn, DSO member since 2000)

Karl Pituch was named Principal Horn of the Detroit Symphony Orchestra in May, 2000. Before joining the DSO, Karl was Associate Principal Horn with the Dallas Symphony Orchestra, Principal Horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony and the Colorado Music Festival Orchestra. He served as a guest Principal Horn for the Boston Symphony Orchestra, the Los Angeles Philharmonic, the Cincinnati Symphony Orchestra, the St. Louis Symphony Orchestra, the St Paul Chamber Orchestra, the Chautauqua Festival Orchestra and the Grand Teton Festival Orchestra.

Karl can be heard on many recordings with the Detroit, Dallas, San Francisco and Honolulu Symphony Orchestras, on the DSO's Live from Orchestra Hall webcasts and as soloist with the Detroit Symphony in the John Williams horn concerto and Kerry Turner horn concerto.

Karl was the grand prize winner at the 1989 American Solo Horn Competition and has been a finalist at many other solo competitions. As a soloist, Karl has performed with orchestras in Japan, Hawaii, Colorado, Oklahoma, Arkansas, Ohio, Indiana, Florida and Michigan. He has been a frequent guest artist at numerous horn conferences and serves as a board member and judge at the International Horn Competition of America. An active chamber musician, Karl has recorded with The DSO Wind Quintet and the Spring Wind Quintet, toured many times with the American Horn Quartet, and participated in chamber music festivals in Marlboro, Vermont; Crested Butte, Colorado; Kapalua, Maui; Kazusa, Japan and Freden, Germany (with the American Horn Quartet).

Karl is currently the horn instructor at Wayne State University. He has taught at the University of Hawaii and has given master classes across the U.S. He is a co-founder, along with Denise Tryon, of Audition Mode, an annual horn seminar specializing in audition preparation. Karl earned his degree from the University of Toledo where he studied with Mary Kihslinger. He also studied with Froydis Wekre and Dale Clevenger.


Detroit Symphony Orchestra













Past Events / Προηγούμενες Εκδηλώσεις

Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, Oboe Concerto in C major, Horn Concerto in D major, Sinfonia concertante in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Friday, January 20, 2017, 05:45 PM – Live on Livestream

Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation" | Lalo Schifrin: Tangos Concertantes | Gabriela Lena Frank: Concerto for Orchestra – Cho-Liang Lin, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 15, 2017, 3:00 AM – Live on Livestream


Ludwig van Beethoven: Overture to The Creatures of Prometheus, & Piano Concerto No.2 in B flat major | Edward Elgar: Symphony No.1 in A flat major – Emanuel Ax, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 11, 2016, 10:00 PM – Live on Livestream


Kurt Weill: The Seven Deadly Sins | William Walton: Façade Orchestral Suite No.1, & Symphony No.1 in B flat minor – Storm Large, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 4, 2016, 3:00 AM – Live on Livestream


The King's Singers: Christmas Songbook – The Greene Space, New York – Thursday, December 1, 2016, 2:00 AM – Live on Livestream


Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2:30 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Sunday, November 20, 10:00 PM – Live on Livestream


Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor | Béla Bartók: Concerto for Orchestra – Kirill Gerstein, Detroit Symphony Orchestra, Jun Märkl – Sunday, November 20, 2016, 3:00 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Saturday, November 19, 2016, 2:30 AM – Live on Livestream


Ludwig van Beethoven: Symphony No.4 in B flat major | Gustav Mahler: Das Lied von der Erde – Detroit Symphony Orchestra, Louis Langrée – Sunday, November 13, 2016, 3:00 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Tuesday, November 8, 2:30 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Sunday, November 6, 9:00 PM – Live on Livestream


Giacomo Puccini: La Bohème – Maribel Salazar, Mario Rojas, Orquesta & Coro del Teatro de Bellas Artes, Enrique Patron de Rueda – Monday, November 7, 2016, 1:00 AM – Live on Livestream


Anne Nispel and Elden Little interpret songs by Ralph Vaughan Williams, Franz Schubert, Gabriel Fauré, Ned Rorem, Samuel Barber, Carlos Gustavino, Jayme Ovalle and Miguel Sandoval – Sunday, November 6, 2016, 02:00 AM – Live on Livestream


Jennifer Johnston and Joseph Middleton interpret songs by Gustav Mahler, Richard Wagner and Franz Liszt – Saturday, November 5, 2016, 09:30 PM – Live on Livestream


Ian Buckle plays Frédéric Chopin: Prelude in C sharp minor, & Claude Debussy: Préludes, Book I – Friday, November 4, 2016, 03:00 PM – Live on Livestream


Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream


Πέμπτη, 19 Ιανουαρίου 2017

Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, Oboe Concerto in C major, Horn Concerto in D major, Sinfonia concertante in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Friday, January 20, 2017, 05:45 PM – Live on Livestream











Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
— Detroit Symphony Orchestra

Mozart Festival | Concert 1 of 6: Concertante

Detroit: Friday, January 20, 2017, 10:45 AM (EST, GMT-5)

Prior to the #MozartFest: Concertante webcast, Kathryn Libin will speak about Mozart as a Citizen of Europe. (09:45 AM, EST, GMT-5)



Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Οι Γάμοι του Φίγκαρο», K.492, το Κοντσέρτο για όμποε σε Ντο μείζονα, K.314, το Κοντσέρτο για κόρνο σε Ρε μείζονα, K.412, και τη Συμφωνία κοντσερτάντε σε Μι ύφεση μείζονα, K.364, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες Alex Kinmonth (όμποε), Scott Strong (κόρνο), Yoonshin Song (βιολί) και Eric Nowlin (βιόλα).

Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Παρασκευή 20 Ιανουαρίου 2017, στις 5:45 μμ (ώρα Ντιτρόιτ: 10:45 πμ), και θα μεταδοθεί ζωντανά από το Livestream.

Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Ο Μότσαρτ ως πολίτης της Ευρώπης».



Mozart as a Citizen of Europe

Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.

Friday, January 20, 2017, 04:45 PM (EET, UTC+02:00)




MOZART FESTIVAL | JANUARY 19 - FEBRUARY 5, 2017

Concert 1 of 6

Wolfgang Amadeus Mozart (1756-1791)

♪ Overture to The Marriage of Figaro, K.492 (1786)

♪ Oboe Concerto in C major, K.314 (1777)

i. Allegro aperto
ii. Adagio non troppo
iii. Rondo: Allegretto

Alex Kinmonth, oboe


♪ Horn Concerto in D major, K.412 (1791)

i. Allegro
ii. Rondo. Allegro

Scott Strong, horn


♪ Sinfonia concertante in E flat major, K.364 (1779)

i. Allegro maestoso
ii. Andante
iii. Presto

Yoonshin Song, violin
Eric Nowlin, viola


Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Friday, January 20, 2017, 05:45 PM (EET, UTC+02:00)
[Detroit: Friday, January 20, 2017, 10:45 AM (EST, GMT-5)]

Live on Livestream


Leonard Slatkin (Photo by David Duchon-Doris)

















Le Nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or The Day of Madness), K.492, is a comic opera in four acts composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro. The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. The Overture to the Marriage of Figaro was written just a couple of hours before the opera's premiere. Unusually, it does not quote any music from the opera itself.

Wolfgang Mozart's Oboe Concerto in C major, K.314, was originally composed in 1777 for oboist Giuseppe Ferlendis, then reworked by the composer as the Flute Concerto in D in 1778. The Concerto is a widely-studied piece for both instruments and is one of the more important concerti for the oboe. The score calls for a standard set of orchestral strings, two oboes, and two horns in D/C. The work is in three movements and lasts about 20 minutes.

Wolfgang Amadeus Mozart started his Horn Concerto No.1 in D major in 1791. Most unusually, it is a concerto in two movements, with each one receiving a particular catalogue number, according to the Köchel classification (K.412 and 514). It is the only horn concerto by Mozart to be in the key of D major and due to its short length it is usually performed accompanied by the other three horn concertos (which are all in E flat major). It was the last of his horn concertos to be finished, and in general lines it is less demanding for the player, which many see as a nod to the hornist that would premiere it: Joseph Leutgeb, a good friend a Mozart whose technical capabilities were reduced by his advanced age. Also presumably dedicated to Leutgeb were many Italian double-entendres present in the manuscript score, a display of Mozart's bizarre humor. It has been demonstrated that the final version of the concerto is actually a completion by Franz Xavier Süssmayr (Mozart's pupil who also wrote the most frequently performed completion of the Requiem). Süssmayr greatly deviated from Mozart's sketches, even inserting a plainchant melody which the composer had copied, presumably for using in the Requiem.

