London Philharmonic Orchestra SOLD OUT for Denis Matsuev and Tchaikovsky Piano Concerto 1

By -

This concert is now sold out. However, you can watch the concert live from the Clore Ballroom in Southbank Centre's Royal Festival Hall (FREE, no ticket required)

In the true spirit of the American Dream, it was an immigrant – the godfather of Czech Romanticism Antonín Dvorák – who ignited the first flickers of concert-hall nationalism in the New World. Dvorák pre-empted America’s great black musical revolution as early as 1892: ‘the future music of this country must be founded upon African American melodies’, he prophesied on arrival in New York, ‘these beautiful and varied themes are the product of the soil’. He didn’t stop there, either – injecting the spirit of the plantation song and the spiritual into an inspiring Slavic-American symphony that epitomises nobility, freedom, optimism and opportunity.

Tchaikovsky’s first piano concerto was rejected out of hand by its dedicatee, the foremost pianist of the day, Nikolaj Rubinstein, who objected to its harsh demands and failed to appreciate its structure. Today, it’s not only the famous ‘big tune’ of the first movement that has won it audiences worldwide; this piece sparkles and dances as the piano and orchestra enjoy exchanges both delicate and passionate.

Concert Details
06 November 2009 7:30pm

Yutaka Sado conductor
Denis Matsuev piano

Verdi Overture, La forza del destino
Tchaikovsky Piano Concerto 1
Dvořák Symphony 9 (From the New World)

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