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  • Friday and Saturday, August 1819, 2017 at 6:30 pm

    Pre-concert Recital

    Gil Shaham, ViolinAdele Anthony, Violin

    PROKOFIEV Sonata for Two Violins (1932) Andante cantabile Allegro Commodo (quasi Allegretto) Allegro con brio

    This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

    July 25August 20, 2017

    Please make certain all your electronic devices are switched off.

    David Geffen Hall

    The Program

  • Mostly Mozart Festival I Notes on the Pre-concert Recital

    Notes on the Pre-concert Recital By Paul Schiavo

    Sonata for Two Violins, Op. 56 (1932)SERGEY PROKOFIEVBorn April 23, 1891, in Sontsovka, UkraineDied March 5, 1953, in Moscow

    Approximate length: 15 minutes

    Prokofiev wrote his Sonata for Two Violins during the summer of 1932. Hewas living in France at the time, where he had resided for most of the preced-ing decade, and the sonata was written for a French chamber music society.As it happened, the works Paris premiere was preceded by a performance inMoscow in November 1932, during the third of a series of visits the composermade to the Soviet Union during the late 1920s and early 1930svisits thatwould eventually lead to his full repatriation by 1936.

    Prokofievs years in France saw him cultivate a decidedly modern idiom. TheSonata for Two Violins belongs to this period and style, but there are moments(especially in the third movement) that give glimpses of the more accessiblemanner of his Classical Symphony, which would blossom again followinghis return to Russia in such popular works as his Lieutenant Kij film score andhis ballet Romeo and Juliet.

    Prokofiev begins the sonata, however, in a modernist vein. The design of thismovement is simple and ingenious: two themes presented individually in suc-cession, then combined in counterpoint. Dissonant counterpoint imparts asomewhat austere beauty to the music. The second movement adopts anallegro barbaro style, one Prokofiev had explored in his notorious ScythianSuite for orchestra. From an initial gesture of rasping double-stops, the playerslaunch into music of driving motor rhythms and sixteenth-note passagework.The effect is both modern and primitive, a 20th-century notion of someancient folk dance.

    By contrast, the relaxed third movement begins as a gentle barcarolle, with alilting accompaniment supporting the initial melodic idea. Prokofiev draws asharp distinction between this subject and the movements second theme,which he casts in the square rhythms of a chorale. The principal theme of thefinale again suggests a folk dance but also, in its steady sixteenth-note pulse,the solo violin partitas of Bach. Prokofiev later appends a lyrical second sub-ject. The movement concludes with a remarkable twittering coda.

    Paul Schiavo serves as program annotator for the St. Louis and SeattleSymphonies, and writes frequently for concerts at Lincoln Center.

    Copyright 2017 by Paul Schiavo

  • Friday and Saturday, August 1819, 2017 at 7:30 pm

    Mostly Mozart Festival OrchestraLouis Langre, ConductorGil Shaham, Violin

    PROKOFIEV Symphony No. 1 in D major (Classical) (191617) Allegro con brio Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

    MOZART Symphony No. 25 in G minor, K.183 (1773) Allegro con brio Andante Menuetto and Trio Allegro

    Intermission

    TCHAIKOVSKY Violin Concerto in D major (1878) Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Mr. Shaham will perform Tchaikovskys cadenza.

    This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

    The Program

    July 25August 20, 2017

    Please make certain all your electronic devices are switched off.

    David Geffen Hall

  • Mostly Mozart Festival

    The Mostly Mozart Festival is made possible by Rita E. and Gustave M. Hauser. Additional support isprovided by The Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., andFriends of Mostly Mozart.

    American Airlines is the Official Airline of Lincoln Center

    Nespresso is the Official Coffee of Lincoln Center

    NewYork-Presbyterian is the Official Hospital of Lincoln Center

    Summer at Lincoln Center is supported by Pepsi Zero Sugar

    Artist Catering provided by Zabars and Zabars.com

    Join the conversation: #MostlyMozart

    We would like to remind you that the sound of coughing and rustling paper might distract the perform-ers and your fellow audience members.

    In consideration of the performing artists and members of the audience, those who must leave beforethe end of the performance are asked to do so between pieces. The taking of photographs and theuse of recording equipment are not allowed in the building.