The Sinfonia Concertante for violin, viola and orchestra in E flat major, K.364, was written by Wolfgang Amadeus Mozart. At the time of its composition in 1779, Mozart was on a tour of Europe that included Mannheim and Paris. Mozart had been experimenting with the sinfonia concertante genre and this work can be considered his most successful realization in this cross-over genre between symphony and concerto. The average performance time of the three movements of this piece is half an hour.


Alex Kinmonth (Principal Oboe, DSO member since 2015)

Alex Kinmonth has recently been appointed Principal Oboe of the Detroit Symphony Orchestra by Leonard Slatkin and can be heard on the DSO's most recent recordings of Tchaikovsky's Symphonies 1, 2, 4 and 6. He is a graduate of The Juilliard School, where he studied with Nathan Hughes of the Metropolitan Opera.

Alex has substituted in the Metropolitan Opera on both oboe and English horn and in the Charleston (SC) Symphony Orchestra. This summer Alex participated in the Mainly Mozart Festival in San Diego CA, and the Tanglewood Music Festival in Lenox, MA. In previous summers he has attended the Music Academy of the West, the Round Top Institute, and the Aspen Festival, where he received a fellowship in 2014. He also participated in the prestigious New York String Orchestra Seminar at Carnegie Hall in 2013.

Alex is a winner of the Professional Musicians Club of Boston's award for "Outstanding Achievement". During his time in New York, Alex performed operas, orchestral works and new music with the Juilliard Orchestra and New Juilliard Ensemble, working with noted conductors such as James Levine, Kurt Masur, and Jaap Van Zweden.

Alex grew up in a musical household in Carlisle, MA, choosing to play violin at age 5 and oboe at age 9. From a young age, he has pursued orchestral, solo and chamber music interests, playing with the Boston Youth Symphony, the New York Youth Symphony, and winning awards from the Massachusetts Instrumental and Choral Conductors Association, Philharmonic Society of Arlington, and Concord (MA) Orchestra. His former teachers include John Ferrillo and Laura Ahlbeck.

Although music is the main focus of Alex's life, he also enjoys a balance of athletic, social, and academic interests. He participated in the 2010 National Junior Olympics for fencing, and enjoys soccer and downhill mountain biking. He is also the winner of a National Gold Key Award in the Scholastic Art and Writing Awards' Short Story category.


Yoonshin Song (Concertmaster, Katherine Tuck Chair, DSO member since 2012)

Acclaimed as "a wonderfully talented violinist... whose sound and technique go well beyond her years", Yoonshin Song was born in South Korea where she began her musical studies at age five. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career throughout Korea, the United States and Europe.

Yoonshin earned many prestigious prizes throughout her career. Some highlights include top prize awards in international violin competitions such as the Wieniawski (Poland), Lipizer (Italy), Henry Marteau (Germany) and first prize at the Stradivarius International Competition in the U.S. In her native South Korea, Song has won virtually all the major national competitions. In addition, Yoonshin has received the David G. Whitecomb Foundation Award and the Korean Minister of Culture's Award.

Since giving her debut recital after winning the Jeunesses Musicales Competition in 1999, she has been sought after as a recitalist performing throughout Korea, the United States and Europe to great acclaim. As a soloist she has performed with many orchestras around the world, including the Detroit Symphony, the Houston Symphony, the Utah Symphony, the P. Constantinescu Philharmonic Orchestra, Bayreuth Festival Orchestra, Seoul Philharmonic Orchestra, KBS Philharmonic Orchestra and Korean Baroque Chamber Orchestra.

Yoonshin has participated both as a soloist and as a chamber musician in numerous music festivals: Marlboro Music Festival, Verbier Music Festival, Deer Valley Music Festival, the Great Lakes Chamber Music Festival, Aspen Music Festival, Perlman Music Program, Miyazaki Chamber Music Festival in Japan and Bayreuth Festival in Germany.

Yoonshin earned her Master's degree and Graduate Diploma under the tutelage of Donald Weilerstein at the New England Conservatory and completed the Artist Diploma and Professional Study programs at Manhattan School of Music, where she studied with Robert Mann and Glenn Dicterow.

Since 2012, Yoonshin has been the Concertmaster of the Detroit Symphony Orchestra, and has enjoyed close collaborations with inspiring guest artists such as Gil Shaham, Joshua Bell and Jamie Laredo among others.

Yoonshin currently plays on a 1707 Vincenzo Rugeri violin on loan to her by a generous sponsor in Michigan. She teaches at the University of Michigan.


Leonard Slatkin conducts the Detroit Symphony Orchestra
(Photo by Fabrizio Costantini)

















Past Events / Προηγούμενες Εκδηλώσεις

Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation" | Lalo Schifrin: Tangos Concertantes | Gabriela Lena Frank: Concerto for Orchestra – Cho-Liang Lin, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 15, 2017, 3:00 AM – Live on Livestream

Ludwig van Beethoven: Overture to The Creatures of Prometheus, & Piano Concerto No.2 in B flat major | Edward Elgar: Symphony No.1 in A flat major – Emanuel Ax, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 11, 2016, 10:00 PM – Live on Livestream


Kurt Weill: The Seven Deadly Sins | William Walton: Façade Orchestral Suite No.1, & Symphony No.1 in B flat minor – Storm Large, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 4, 2016, 3:00 AM – Live on Livestream


The King's Singers: Christmas Songbook – The Greene Space, New York – Thursday, December 1, 2016, 2:00 AM – Live on Livestream


Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2:30 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Sunday, November 20, 10:00 PM – Live on Livestream


Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor | Béla Bartók: Concerto for Orchestra – Kirill Gerstein, Detroit Symphony Orchestra, Jun Märkl – Sunday, November 20, 2016, 3:00 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Saturday, November 19, 2016, 2:30 AM – Live on Livestream


Ludwig van Beethoven: Symphony No.4 in B flat major | Gustav Mahler: Das Lied von der Erde – Detroit Symphony Orchestra, Louis Langrée – Sunday, November 13, 2016, 3:00 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Tuesday, November 8, 2:30 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Sunday, November 6, 9:00 PM – Live on Livestream


Giacomo Puccini: La Bohème – Maribel Salazar, Mario Rojas, Orquesta & Coro del Teatro de Bellas Artes, Enrique Patron de Rueda – Monday, November 7, 2016, 1:00 AM – Live on Livestream


Anne Nispel and Elden Little interpret songs by Ralph Vaughan Williams, Franz Schubert, Gabriel Fauré, Ned Rorem, Samuel Barber, Carlos Gustavino, Jayme Ovalle and Miguel Sandoval – Sunday, November 6, 2016, 02:00 AM – Live on Livestream


Jennifer Johnston and Joseph Middleton interpret songs by Gustav Mahler, Richard Wagner and Franz Liszt – Saturday, November 5, 2016, 09:30 PM – Live on Livestream


Ian Buckle plays Frédéric Chopin: Prelude in C sharp minor, & Claude Debussy: Préludes, Book I – Friday, November 4, 2016, 03:00 PM – Live on Livestream


Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream


Τετάρτη, 18 Ιανουαρίου 2017

Johannes Brahms: Piano Trio in B major – Marc-André Hamelin, Joshua Bell, Steven Isserlis














This year [2014], the festival's final weekend opened with a chamber concert celebrating one of those musical partnerships that brings years of history with it. British cellist Steven Isserlis and American violinist Joshua Bell came together with pianist Marc-Andre Hamelin to create a starry classical supergroup. Brahms' Trio No.1 in B major is one of the great works of the chamber repertoire – a miniature that packs symphonic scope and weight into its slight frame, setting cello and violin in an impassioned dialogue. Isserlis's instinctual style shares little with Bell's polished sweetness of delivery except an expressiveness that both arrive at by very different means.

