Сеул, Корея

Рад поделиться с вами, дорогие друзья, Корея подтвердила концерты play/conduct в новом крупнейшем зале с их лидирующим оркестром.Премьера нового формата в Азии состоится 7/8 ноября.

Кроме того корейская сторона попросила и аннотации/программы для концерта. Которые я здесь прилагаю.

Замечательный триумф наших совместных дел, дорогие друзья – сольное выступление с дирижированием и литературная победа.

Спасибо Сеул. Спасибо Корея!

The Piano Concerto No. 1
is Tchaikovsky’s cosmos, his Book of Genesis. In the introduction, Tchaikovsky presents the creation of the world. The mighty blows of the French horn are the days, the acts of creation. These are the words of the Creator, His voice. His pulse. The trumps of the archangels. The call of the ancestors. The forceful cry of the prophets.

The act of creation is continued by the blacksmith demiurge, the pianist. He forges the universe out of chaos with his hammer of harmony. Around him revolve the clouds of the melodic Glory of God.

The composer shows us the creation of the world from the viewpoint of the Creator. Tchaikovsky is not watching this scene, he does not hear it; he is himself creating. Not as the successor to creation, but as God.

The extraordinary popularity of the introduction is because the composer wrote music of such power and beauty that people submit to the author’s will, without even understanding what the music is “about” and “what” it is. They heed the creation and admire it.

The beginning of Concerto No. 1 is the most famous music on the planet. In all my life I have never met a single person who did not know this tune, from peasants to kings.
they created the WORLD! Day and night. Water and land. Air and fire. Plants, animals, fish, humankind. The peoples of the world. That is the scope of the start of this concerto. A universal, cosmic scope.

At the same time, starting with the main theme of the first movement, the music of Concerto No. 1 is the personal experiences of the composer. Tchaikovsky the musical genius was an exceptionally sensitive and vulnerable man. His homosexuality, against which he struggled for many years as a dishonourable sin, was difficult to integrate into the morals and concepts of society at that time and the milieu in which he had to live. In the mid 1870s Tchaikovsky felt like a man looking into a deep abyss. Life “outside the abyss”, however, oppressed him. He was frightened of giving into his sensual nature, of hurling himself into the abyss. He was scared of smashing against the bottom of the chasm. His own Golgotha among his friends, the “court of honour” awaited him. This court in judgment upon himself took place in the composer’s soul throughout his thinking life. Tchaikovsky wrote about his sufferings many times in his diaries and letters to his brothers.

The composer’s sufferings were reflected in the first movement of the Concerto, filled with a love of life on the one hand, and on the other saturated with horror at the reality of life and his own fate. That was Tchaikovsky, constantly caught between horror and rapture. Simultaneously between ecstasy and the nightmare of reality.

Tchaikovsky wrote the Piano Concerto No. 1 while he was still subjecting himself to monstrous constraint to avoid gaining a reputation for buggery (active sodomy) and at least somewhat to conform to the image of a “normal man” in the society of the times. In 1876 he even got married. By the end of the 1870s he was already “living in the abyss”. He was living as nature had genetically determined he should. But in the early 1890s Tchaikovsky did “smash” after all. Whether deliberately or with the aid of cholera is uncertain.

It is no accident that the main theme of the concerto is taken from an old sorrowful song by blind beggar musicians, and seems to carry within it Tchaikovsky’s fatal fragility. His rejection, his otherworldliness. His sorrow. The second theme presents the other aspect of his personality – the tender, loving attachment to mortal life.

Having shown in the primary and secondary themes the two driving forces in his soul, Pyotr Ilyich provides a musical prophecy of what awaits him. He reconstructs the fatal train of events that will lead to his death in the future. Starting with Concerto No. 1, the theme of implacable fate exists in almost all of Tchaikovsky’s symphonic works. In the first movement of the concerto, Fatum is manifested by the relentless trombones and sombre bassoons. At the end of the development section, Tchaikovsky reproduces a dialogue between his lyrical hero (the piano) and the powers of fate (the orchestra). The hero begs for salvation. This prayer and trepidation of a man faced with Fatum is represented also in the solo cadenza.

In the second movement, sketched outlines for Eugene Onegin can be perceived. Peaceable pictures of Russian nature, the countryside, the manor estate. The “shot” in the reprise leads one to think of the duel between Lensky and Onegin. The short recitative by the piano reminds one of Onegin’s muttered, “He is killed, killed…” There are also musical images that remind one of future themes in The Queen of Spades.

