Concert Mario Brunello (cello). Conductor: Valery Gergiev. Mozart. Janacek. Schumann. Stravinsky (Concert in memory of Richard Colburn) World famous Mariinsky Ballet and Opera - Mariinsky II (New Theatre)
Schedule for Mario Brunello (cello). Conductor: Valery Gergiev. Mozart. Janacek. Schumann. Stravinsky (Concert in memory of Richard Colburn) 2022
Conductor: Maestro Valery Gergiev Composer: Igor Stravinsky Composer: Wolfgang Amadeus Mozart Composer: Robert Schumann Composer: Leos Janacek Soprano: Mlada Khudoley Bass: Vladimir Felyauer Cello: Mario Brunello Mezzo soprano: Yulia Matochkina Tenor: Mikhail Vekua
Orchestra: Mariinsky Theatre Symphony Orchestra
PERFORMERS: Mlada Khudoley (soprano)
Yulia Matochkina (mezzo-soprano)
Mikhail Vekua (tenor) Vladimir Feliauer (bass)
Mario Brunello (cello)
The Mariinsky Orchestra Conductor: Valery Gergiev
PROGRAMME: Wolfgang Amadeus Mozart Eine Kleine
Nachtmusik in G Major, KV 525
Leos Janacek Glagolitic Mass for soloists, double chorus, organ and
orchestra, JW 3/9
Robert Schumann Cello Concerto in A Minor, Op. 129
Igor Stravinsky Suite from the ballet The Firebird
In 1850 Robert Schumann became the Director of Music
in Dusseldorf. On 24 October he conducted the first subscription
concert of the local Musikverein and, the same day, completed
the sketchfor his Cello Concerto. The concerto was first performed ten
years later – following Schumann’s death. The composer himself named
the piece somewhat differently – Konzertstuck – thus
stressing that this was a one-movement piecefor a virtuoso.
In fact, there are three movements that are performed without interruption,
revealing the cello’s immense monologue in which the laconic
orchestral tutti appear as a series of punctuation marks.
Schumann’s concerto is the quintessence of the romantic image
of the instrument. The cello part demands perfect “song” from
the instrument with a flawlessly beautiful sound, and it is adorned
with elegiac hues. The concerto was orchestrated with a very light
hand. The lyricism of Schumann’s music, particularly
in the first movement, at times brings to mind certain pages
of Tchaikovsky’s scores – for example, the transposition
to the second movement conjures up the Letter Scene from
the opera Eugene Onegin. Although Schumann himself was against
virtuoso skillfor its own sake, the cello concerto is certainly not devoid
of such features: there are passages in the first movement and
songful double notes in the second. The cadenza
in the concerto’s finale, however, seems to be too modestfor many
soloists, and they expand it significantly. Anna Bulycheva
Diaghilev’s Ballets russes production
of The Firebird on 25 June 1910 at the Opйra
de Paris proved a sensational success. Created in close co-operation
with the choreographer Michel Fokine and the designer Golovin with
outstanding ballet dancers, The Firebird was,
in the words of one Parisian critic, “a miracle
of the enchanting balance between movements, sounds and forms.” Soon
after the premiere, Stravinsky composed the Firebird
orchestral suite (1911), not just because of the success
of the music but also due to his wish to perfect
the music in the concert hall. In 1919 a new suite
emerged in which the composer abandoned the grandiose full
orchestra used in the score for the ballet. Twenty-five
years later, in 1945, Stravinsky once again edited his orchestration
of the suite. In the 1919 version the suite includes
the episodes Introduction, Dance of the Firebird, Round
Dances of the Tsarevnas, Kashchei’s Infernal Dance,
the Cradle Song and Finale.
Schedule for Mario Brunello (cello). Conductor: Valery Gergiev. Mozart. Janacek. Schumann. Stravinsky (Concert in memory of Richard Colburn) 2022
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