Here, Isserlis responded to the music's every mercurial twitch and glance with vivid shifts, leading us in movement and muscular tone from the fugal Bach-inspired moments of the  Allegro to its expansive moments of lyricism. Bell's approach to performance is more crafted, but was no less striking here – goaded and urged beyond beauty and comfort by Isserlis's craggier textures. Underplaying the Adagio with a restraint whose strength was in suggesting so much more than it would fulfil, Bell found an innocence to it that restored us to a simplicity cast aside in Brahms's witty Scherzo.

Source: Alexandra Coghlan, August 11, 2014 (newstatesman.com)



Τρεις κορυφαίοι σολίστες, ο Καναδός πιανίστας Marc-André Hamelin, ο Αμερικανός βιολονίστας Joshua Bell και ο Βρετανός βιολοντσελίστας Steven Isserlis, ερμηνεύουν το Τρίο για πιάνο, βιολί και βιολοντσέλο αρ. 1 σε Σι μείζονα, έργο 8, του Γιοχάνες Μπραμς. Η συναυλία δόθηκε στο πλαίσιο του Φεστιβάλ του Βερμπιέρ στην Ελβετία, στη Salle des Combins, την 1η Αυγούστου 2014.



Johannes Brahms (1833-1897)

♪ Piano Trio in B major, Op.8 (Original version, 1854)

i. Allegro con moto – Tempo un poco più Moderato – Schnell
ii. Scherzo: Allegro molto – Trio: Più lento – Tempo primo
iii. Adagio non troppo – Allegro – Tempo primo
iv. Finale: Allegro molto agitato – Un poco più lento – Tempo primo

Marc-André Hamelin, piano
Joshua Bell, violin
Steven Isserlis, cello

Switzerland, Verbier Festival, Salle des Combins, August 1, 2014

(HD 720p)















It is well known that Brahms was in the habit of destroying those of his works which did not please him, and this fate befell not only youthful experiments, but entire mature works. So great was his insecurity that perhaps even great symphonies and concertos, which might have warmed all humankind, produced instead only a few moments of warmth from the composer's fireplace. A youthful work which escaped such a dire fate is Brahms' First Piano Trio. Completed in early 1854, it was the first of the composer's chamber works to be published. This occurred in spite of criticism from none other than Clara Schumann, whom Brahms adored and respected as friend and musician. Some 34 years later, Brahms accepted the invitation of his publisher, Simrock, to revise some of his early works, including this trio. Uncharacteristically, Brahms permitted both versions of the work to exist, and even suggested the two be promoted together. A century later, it is the revised version that is most often performed and recorded.

Like Brahms' other piano trios, and unlike those of Mozart, the work is in four movements, with a second-movement scherzo added to the usual three movements. This gives the work a near-symphonic scope; a performance can run to nearly 40 minutes. The work begins pensively. After a brief piano introduction comes a marvelous cello solo theme which migrates to the entire ensemble. Rather than developing in the manner of Mozart's trios, the work then unfolds more like the first movement of a symphony, rich in themes and ideas. This long first movement, in fact, was that which Brahms most extensively revised in the later version of the work.

The Scherzo features a whispered, skipping minor theme which quickly bursts into a major key and becomes positively exuberant. A second, bucolic theme, still in the major mode, builds to grand proportions before the first theme returns, develops in startling directions, and ends the movement dramatically but quietly.

The work becomes mysterious in the Adagio. A passage of soft, stepping piano chords beneath singing phrases in the violin leads to an extended and very warm cello passage. In spite of its overall darkness, the movement is serene, almost meditative. It ends, as it began, with stepping piano chords.

The final movement is the most expansive of all, as Brahms once again makes use of the piano's power to create a symphonic sweep. A once-repeated passage of syncopation is strangely distracting, but the movement builds to a satisfying finish. As a piano trio, the work is notably enormous in scope and sound. Reflecting in its two versions both early and mature Brahms, it is a virtual blueprint of the composer's stylistic development.

Source: Michael Morrison (allmusic.com)



Το πρώτο από τα τρία Τρίο με πιάνο του Μπραμς παρουσιάζει την πλέον πολυκύμαντη ιστορία. Γραμμένο αρχικά τον Ιανουάριο του 1854 στο Αννόβερο, εκδόθηκε στα τέλη του ίδιου έτους υπό τον αριθμό έργο 8 και παρουσιάστηκε για πρώτη φορά σε συναυλιακό κοινό το 1855 στη Νέα Υόρκη. 35 χρόνια αργότερα (το καλοκαίρι του 1889 στο Ischl), εντούτοις, ο συνθέτης, παρακινούμενος από πρόταση του εκδότη Simrock, προχώρησε σε εκτεταμένη αναθεώρηση του νεανικού αυτού έργου (η οποία περιλαμβάνει ακόμη και σημαντικές περικοπές), ώστε χαριτολογώντας να αναφέρεται αργότερα – σε επιστολή του προς την Κλάρα Σούμαν – στο... «έργο 108»! Η δεύτερη αυτή εκδοχή παρουσιάστηκε για πρώτη φορά το 1890 στη Βουδαπέστη με τη συμμετοχή και του ίδιου του Μπραμς και εξεδόθη το 1891 (εκ νέου ως έργο 8), χωρίς παράλληλα να αποσυρθεί η παλαιότερη εκδοχή· στο συναυλιακό ρεπερτόριο, πάντως, η μεταγενέστερη αναθεώρηση έχει πλέον υποκαταστήσει την πρωτότυπη παρτιτούρα.

Η λυρική πρώτη ιδέα του Allegro con brio στη Σι μείζονα εισάγεται από το πιάνο, ενώ με την σταδιακή είσοδο του βιολοντσέλου και του βιολιού μεταβάλλει προοδευτικά τον χαρακτήρα της σε εκστατικό. Ακολουθεί ένα πλάγιο θέμα στη Σολ δίεση ελάσσονα, επίσης ήρεμο στην αρχή, αλλά πιο επιβλητικό και παθητικό στην εξέλιξή του. Παρακάτω, η ενότητα της επεξεργασίας ανοίγει δίχως να γίνεται ιδιαίτερα αντιληπτή και γρήγορα οδηγεί σε μια πρώτη δραματική κορύφωση· έπειτα όμως καταλαγιάζει και προβάλλοντας τη μελωδική παράμετρο περιπλανάται σε διάφορα τονικά κέντρα, πριν την πραγμάτωση μιας δεύτερης κλιμάκωσης με ιδιαιτέρως βαρύ χαρακτήρα. Η επανέκθεση του κυρίου θέματος ξεκινά από τη Σολ δίεση ελάσσονα και σταδιακά επαναπροσεγγίζει την αρχική Σι μείζονα, ενώ το πλάγιο θέμα επανεμφανίζεται κατόπιν στην ομώνυμη Σι ελάσσονα. Στην coda, εξάλλου, το κύριο θέμα παρουσιάζεται αρχικά σε πλήρη χαλάρωση ως νοσταλγική ανάμνηση, αλλά τελικά ανασυντάσσεται προσφέροντας μιαν ηχηρή κατάληξη.

Το ρυθμικώς πολύ ενεργητικό και χαμηλόφωνο Scherzo: allegro molto στη Σι ελάσσονα αποπνέει έναν αρχικά μυστηριακό χαρακτήρα. Η περαιτέρω ανάπτυξη του βασικού του μοτίβου διατηρεί την ρυθμική του ταυτότητα και συγκρατεί τα πολλαπλά δυναμικά ξεσπάσματα, ενώ η επαναφορά του πρώτου δομικού του τμήματος συνδυάζεται με νέα μελωδικά περιεχόμενα. Το Trio: meno allegro στη Σι μείζονα χαρακτηρίζεται από πλατιές μελωδικές γραμμές, πιο ήρεμο χαρακτήρα και ιδιαίτερη θέρμη που εξελίσσεται ανοδικά μέχρι την ηχητική αποτύπωση ενός θριάμβου. Το αγωνιώδες Scherzo επαναλαμβάνεται στη συνέχεια, τελικά όμως καταλαγιάζει λυτρωτικά στον μείζονα τρόπο. Το υμνητικό κύριο θέμα του αργού μέρους (Adagio) σε Σι μείζονα διατυπώνεται ως στοχαστικός διάλογος κατ' αντιφωνίαν ανάμεσα στο πιάνο και τα έγχορδα. Η μεσαία ενότητα στη Σολ δίεση ελάσσονα αναδεικνύει μελωδίες ελεγειακής ποιότητας, δίνοντας έμφαση στη γραμμή του βιολοντσέλου· ο ρυθμός τώρα γίνεται πιο κινητικός, δίχως ωστόσο να οδηγεί σε υπερβολικά ξεσπάσματα πόνου. Έπειτα επιστρέφει η πρώτη ενότητα, αρμονικά και ρυθμικά εμπλουτισμένη και με το πιάνο να συνοδεύει πλέον τις μελωδικές φράσεις των εγχόρδων.