The old French folk song reminds us of the agonised delirium of an old woman remembering dances with French aristocrats in the 18th century.

The finale of the concerto is optimistic. The composer moves away from the Bible and from his own problems and gives himself entirely over to an ecstatic Ukrainian feast day. In the concerto finale, magical Christmas landscapes stretch out, with heroes from early Gogol dancing, and the whole world rejoicing.
The first theme signifies the “male” element, the well-known Ukrainian song Viydi, viydi Ivanku, (Come, come Ivanku). The secondary theme manifests the female element, the physicality and contentment of Ukrainian beauties and handsome young men.

At the end, before the coda, Vakula the Smith soars across the musical heaven, riding the Devil to St Petersburg to the tsaritsa’s court to ask for her boots for his beautiful Oxana. This ecstatic flight ends with the crash of a fall. Vakula lands in the palace, with the elegantly dressed courtiers dancing the polonaise all around him. The apotheosis of the scene is the majestic appearance of Catherine the Great.

One can have other “images” in mind, of course, but it is clear that we have imperial content at the glorious coda of this beautiful concerto!

______________________________________________________

In the third concerto Rachmaninov

continues the storyline of the reincarnation of his soul. Same “theme” as in his most famous and beloved second concerto but with more power and fantasy. After years of monstrous crises when he was practically immobilized in deep depression. If in the second concerto he rose from the ashes through love and happiness of being. In the third concerto he is growing as an artist, saying farewell to the hard and uncertain past. He flies toward the future full of good feelings and great hopes.

He is writing this concerto for his first major American tour and he is ready to conquer it. Life catches him and he shares happiness of living, creative power, ecstatic joy of life. All his fears behind him.

What’s interesting is that the third Rachmaninoff concerto is a musical and aesthetic “relative” of the B minor Liszt Sonata.
Both the product is pure improvisation with only one purpose – to express themselves at a time when these works were “improvised”. Anton Rubinstein skeptical of Liszt’s sonata immediately noting that “it is not no Sonata, is pure improvisation”. Same with the Rachmaninov’s third concerto – it is a “musical hologram” of the sensual Russian intellectual-genius of the turn of 19-20 centuries.

In the first movement Rachmaninov exploring very interesting composition tool – rather special sonata form with double exposition which gives the possibility to move through artistic fabric as if he was moving through music portraying the “city of his heart” sitting in imaginatory carriage.

We can see through eyes of the author various landscapes. Moving towards the climax where Rachmaninov explore the famous folk theme of the song “Kalinka-malinka”. Huge piano cadenza gives the closer look to all the landscapes and feelings Rachmaninov shows in this magic journey. In the end of the movement we can enjoy mild and specific Rachmaninov’s sense of humor. He points with music material that we are in Moscow at 10 pm. Military horns in the orchestra pointing the “ military retreat motive ”sounds small evening church bells ringing in piano part simultaneously.

The last dialogue of the piano and orchestra is full of humor as funny conversation. Then composer “moving further in his carriage and disappear around the corner”. Therefore the acceleration of the tempo goes till the very end without stable formal ending.

The second part – is a series of verses or variations. From the very sad melody in which Rachmaninov parting forever with his first love (his first girlfriend Vera Scalon was dying that year).
From variation to variation Rachmanov moves furtger and further from somber mood of the first variation developing theme to the ecstatic waltz where he obviously living through his love in this musical memories. Then he puts in the end the very last piercingly sad shadowy waktz as a farwell to the youth and first love. The first theme comes back is full of sadness and riddled with acute experience of parting given to the “classical funeral woodwinds instruments”.

In the final Rachmaninov’s humor and imagination knows no boundaries as nowhere else and never more in his works.
It is a glory to life. The major victory of Rachmaninov’s life! He literally overcoming all possible difficulties in his life from private to artistic with this music.
Various military motives, folk dances goes one after another. The huge middle section scherzo symbolizing typical for Russian mind and culture mythological themes. The forces of spring and joy, love and paradise. Cupids playing with enormous sweetness, humor and joy. Victorious themes coming back over and over again culminating with a massive climax in which music sounds to the limits of expressive possibilities and loudness.

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