나중에는 봤는지 안봤는지 기억도 안 날 것 같아서 작년 가을쯤부터 업뎃을 안했던 공연들 최대한 기억을 짜내서 업뎃 중. ㅠㅠ
벨의 뉴욕필 공연.
벨의 공연은 웬만하면 보자 주의였지만 피곤피곤해서 표 사지만 않았으면 안갔을텐데...
했지만 보고나서는 너무 좋았다. 모처럼 귀 정화~
첫 프로그램인 Flourish with Fireworks는 너무 짧아서 휙 지나갔고,
벨은 차이코프스키 곡만 협연,
마지막 스트라빈스키는 풀 오케스트라로 공연도 좋았고, 장관이었다.
선곡이 아주 마음에 들었다.
4월 공연도 또 가자궁~~ ^^
******
Location: Avery Fisher Hall
Program:
Oliver Knussen - Flourish with Fireworks Tchaikovsky - Violin Concerto in D major, Op. 35
PETER ILYICH TCHAIKOVSKY (1840-1893) Violin Concerto in D Major, Op. 35 (1878) In the wake of his disastrous 3-month marriage, Tchaikovsky first attempted suicide, then fled to St. Petersburg and later to Europe with his brother Anatoly, and sought solace in composing. Joseph Kotek, a young violin student of Tchaikovsky’s at the Moscow Conservatory, worked with the composer in Switzerland during the period of the Violin Concerto’s creation, playing through the sketches as they were written. Tchaikovsky drafted it in just 11 days. But Kotek was, in the end, not enthusiastic about the work. Needing the “seal of approval” of a respected dedicatee, Tchaikovsky initially offered the concerto to Leopold Auer, renowned head of the violin department at the St. Petersburg Conservatory, hoping he would premiere the work; but Auer pronounced it “impossible to play” and turned down the inaugural performance. His judgment was the kiss of death for the concerto, and its premiere would be delayed another three years, when a former classmate, Adolf Brodsky, agreed to play it, and a grateful Tchaikovsky dedicated the work to him. Upon hearing the disastrous premiere in Vienna in 1881, the feared critic Eduard Hanslick said the concerto was “music that stinks to the ear” and “beats the violin black and blue.” Tchaikovsky would never forget that review. The audience applauded Brodsky but hissed the work itself. Despite these trials and tribulations, and the critics’ opinions notwithstanding, Tchaikovsky’s Violin Concerto has gloriously survived and stands as one of the most beloved in the repertoire. Even Leopold Auer later championed the work, performing it and teaching it to his students. And as is the case with so many withering reviews, they fade into obscurity, but the pleasure of hearing such a great masterpiece remains. Characterized by ravishingly beautiful passages, graceful melodies, and dizzying virtuosity, this masterpiece has spoken heart-to-heart to generations of adoring audiences.
Stravinsky - The Rite of Spring
IGOR STRAVINSKY (1882-1971) Le sacre du printemps (The Rite of Spring) (1911-13) 369 It must have been a wild scene at the Théâtre des Champs-Élysées in Paris on May 29, 1913, when the premiere of Stravinsky’s The Rite of Spring caused the most notorious scandal in music. The playing was nearly inaudible, what with the catcalls and booing. Stravinsky stormed out of the hall and went backstage. “I stood in the wings behind Nijinsky [the choreographer], holding on to the tails of his coat, while he stood on a chair, beating out the rhythm with his fist and shouting numbers to the dancers like a coxswain,” even though there had been more than 120 rehearsals. Stravinsky also described the conductor of the complex, iconoclastic score, Pierre Monteux: “He stood there apparently impervious and as nerveless as a crocodile. It is still almost incredible to me that he actually brought the orchestra through to the end.” The French writer, Jean Cocteau, reported: “The public…laughed, spat, hissed, imitated animal cries. They might have eventually tired themselves of that had it not been for the crowd of aesthetes and a few musicians who, carried by excess of zeal, insulted and even pushed the occupants of the loges. The riot degenerated into a fight.” Stravinsky’s music was based on an imagined scene, in which he saw “a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.” The violent Russian spring “seemed to begin in an hour and was like the whole earth cracking.” Wild abandon, pulsing rhythms, and primitive rituals proclaim the veneration of spring and climax in the sacrificial dance of the victim. “I had only my ear to help me. I heard, and I wrote what I heard. I am the vessel through which The Rite passed.”
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