Στο τελικό Allegro υπερισχύει ο ελάσσων τρόπος, που στα προηγούμενα μέρη είχε μεν σημαντική παρουσία, αλλά δεν επιβαλλόταν του μείζονος. Το βιολοντσέλο εισάγει μια μελωδία στη Σι ελάσσονα γεμάτη παράπονο, η οποία κατόπιν επαναλαμβάνεται από το βιολί. Στο πρώτο αυτό θέμα αντιπαρατίθεται ένα λαμπερό πλάγιο θέμα στη Ρε μείζονα που εμφανίζεται καταρχάς στο πιάνο. Στην συνέχεια επανεκτίθεται απευθείας το κύριο θέμα σε κλίμα μυστικισμού και αναπτύσσεται περαιτέρω, φτάνοντας σε μια κορύφωση γεμάτη πάθος. Η επανέκθεση του πλάγιου θέματος στη Σι μείζονα συνιστά τώρα μονάχα μια τελευταία αναλαμπή, καθώς η επιστροφή του αρχικού θέματος στην coda επιβάλλει πλέον οριστικά την παθητική του διάθεση, η οποία μάλιστα κλιμακώνεται στην απελπιστικά τραγική κατάληξη του τελικού αυτού μέρους: η «κλασική» πορεία από το σκοτάδι προς το φως, από το πάθος στη λύτρωση, στο «ρομαντικό» αυτό έργο έχει πλήρως αντιστραφεί!

Πηγή: Ιωάννης Φούλιας, 2002







































More photos / Περισσότερες φωτογραφίες


See also / Δείτε επίσης


Dmitri Shostakovich: Cello Concerto No.1 in E flat major, & Symphony No.1 in F minor | Benjamin Britten: Sinfonietta, Op.1 – Steven Isserlis, Mahler Chamber Orchestra, Teodor Currentzis (HD 1080p)

Johannes Brahms: Piano Concerto No.2 in B flat major – Marc-André Hamelin, Warsaw Philharmonic Orchestra, Jacek Kaspszyk (HD 1080p)


Marc-André Hamelin plays Ludwig van Beethoven, Robert Schumann, Samuil Feinberg and Maria Szymanowska (HD 1080p)

Johannes Brahms: Piano Concerto No.1 in D minor – Marc-André Hamelin, Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Jean Sibelius: Violin Concerto in D minor – Joshua Bell, Oslo Philharmonic Orcestra, Vasily Petrenko (HD 1080p)

Κυριακή, 15 Ιανουαρίου 2017

Dmitri Shostakovich: Cello Concerto No.1 in E flat major, & Symphony No.1 in F minor | Benjamin Britten: Sinfonietta, Op.1 – Steven Isserlis, Mahler Chamber Orchestra, Teodor Currentzis (HD 1080p)















The Mahler Chamber Orchestra is orchestra-in-residence at the KlaraFestival 2013, a Belgian music festival of international renown, featuring both modern and classical repertoire.

The concerts of the Mahler Chamber Orchestra constitute one of the highlights of this year's festival. Alongside young Greek conductor Teodor Currentzis, an "eccentric super-talented maestro", the orchestra is dedicating its performance to Benjamin Britten and Dmitri Shostakovich, two composers known for being both good colleagues and good friends.

The performances include Shostakovich's Cello Concerto No.1, at whose world premiere in London in 1960 the two composers met for the first time. Alongside this classic work (one of the most popular cello concertos of the 20th century) are programed Britten's Sinfonietta and Shostakovich's Symphony No.1.



Υπό τη διεύθυνση του σπουδαίου Έλληνα αρχιμουσικού Θεόδωρου Κουρεντζή, η Ορχήστρα Δωματίου Μάλερ ερμηνεύει τα έργα του Ντμίτρι Σοστακόβιτς, Κονσέρτο για βιολοντσέλο και ορχήστρα σε Μι ύφεση μείζονα, αρ. 1, έργο 107, και τη Συμφωνία αρ. 1 σε Φα ελάσσονα, έργο 10, καθώς επίσης και τη νεανική σύνθεση του Μπέντζαμιν Μπρίτεν, Συμφωνιέτα, έργο 1. Συμπράττει ο διάσημος Βρετανός βιολοντσελίστας Steven Isserlis. Η συναυλία πραγματοποιήθηκε στο Μέγαρο Μουσικής Κοντσερτγκεμπάου, στην πόλη Μπρυζ του Βελγίου, στο πλαίσιο του Klarafestival το 2013.

Η Ορχήστρα Δωματίου Μάλερ ιδρύθηκε το 1997 με πρωτοβουλία του Κλαούντιο Αμπάντο και μιας ομάδας μουσικών από την Ορχήστρα Νέων Γκούσταβ Μάλερ, που επιθυμούσαν να συνεχίσουν να παίζουν μαζί, ακόμη και μετά τη συμπλήρωση του ορίου ηλικίας για την Ορχήστρα Νέων. Το ρεπερτόριο του συνόλου περιλαμβάνει σχεδόν τα πάντα, από το μπαρόκ έως τη σύγχρονη μουσική.



Dmitri Shostakovich (1906-1975)

♪ Cello Concerto No.1 in E flat major, Op.107 (1959)


i. Allegretto

ii. Moderato
iii. Cadenza – Attacca
iv. Allegro con moto

Steven Isserlis, cello



Benjamin Britten (1913-1976)


♪ Sinfonietta, Op.1 (1932)


i. Poco presto ed agitato

ii. Variations
iii. Tarantella


Dmitri Shostakovich


♪ Symphony No.1 in F minor, Op.10 (1924-1925)


i. Allegretto – Allegro non troppo

ii. Allegro – Meno mosso – Allegro – Meno mosso
iii. Lento – Largo – Lento (attaca)
iv. Allegro molto – Lento – Allegro molto – Meno mosso – Allegro molto – Molto meno mosso – Adagio


Mahler Chamber Orchestra
Conductor: Teodor Currentzis

Concertgebouw, Bruges, Belgium, Klarafestival 2013

Director: Johan Cloetens


High definition video with high quality audio

Βίντεο υψηλής ευκρίνειας με υψηλή ποιότητα ήχου

(HD 1080p)

Uploaded on Youtube for the Blog "Faces of Classical Music"
Δημοσιεύτηκε στο Youtube για λογαριασμό του Blog "Faces of Classical Music"























The Cello Concerto No.1 in E flat major, Opus 107, was composed in 1959 by Dmitri Shostakovich. It is perhaps the most popular 20th Century cello concerto. Shostakovich wrote the work for his friend Mstislav Rostropovich, who committed it to memory in four days and gave the premiere on October 4, 1959, with Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra in the Large Hall of the Leningrad Conservatory. The first recording was made in two days following the premiere by Rostropovich and the Moscow Philharmonic, under the baton of Aleksandr Gauk.