  • Mostly Mozart Festival

    Welcome to Mostly MozartIt is with pleasure that I welcome you to the Mostly Mozart Festival, a belovedsummertime tradition that celebrates the innovative spirit of Mozart and hiscreative legacy. This years festival includes a special focus on the genius ofSchubert and two exceptional stage productions, Don Giovanni and The DarkMirror: Zenders Winterreise, along with performances by the Mostly MozartFestival Orchestra, preeminent soloists, chamber ensembles, and our popularlate-night concert series.

    We open with a special musical program, The Singing Heart, featuring theFestival Orchestra led by Rene and Robert Belfer Music Director LouisLangre, and the renowned Young Peoples Chorus of New York City. Theorchestra is also joined this summer by guest conductors Edward Gardner andAndrew Manze, and soloists including Joshua Bell, Steven Isserlis, Gil Shaham,and Jeremy Denk. We are pleased to welcome a number of artists making theirfestival debuts, among them pianist Kirill Gerstein, in two programs that payhomage to Clara Schumanns influence on Brahms and her husband, Robert;Icelandic pianist Vkingur lafsson; and So Percussion in the New York premiereof David Langs man made, part of the festivals commitment to the music ofour time.

    The Budapest Festival Orchestra returns with its critically acclaimed productionof Mozarts Don Giovanni, directed and conducted by Ivn Fischer. Visionarydirector and visual artist Netia Jones also returns with tenor Ian Bostridge, withher imaginative staging of The Dark Mirror: Zenders Winterreise, a contem -porary take on Schuberts stirring song cycle. Theres also the Danish StringQuartet, Les Arts Florissants, and the International Contemporary Ensemble inwide-ranging programs, along with pre-concert recitals, talks, and a film onSchuberts late life.

    As always we are pleased to have you at Mostly Mozart and look forward toseeing you often at Lincoln Center.

    Jane MossEhrenkranz Artistic Director

  • Mostly Mozart Festival I Snapshot

    Snap

    shot By Paul Schiavo

    The Classical ideal in music, which extols clarity, refinement, estab-lished forms, and a cosmopolitan elegance, found its definingexpression during the second half of the 18th century. At this time,the precepts of musical Classicism informed masterpieces by theleading composers of the era, most notably Haydn and Mozart.

    Beginning in the second quarter of the 19th century, a new artisticoutlook, Romanticism, displaced Classical principles in the imagina-tions of most composers. But in time, everything old becomes newagain. Just as the Romantic movement arose as a revolt against thecomparative restraint and urbane manner of the preceding era, somusicians of the early 20th century turned against what theydeemed the grandiloquence and excessive emotionalism ofRomanticism. In place of those qualities, many composers sought torecapture the lucidity and grace they perceived in music of an earlierperiod. To that end, they reduced their instrumental forces, adoptedlean contrapuntal textures, and frequently employed antique danceforms or other clear, concise designs in their works. Neoclassicism,as the reaction came to be called, proved an important strain of 20th-century composition.

    Our program draws on both Classical and Neoclassical traditionswithin the orchestral literature, though the matter is more complexthan this suggests. We begin with a landmark of 20th-centuryNeoclassicism, Sergey Prokofievs Classical Symphony. MozartsSymphony in G minor, K.183, belongs to the Classical period ofsymphonic composition, but this remarkable work breathes thetempestuous spirit of early Romanticism. We conclude withTchaikovskys ever-popular Violin Concerto, a piece that blends, to agreat extent, Classical form and Romantic expression.

    Copyright 2017 by Paul Schiavo

  • Mostly Mozart Festival I Notes on the Program

    By Paul Schiavo

    Symphony No. 1 in D major, Op. 25 (Classical) (191617)SERGEY PROKOFIEVBorn April 23, 1891, in Sontsovka, UkraineDied March 5, 1953, in Moscow

    Approximate length: 15 minutes

    During the early decades of the 20th century, composers in France, Spain, theU.S., and elsewhere were much taken with the concept of Neoclassicism.Accordingly, they cultivated a clear, lean, succinct style of writing basedlargely on the forms and textures of 18th-century composition. One of theearliest and most successful instances of this modernist Neoclassicism isSergey Prokofievs Classical Symphony, completed in 1917.

    Prokofievs inspiration for this work was the music of Haydn, with its witand formal clarity. The composer explained in his memoirs: It seemed tome that if Haydn had lived into our age, he would have preserved his ownway of composing and, at the same time, absorbed something from thenew music. That was the kind of symphony I wanted to write: a symphonyin the Classical style.