London Philharmonic Orchestra June Schedule

By -

June 5th 2009 7:30pm
Royal Festival Hall

Debussy La Mer
Elgar Cello Concerto
Beethoven Symphony 5

Mario Venzago conductor
Torleif Thedéen cello
Limited availability - please call 020 7840 4242 for details

Claude Debussy’s view of the orchestra was different from anyone else’s before him. For Debussy, the orchestra posed a panorama of possibilities: the creation of atmospheres irrespective of a thematic narrative, the conjuring of the exotic, the summoning of suggestive mists of musical impressionism with orchestral washes and instrumental fogs. Where Beethoven had explained and commanded, Debussy suggested and implied. And like his illustrious predecessor, he discovered a whole new orchestral language in the process.

June 6, 12, 21, 24 & 27 2009
Glyndebourne Festival Opera

Verdi Falstaff

Vladimir Jurowski conductor
Richard Jones director

Verdi's Falstaff (21 May-11 July), conducted by Vladimir Jurowski and directed by Richard Jones; Dvořák's Rusalka (5 July-28 August), conducted by Jiří Bělohlávek and directed by Melly Still; Donizetti's L'elisir d'amore (23 July–29 August), conducted by Maurizio Benini and directed by Annabel Arden, and Wagner's Tristan und Isolde (6–30 August), conducted by Vladimir Jurowski and directed by Daniel Dooner (reviving Nikolaus Lehnhoff's 2003 production).

June 7th 2009 3:00pm
Congress Theatre, Eastbourne

Beethoven Overture, Egmont
Beethoven Piano Concerto 3
Brahms Symphony 1

Ralf Sochaczewsky conductor
Finghin Collins piano

Launching mid-sentence, pushing outwards, inwards, upwards and downwards, Brahms’s First Symphony took a long time coming, but its opening bars herald the composer as one who was to address the symphony with distinctly original ideas. Yes, Beethoven’s insistence and thrust is there, as is the clipped finesse of early Brahms, but the rigour, ardour and depth is all new. This is a work for which the London Philharmonic Orchestra has developed an acclaimed affinity in recent years.

June 10th 2009 7:30pm
Wigmore Hall

Mozart Flute Quartet in D, K. 285
Glinka Gran Sestetto Originale
Bartók Selection from 44 Duos for two violins
Dvořák String Sextet in A, Op. 48

Soloists of the London Philharmonic Orchestra

The series ends with a programme which is well varied in every respect: period, nationality, colouring, scale. The Mozart Quartet is his best known piece for flute and strings, with a delicate slow movement leading to an irresistible finale; London Philharmonic Orchestra flautist Susan Thomas is featured in this performance. Glinka’s Sextet for piano, string quartet and double-bass is an engaging early work by the pioneering ‘father of Russian music’. Bartók’s Duos for violins are infinitely imaginative miniatures, originally intended for students, based loosely on folk music. And Dvořák’s String Sextet, roughly contemporary with his first book of Slavonic Dances, ranks among the most tuneful and genial of all his compositions.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more