First symphonies are generally unsuccessful, or at least questionably successful as compositions. The Brahms First and the Prokofiev "Classical" Symphony are exceptions, not least because in the former instance the composer completed the work when he was 42, and in the latter because the pastiche nature of the piece reflected Prokofiev's youthful inclination toward surprises and stimulated his natural ability to write memorable melodies. Shostakovich's First Symphony is light in mood, like Prokofiev's, but is written in a thoroughly modern, if conservative vein. Shostakovich was 19 when he completed the piece, which he used as his graduation exercise for the Leningrad Conservatory. While he was working on it, he considered calling it "Symphony-Grotesque". It was premiered on May 12, 1926, to an overwhelmingly enthusiastic reception. The symphony quickly caught on throughout the world, as Bruno Walter, Leopold Stokowski, and other noted conductors championed it. By the age of 21 Shostakovich was something of a celebrity, even mentioned in the company of the two Russian giants living abroad, Prokofiev and Stravinsky. — Robert Cummings (allmusic.com)

It was Erwin Stein who first noted the influence of Schoenberg – and in particular his first Chamber Symphony – on Britten's three-movement Sinfonietta, written during June and July 1932 when Britten was studying composition under John Ireland at the Royal College of Music, London. The hostility of the College towards the radically new ideas of the Second Viennese School was a determining factor in preventing Britten from studying with Berg in 1934. Such music did not interest most of the leading teachers at the College – Ireland and Vaughan Williams among them; but it fascinated Britten's first composition teacher and principal guiding mentor, Frank Bridge, whose later works bear a remarkable resemblance to mainstream atonal compositions and who surely encouraged his pupil to explore wider horizons. — Philip Reed, 1996



Ο Ντμίτρι Σοστακόβιτς έγραψε το Κονσέρτο για βιολοντσέλο και ορχήστρα σε Μι ύφεση μείζονα, αρ. 1, έργο 107 (ίσως το δημοφιλέστερο Κοντσέρτο για βιολοντσέλο του 20ού αιώνα), στα μέσα του 1959 για τον επιστήθιο φίλο του και κορυφαίο βιολοντσελίστα Μτσισλάβ Ροστροπόβιτς, ο οποίος, γεμάτος ενθουσιασμό, απομνημόνευσε το πολύ δύσκολο σολιστικό μέρος σε τέσσερεις μόλις ημέρες και το ερμήνευσε στις 4 Οκτωβρίου του ίδιου έτους στη μεγάλη Αίθουσα του Ωδείου του Λένινγκραντ με τη Φιλαρμονική Ορχήστρα του Λένινγκραντ υπό τον Εβγκένι Μραβίνσκι και με τη συνοδεία του συνθέτη στο πιάνο! Η πρώτη ηχογράφηση του έργου έγινε δύο ημέρες μετά την πρεμιέρα, με σολίστα πάντα τον Ροστροπόβιτς και τη Φιλαρμονική της Μόσχας υπό τη διεύθυνση του Aleksandr Gauk.

Η Συμφωνία αρ. 1 σε Φα ελάσσονα του Ντμίτρι Σοστακόβιτς, που αποτέλεσε την εργασία του για το δίπλωμα σύνθεσης, παρουσιάστηκε για πρώτη φορά στις 12 Μαΐου 1926 από τη Φιλαρμονική Ορχήστρα του Λένινγκραντ υπό τη διεύθυνση του Νικολάι Μάλκο. Το έργο είχε μεγάλη επιτυχία και μάλιστα παρουσιάστηκε την ίδια χρονιά από τη Φιλαρμονική του Βερολίνου υπό τη διεύθυνση του Μπρούνο Βάλτερ.


Η Συμφωνιέτα, έργο 1, νεανική σύνθεση του Μπέντζαμιν Μπρίτεν, ολοκληρώθηκε το 1932. Το έργο δείχνει ότι ο συνθέτης, παρά το νεαρό της ηλικίας του (φοιτούσε ακόμη στο Royal College of Music) είχε ήδη βρει την ιδιαίτερη και ώριμη φωνή του.


















Teodor Currentzis is the Artistic Director of the Perm State Opera and Ballet Theatre, Artistic Director of the ensemble MusicAeterna and of the MusicAeterna Chamber Choir, both formed in 2004, during his tenure as Music Director of the Novosibirsk State Opera and Orchestra (2004-2010).

MusicAeterna, now resident in Perm, has been granted the status of the first orchestra of Perm State Theatre of Opera and Ballet. In 2016-2017, Teodor will travel across Europe with MusicAeterna, touring semi-staged performances of Purcell's The Indian Queen, as well as a programmes of music by Rameau, Mozart and Beethoven. He will also debut at Salzburg Festival with MusicAeterna in a new production of La clemenza di Tito. More European dates follow in 2016, including appearances with Camerata Salzburg and a new production of Mozart's Entfuhrung aus dem Serail with Zurich Opera. As an Artistic Partner of the Mahler Chamber Orchestra, Teodor will join with the orchestra on tour with Pekka Kuusisto, Barbara Hannigan and MusicAeterna Choir. Further highlights include performances with Vienna Symphony and Patricia Kopatchinskaja.


Teodor Currentzis and MusicAeterna are exclusive Sony artists and this year will release the final disc of the Mozart-Da Ponte trilogy, Don Giovanni. Earlier this year, they released a disc of Stravinsky's Les Noces and Tchaikovsky's Violin Concerto, with Patricia Kopatchinskaja. Previous recordings include Shostakovich's Symphony No.14, Mozart's Requiem and Purcell's Dido and Aeneas all on the Alpha label and the Shostakovich Piano Concertos with Alexander Melnikov and the Mahler Chamber Orchestra on the Harmonia Mundi label.


In 2016, the ECHO Klassik for "Symphonic Recording (20th/21st century music)" was awarded to Teodor and MusicAeterna, for their recording of Stravinsky's Le Sacre du Printemps released on Sony Classical. Teodor was also nominated along with his brother, Vangelino Currentzis, for a daytime Emmy Award, in the category of Outstanding Music Direction and Composition, for the recording and composition of the soundtrack of the Europeon Games opening ceremony in Baku, 2002. Since 2005, Teodor has received Russia's prestigious Golden Mask theatrical award many times, most recently in 2015 together with the Perm Opera and Ballet Theatre he received five awards for Indian Queen including Best Opera Conductor. In 2013 the Theatre received four Awards, two of which for Best Opera Conductor and Best Ballet Conductor. Previous awards include the Best Opera Conductor award (Wozzeck, Bolshoi 2009), for a "brilliant performance of Prokofiev's score" (Cinderella, 2007) and for "outstanding results in the area of authentic performance" (The Marriage of Figaro, 2008).


In 2006, combining his knowledge and passion for early music with contemporary composers and new music, Teodor started the Territoria Modern Art Festival, which in a short space of time has become the most prestigious and progressive annual music festival in Moscow. For the past three years, Teodor has also curated the Diaghilev Festival, held in the home of the composer's birth town in Russia.


Born in Greece, Russia has become Teodor's home since the beginning of the 1990s, when he began studying conducting at the state conservatory of St Petersburg, under the tutelage of Professor Ilya Musin, whose pupils, among others, were renowned conductors Odyseuss Dimitriadis, Valery Gergiev, and Semyon Bychkov.


Source: teodor-currentzis.com



Photo by Robert Kittel
Ιδρυτής και καλλιτεχνικός διευθυντής της Ορχήστρας και Χορωδίας MusicAeterna, ο χαρισματικός Θεόδωρος Κουρεντζής θεωρείται διάδοχος των μεγάλων μαέστρων της Ρωσικής Σχολής. Γεννήθηκε στην Αθήνα το 1972 και στις αρχές του 1990 πήγε στη Ρωσία για να συνεχίσει τις μουσικές του σπουδές στην Αγία Πετρούπολη κοντά στον περίφημο δάσκαλο Ιλιά Μούσιν. Στη διάρκεια των σπουδών του γοητεύτηκε από αυτή τη χώρα με την τεράστια μουσική παράδοση και αποφάσισε να την κάνει δεύτερη πατρίδα του.

Ο Θεόδωρος Κουρεντζής είναι σήμερα καλλιτεχνικός διευθυντής της Κρατικής Όπερας και του Μπαλέτου του Περμ και καλλιτεχνικός διευθυντής του Διεθνούς Φεστιβάλ Ντιαγκίλεφ, ενώ διετέλεσε Μουσικός Διευθυντής της Κρατικής Όπερας του Νοβοσιμπίρσκ (2004-2010).


Η MusicAeterna (ορχήστρα και χορωδία) απαρτίζεται από εξαιρετικούς σολίστ και φημίζεται για τις αυθεντικές της ερμηνείες σε ένα ρεπερτόριο που εκτείνεται από την παλιά μουσική μέχρι τον 20ό και 21ο αιώνα. Διευθυντής της χορωδίας είναι ο Βιτάλι Πολόνσκι. Από το 2012 η MusicAeterna και ο Θεόδωρος Κουρεντζής έχουν αποκλειστική συνεργασία με τη Sony Music. Το σύνολο έχει εμφανιστεί στη Βιένη, στο Άμστερνταμ, το Λονδίνο, το Μπάντεν Μπάντεν, τη Μόσχα, την Αγία Πετρούπολη και το Περμ.


Ο Θεόδωρος Κουρεντζής, παράλληλα με τη δραστηριότητά του στο Περμ και τις εμφανίσεις του με τη MusicAeterna, συνεργάζεται με κορυφαίες ορχήστρες του κόσμου (Φιλαρμονική της Βιένης, του Μονάχου, Ορχήστρα Δωματίου Μάλερ, κ.ά.) και εμφανίζεται σε μουσικά κέντρα όπως η Όπερα της Ζυρίχης, το Κόβεντ Γκάρντεν, η Όπερα του Παρισιού, το Θέατρο Μπολσόι, κ.ά. Επίσης έχει στενή και πολύχρονη συνεργασία με το Τεάτρο Ρεάλ της Μαδρίτης.


Έχει τιμηθεί τέσσερεις φορές με το βραβείο «Χρυσή Μάσκα», μια από τις σημαντικότερες θεατρικές διακρίσεις στη Ρωσία, ενώ ισάριθμες φορές περιλήφθηκε στην κατηγορία του Καλύτερου Μαέστρου.


Πηγή: megaron.gr



Steven Isserlis














Mahler Chamber Orchestra


















Teodor Currentzis & Mahler Chamber Orchestra

















See also / Δείτε επίσης

Johannes Brahms: Piano Trio in B major – Marc-André Hamelin, Joshua Bell, Steven Isserlis

Σάββατο, 14 Ιανουαρίου 2017

Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation" | Lalo Schifrin: Tangos Concertantes | Gabriela Lena Frank: Concerto for Orchestra – Cho-Liang Lin, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 15, 2017, 3:00 AM – Live on Livestream











With a career spanning more than 30 years performing around the globe, renowned violinist Cho-Liang Lin brings the sounds of South America to Detroit in Argentine composer Lalo Schifrin's seductive Tangos Concertantes. Music Director Leonard Slatkin conducts a world premiere by Gabriela Lena Frank and Mendelssohn's "Reformation" Symphony.

Detroit: Saturday, January 14, 2017, 8:00 PM (EST, GMT-5)

Los Angeles: 5:00 PM
New York: 8:00 PM
Paris: 2:00 AM



Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει σε παγκόσμια πρεμιέρα το «Κοντσέρτο για ορχήστρα» της Αμερικανίδας συνθέτριας Γκαμπριέλα Λένα Φρανκ, το έργο "Tangos Concertantes" του Αργεντινού συνθέτη, πιανίστα, ενορχηστρωτή και διευθυντή ορχήστρας, περισσότερο γνωστού για τη μουσική που έχει γράψει για τον κινηματογράφο ("Mission: Impossible", "Dirty Harry" κ.ά.), Lalo Schifrin, καθώς επίσης και τη Συμφωνία αρ. 5, «Συμφωνία της Μεταρρυθμίσεως», έργο 107, του Φέλιξ Μέντελσον.

Το έργο "Tangos Concertantes" του Lalo Schifrin, ερμηνεύει ο γεννημένος στην Ταϊβάν το 1960, Αμερικανός βιρτουόζος πιανίστας Cho-Liang Lin.

Η συναυλία, διάρκειας δύο ωρών, θα λάβει χώρα στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 15 Ιανουαρίου 2017, στις 3:00 πμ (ώρα Ντιτρόιτ: Σάββατο 14 Ιανουαρίου, 8:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.



The program has changed. This is the new program:

1. Johannes Brahms: Variations on a Theme by Joseph Haydn
2. Lalo Schifrin: Tangos Concertantes
3. Bedřich Smetana: Overture to The Bartered Bride
4. Felix Mendelssohn: Symphony No.5 "Reformation"


Gabriela Lena Frank (b. 1972)

♪ Concerto for Orchestra (World Premiere)


Lalo Schifrin (b. 1932)

♪ Tangos Concertantes (2008)

Cho-Liang Lin, violin


Felix Mendelssohn Bartholdy (1809-1847)

♪ Symphony No.5 in D major/D minor "Reformation", Op.107 (1830)

i. Andante – Allegro con fuoco
ii. Allegro vivace
iii. Andante
iv. Chorale: Andante con moto – Allegro vivace

Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Sunday, January 15, 2017, 3:00 AM (EET, UTC+02:00)
[Detroit: Saturday, January 14, 2017, 8:00 PM (EST, GMT-5)]

Live on Livestream


Violinist Cho-Liang Lin is lauded the world over for the eloquence of his playing and for the superb musicianship that marks his performances. In a concert career spanning the globe for more than thirty years, he is equally at home with orchestra, in recital, playing chamber music, and in a teaching studio.

Mr. Lin's concert engagements reflect his wide-ranging musical activities. Performing on several continents, he appears as soloist with orchestras of Detroit, Toronto, Dallas, Houston, Nashville, San Diego and Los Angeles Chamber Orchestra; in Europe with the Bergen Philharmonic, Stockholm Philharmonic, Munich Philharmonic, and the English Chamber Orchestra; and in Asia with the Hong Kong Philharmonic, Singapore Symphony, Malaysia Philharmonic, and Bangkok Symphony.

In recent seasons, Mr. Lin has expanded his orchestral engagements to include performances as both soloist and conductor. He completed season-long residencies with the Shanghai Symphony and with the Singapore Symphony which included engagements as soloist and conductor, participating in chamber music, and giving master classes. In 2012/2013, Mr. Lin returns to play and conduct with the National Symphony Orchestra of Taiwan and the symphonies of Detroit, San Antonio, and Shanghai.

As an advocate for music of our time, Mr. Lin has enjoyed collaborations and premieres with composers such as Tan Dun, Joel Hoffman, John Harbison, Christopher Rouse, Esa-Pekka Salonen, Lalo Schifrin, Paul Schoenfield, Bright Sheng, and Joan Tower. An avid chamber musician, Mr. Lin appears at the Beijing Music Festival, as well as his perennial appearances performing at the Chamber Music Society of Lincoln Center, the Aspen Music Festival, and Santa Fe Chamber Music Festival.

As Music Director of La Jolla Music Society's SummerFest since 2001, Mr. Lin has helped develop a festival that once focused primarily on chamber music into a multidiscipline festival featuring dance, jazz and a burgeoning new music program commissioning composers as diverse as Chick Corea, Stewart Copeland, Leon Kirchner, Christopher Rouse, Wayne Shorter, Kaija Saariaho and Gunther Schuller. In Asia, Mr. Lin serves as Artistic Director of Hong Kong International Chamber Music Festival, and he was recently appointed Artistic Director of the National Taiwan Symphony Orchestra's Youth Music Summer Camp where he also conducts performances and serves as a member of the string faculty.

Cho-Liang Lin's extensive discography includes recordings for Sony Classical, Decca, Ondine, Naxos and BIS. His albums have won such awards as Gramophone's Record of the Year, as well as two Grammy Award nominations. His recordings reflect the breadth of his distinctive career including the standard violin concerti from Mozart to Stravinsky, chamber music from Brahms to Ravel and contemporary music from Chen Yi to Christopher Rouse.  His most recent discs include Vivaldi's Four Seasons with Sejong and Anthony Newman, violin works of Bright Sheng and Gordon Chin on Naxos, and the First Violin Concerto by George Tsontakis on Koch. Upcoming plans include recording a violin concerto by Joan Tower with the Nashville Symphony.

Born in Taiwan in 1960, Cho-Liang Lin began his violin lessons when he was 5 years old with Sylvia Lee. At the age of 12, he went to Sydney to continue his musical studies with Robert Pikler. Inspired by an encounter with Itzhak Perlman while in Sydney, he traveled to New York in 1975 to audition for Perlman’s teacher, the late Dorothy DeLay, at the Juilliard School. He was to study with Miss DeLay for six years. At the age of nineteen Mr. Lin made his New York debut at the Mostly Mozart Festival and soon thereafter with the New York Philharmonic and his concert career was launched. In 2000 Musical America named Mr. Lin its Instrumentalist of the Year. He was invited to join the faculty of the Juilliard School in 1991. More recently he was appointed professor of violin at Rice University's Shepherd School of Music. He plays the 1715 "Titian" Stradivarius.

Source: cholianglin.com


Identity has always been at the center of Gabriela Lena Frank's music. Born in 1972 in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Béla Bartók and Alberto Ginastera, Frank is something of a musical anthropologist. She has travelled extensively throughout South America and her pieces reflect and refract her studies of Latin-American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own. She writes challenging idiomatic parts for solo instrumentalists, vocalists, chamber ensembles, and orchestras.


Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation", Op.107 (1830)


The Symphony No.5 in D major/D minor, Op.107, known as the Reformation, was composed by Felix Mendelssohn in 1830 in honor of the 300th anniversary of the Presentation of the Augsburg Confession. The Confession is a key document of Lutheranism and its Presentation to Emperor Charles V in June 1530 was a momentous event of the Protestant Reformation. This symphony was written for a full orchestra and was Mendelssohn's second extended symphony. It was not published until 1868, 21 years after the composer's death – hence its numbering as "5". Although the symphony is not very frequently performed, it is better known today than it was during Mendelssohn's lifetime.

In December 1829, a year before the King of Prussia Frederick William III had even announced the tercentennial Augsburg celebrations, Mendelssohn began work on the Reformation Symphony. Mendelssohn hoped to have it performed at the festivities in Berlin which took place on 25 June 1830. He had intended to finish the composition by January 1830 and tour for four months before the celebrations began in June. However, his ill health caused the Reformation Symphony to take longer to compose than he had initially expected. In late March the symphony was still in a state of fabrication, and in an inauspicious turn of events Mendelssohn caught measles from his sister Rebecka. With a further delay of the composing and touring, Mendelssohn eventually completed the symphony in May. Unfortunately, it was too late for the Augsburg commission to recognize the symphony for the celebrations.

Some authorities have suggested that antisemitism may have played a role in the symphony's absence from Augsburg. But the successful competitor, Eduard Grell, had already established himself as a competent and successful composer who was gaining considerable popularity in Berlin. Grell was extremely conservative in his compositions; his piece for male chorus perhaps matched what the Augsburg celebrations demanded, in contrast to Mendelssohn's extensive symphony, which may have been thought inappropriate at the time.

Mendelssohn resumed his touring immediately after he had completed the Reformation Symphony. In Paris, in 1832, Habeneck's orchestra turned the work down as "too learned"; the music historian Larry Todd suggests that perhaps they also felt it to be too Protestant. He did not offer the symphony for performance at London. During the summer of 1832, Mendelssohn returned to Berlin where he revised the symphony. Later that year a performance of the Reformation Symphony finally took place. By 1838 however Mendelssohn regarded the symphony as "a piece of juvenilia", and he never performed it again. It was not performed again until 1868, more than 20 years after the composer's death.

The key of the symphony is stated as D major on the title page of Mendelssohn's autograph score. However, only the slow introduction is written in D Major, whereas the main theme and the cadence setting of the first movement are in D minor. The composer himself referred to the symphony on at least one occasion as in D minor.

The Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, "serpente" (possibly a serpent) and contrabassoon (fourth movement only, now usually played on the contrabassoon alone), 2 horns, 2 trumpets, 3 trombones, timpani and strings.

Source: en.wikipedia.org


Φέλιξ Μέντελσον: Συμφωνία αρ. 5, «Συμφωνία της Μεταρρυθμίσεως», έργο 107 (1830)

Το 1830 συμπληρώνονταν 300 χρόνια από την περιώνυμη «Ομολογία του Augsburg», την πρώτη δημόσια αναγνώριση του λουθηρανικού δόγματος, και στο Βερολίνο προγραμματιζόταν σειρά εορταστικών εκδηλώσεων για τη θρησκευτική αυτή επέτειο. Ο Φέλιξ Μέντελσον-Μπαρτόλντυ, που παρά την εβραϊκή του καταγωγή είχε βαπτιστεί χριστιανός και ήταν πιστός λουθηρανός, ξεκίνησε κατά τα τέλη του 1829 να σχεδιάζει μια Συμφωνία προσήκουσα στους επικείμενους αυτούς εορτασμούς, όμως κάποια προβλήματα υγείας στάθηκαν εμπόδιο στην έγκαιρη περάτωση του νέου αυτού έργου. Επιπροσθέτως, αν και η ολοκλήρωση της «Συμφωνίας της Μεταρρυθμίσεως» φαίνεται πως έλαβε τελικά χώραν τον Μάιο του 1830, η πρώτη της εκτέλεση πραγματοποιήθηκε – με σημαντική χρονική καθυστέρηση και έπειτα από εκτεταμένη αναθεώρηση της παρτιτούρας το καλοκαίρι του 1832 – μόλις στις 15 Νοεμβρίου του ιδίου έτους, υπό τη διεύθυνση του συνθέτη και στο πλαίσιο μιας σειράς φιλανθρωπικών συναυλιών που δόθηκαν στο Βερολίνο. Ο Μέντελσον εξακολουθούσε, ωστόσο, να μην είναι ικανοποιημένος από τη Συμφωνία του αυτή (η οποία ήταν, στην πραγματικότητα, η δεύτερη από τις πέντε συνολικά που συνέθεσε για πλήρη ορχήστρα) και έτσι δεν θέλησε να ασχοληθεί άλλο με αυτήν, ούτε – πολύ περισσότερο – να επιτρέψει τη διάδοσή της καθ' οιονδήποτε τρόπο. Ως εκ τούτου, χρειάστηκε να παρέλθουν δύο ολόκληρες δεκαετίες μετά τον θάνατό του, προτού η παραμελημένη αυτή Συμφωνία αναβιωθεί στη Λειψία το 1868 και εκδοθεί ως «πέμπτη» από τον Simrock την ίδια χρονιά.

Η αργή εισαγωγή (Andante) του πρώτου μέρους ανοίγει στη Ρε μείζονα, με ένα αντιστικτικά αναδυόμενο μοτίβο στα έγχορδα, το οποίο αποτελεί την έναρξη του περίφημου «Αμήν της Δρέσδης», μιας μελωδικής φράσεως που αργότερα αξιοποιήθηκε εμφαντικά ως σύμβολο θρησκευτικής πίστεως και στον Πάρσιφαλ του Βάγκνερ. Στην παρτιτούρα του Μέντελσον, το μοτίβο αυτό εξελίσσεται εναλλασσόμενο με μελωδικές φράσεις εν είδει χορικού, που εκφέρονται από τα πνευστά, ενώ η γαλήνια κατάληξή του έρχεται αργότερα σε έντονη αντιπαράθεση με τις ηχηρές φανφάρες των πνευστών που από ένα σημείο και έπειτα δεσπόζουν, προκαταλαμβάνοντας τη «δωρική» φύση του κυρίου θέματος του επερχόμενου Allegro con fuoco σε Ρε ελάσσονα. Η σφοδρότητα με την οποία ξεκινά η έκθεση αυτής της μορφής σονάτας διατηρείται ακέραια και κατά την ενεργητικότατη μετάβαση προς τη Λα ελάσσονα, όπου ένα παράγωγο του «Αμήν της Δρέσδης» εξυφαίνεται πλέον σε πιο ήπιους τόνους (αν και με ελάχιστες «αναλαμπές» στον μείζονα τρόπο) επέχοντας ρόλο πλαγίου θέματος, πριν την ανάκληση μοτίβων του κυρίου θέματος για τις ανάγκες μιας εξόχως δραματικής κατακλείδας. Στη συνέχεια, ο συνθέτης αναδημιουργεί με θαυμαστό τρόπο τις φανφάρες της αργής εισαγωγής στο πρώτο τμήμα μιας εκτενούς ενότητας επεξεργασίας και, μέσα από τον συνδυασμό τους με ένα ως επί το πλείστον χαμηλόφωνο αλλά ζωηρό και απειλητικό υπόβαθρο, οδηγείται βαθμιαία σε συγκλονιστικές και παρατεταμένες κορυφώσεις. Ακόμη και η αναδρομή στο πλάγιο θέμα, που έρχεται κάποια στιγμή να καταπραΰνει τη δαιμονική αυτή εξέλιξη της μουσικής, δεν αργεί να αποδειχθεί ατελέσφορη και να εκτοπισθεί από μια νέα τρομακτική κλιμάκωση που τελικά προσκρούει σε αδιέξοδο. Μια ανάμνηση του δεύτερου σκέλους του «Αμήν της Δρέσδης» επανέρχεται τώρα με τη μορφή που είχε και στο τέλος της εισαγωγής, προκειμένου να σηματοδοτήσει την έναρξη της επανεκθέσεως. Εδώ, όμως, το κύριο θέμα επανεμφανίζεται ως σκιά του άλλοτε αγέρωχου εαυτού του και το πλάγιο θέμα που συνδέεται άμεσα με αυτό, σε τονική μεταφορά, δίνει πλέον περισσότερο την εντύπωση μιας φυσικής προεκτάσεώς του! Έτσι, η αναμενόμενη αντίθεση πραγματοποιείται στην coda του μέρους, η οποία επεκτείνει την κατακλείδα της εκθέσεως και δημιουργεί μια τελευταία εντυπωσιακή κλιμάκωση, που βρίσκει το επιστέγασμά της στις ύστατες «τραγικές» παραθέσεις των εναρκτήριων μοτίβων τόσο του πλαγίου όσο και του κυρίου θέματος.

Έπειτα από αυτό το γεμάτο ένταση πρώτο μέρος, ο Μέντελσον καταφεύγει σε ένα σαφώς πιο ανάλαφρο scherzo (Allegro vivace) σε Σι ύφεση μείζονα. Η βασική ιδέα του scherzo παρουσιάζεται εν πρώτοις από τα ξύλινα πνευστά, αλλά μετά τη σταδιακή δυναμική όξυνση που πραγματοποιείται στο πλαίσιο του (αντιθετικού) δεύτερου τμήματος του scherzo, η επαναφορά της λαμπρύνεται από ολόκληρη την ορχήστρα, προτού η εξέλιξή της οδηγήσει σε ένα ήσυχο κλείσιμο. Το ενδιάμεσο τρίο σε Σολ μείζονα, προσέτι, με το χαριτωμένο και λυρικό μελωδικό υλικό του, έρχεται σε απόλυτη σύμπνοια με τον χαρακτήρα του scherzo, όπως άλλωστε φανερώνει και η σχεδόν ανεπαίσθητη αναδρομή σε μοτίβα και φιγούρες του τρίο στην coda που διαδέχεται την επανάληψη του scherzo. Τουναντίον, το σύντομο αργό μέρος της Συμφωνίας, ένα τριμερές Andante σε Σολ ελάσσονα, εστιάζει στην εξύφανση μιας ελεγειακής μελωδίας με λιτά ενορχηστρωτικά μέσα και μόνο στο τέλος του ανακαλεί το πλάγιο θέμα του πρώτου μέρους, προκειμένου να ολοκληρωθεί κατά τρόπο γαλήνιο.

Το τελικό μέρος της «Συμφωνίας της Μεταρρυθμίσεως» ανοίγει, εν μέρει όπως και το πρώτο, με την παράθεση ενός ολοκληρωμένου λουθηρανικού χορικού άσματος και μάλιστα του περιφημότερου από όσα αποδίδονται στον ίδιο τον Λούθηρο: η μελωδία του "Ein' feste Burg ist unser Gott" («Ένα ισχυρό φρούριο είναι ο Θεός μας») εισάγεται αρχικά μόνον από ένα φλάουτο, αλλά σταδιακά εναρμονίζεται στη Σολ μείζονα από ολοένα και περισσότερα όργανα της ορχήστρας, έως ότου φτάσει στην τελική της πτώση με τη συμμετοχή όλων των πνευστών (Andante con moto). Με την ελεύθερη εξύφανση της εναρκτήριας φράσεως του χορικού και υπό τη διαρκή και ιδιαιτέρως ενεργητική συνοδεία των εγχόρδων (Allegro vivace), πραγματοποιείται ακολούθως η απαραίτητη στροφή προς τη Ρε μείζονα, στην οποία βασίζεται το Allegro maestoso σε μορφή σονάτας. Τόσο το κύριο θέμα, όσο και το πλάγιο, το οποίο εκτίθεται παρακάτω στη Λα μείζονα, προσλαμβάνουν μεγαλοπρεπή εορταστικό χαρακτήρα, σε αντίθεση με την ενδιάμεση μετάβαση που διαφοροποιείται έντονα από αυτά χάρη στην ορμητική αντιστικτική εξύφανση ενός νέου, πολύ χαρακτηριστικού μοτίβου. Παραιτούμενος, ωστόσο, από μια τυπική ενότητα επεξεργασίας, ο Μέντελσον αρκείται σε μια νέα εναρμόνιση των πέντε τελευταίων φράσεων του λουθηρανικού χορικού, δημιουργώντας κατ' αυτόν τον τρόπο ένα πιο απλό συνδετικό πέρασμα προς την επανέκθεση, όπου, ενώ από τη μία πλευρά τα δύο βασικά θέματα υπόκεινται σε αρκετές περικοπές κατά την τονική τους επαναφορά, από την άλλη η ενδιάμεση αντιστικτική ιδέα επιμηκύνεται και φθάνει στο απόγειό της συνδυαζόμενη αριστοτεχνικά με τις δύο πρώτες φράσεις του χορικού! Τέλος, στην coda του τελικού αυτού μέρους, μια αργή δυναμική κλιμάκωση προετοιμάζει την ομοφωνική αποθέωση της πρώτης αλλά και της τελευταίας φράσεως του χορικού από ολόκληρη την ορχήστρα.

Πηγή: Ιωάννης Φούλιας, 29/07/2008


Cho-Liang Lin

















Past Events / Προηγούμενες Εκδηλώσεις

Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, Oboe Concerto in C major, Horn Concerto in D major, Sinfonia concertante in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Friday, January 20, 2017, 05:45 PM – Live on Livestream

Ludwig van Beethoven: Overture to The Creatures of Prometheus, & Piano Concerto No.2 in B flat major | Edward Elgar: Symphony No.1 in A flat major – Emanuel Ax, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 11, 2016, 10:00 PM – Live on Livestream

Kurt Weill: The Seven Deadly Sins | William Walton: Façade Orchestral Suite No.1, & Symphony No.1 in B flat minor – Storm Large, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 4, 2016, 3:00 AM – Live on Livestream


The King's Singers: Christmas Songbook – The Greene Space, New York – Thursday, December 1, 2016, 2:00 AM – Live on Livestream


Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2:30 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Sunday, November 20, 10:00 PM – Live on Livestream


Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor | Béla Bartók: Concerto for Orchestra – Kirill Gerstein, Detroit Symphony Orchestra, Jun Märkl – Sunday, November 20, 2016, 3:00 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Saturday, November 19, 2016, 2:30 AM – Live on Livestream


Ludwig van Beethoven: Symphony No.4 in B flat major | Gustav Mahler: Das Lied von der Erde – Detroit Symphony Orchestra, Louis Langrée – Sunday, November 13, 2016, 3:00 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Tuesday, November 8, 2:30 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Sunday, November 6, 9:00 PM – Live on Livestream


Giacomo Puccini: La Bohème – Maribel Salazar, Mario Rojas, Orquesta & Coro del Teatro de Bellas Artes, Enrique Patron de Rueda – Monday, November 7, 2016, 1:00 AM – Live on Livestream


Anne Nispel and Elden Little interpret songs by Ralph Vaughan Williams, Franz Schubert, Gabriel Fauré, Ned Rorem, Samuel Barber, Carlos Gustavino, Jayme Ovalle and Miguel Sandoval – Sunday, November 6, 2016, 02:00 AM – Live on Livestream


Jennifer Johnston and Joseph Middleton interpret songs by Gustav Mahler, Richard Wagner and Franz Liszt – Saturday, November 5, 2016, 09:30 PM – Live on Livestream


Ian Buckle plays Frédéric Chopin: Prelude in C sharp minor, & Claude Debussy: Préludes, Book I – Friday, November 4, 2016, 03:00 PM – Live on Livestream


Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream