Concert Yuri Bashmet and the Moscow Soloists Chamber Orchestra. Gautier Capucon (cello), Yuri Bashmet (viola). Haydn. Tchaikovsky. Ravel. Mozart. World famous Mariinsky Ballet and Opera Theatre - Opera and Concert Hall
Schedule for Yuri Bashmet and the Moscow Soloists Chamber Orchestra. Gautier Capucon (cello), Yuri Bashmet (viola). Haydn. Tchaikovsky. Ravel. Mozart. 2022
Composer: Peter Tchaikovsky Composer: Wolfgang Amadeus Mozart Composer: Maurice Ravel Composer: Ferencz Liszt Composer: Roman Ledenev
Orchestra: Mariinsky Theatre Symphony Orchestra
Joseph Haydn. Symphony No 83 (La Poule from
the Paris Symphonies series) Pyotr Tchaikovsky.
Variations on a Rococo Theme for Cello and Orchestra Soloist –
Gautier Capuзon (cello) Maurice Ravel.
Pavane pour une infante dйfunte (transcription for viola and strings by
Roman Ledenev) Soloist – Yuri Bashmet
(viola) Wolfgang Amadeus Mozart. Symphony No 31
(“Paris”)
Performed on collectors' instruments made by XIX century master craftsman
Jean‑Baptiste Vuillaume
Joseph Haydn. “Paris” symphony No 83 (La Poule).
Haydn’s “Paris” symphonies mark a turning point in the composer’s
creative career. By the mid 1780s Haydn was already somewhat tired of his
monotonous musical duties as the Kapellmeister of Prince Esterhбzy. At this
point the composer received a commission for six symphony works from
the Masonic Loge Olympique in Paris, the patroness of which was Queen
Marie-Antoinette of France herself. The Lodge had a huge number of
musicians for the period, and it was famed for its brilliant performances,
which allowed Haydn to demonstrate fully his phenomenal gift for orchestration.
Filled with his characteristic ingenuity, wit and inventiveness,
the “Paris” symphonies proved a tremendous success with
the French public, and even today these brilliant scores are a matter
of pride for the repertoire of any orchestra.
Pyotr Ilyich Tchaikovsky. Variations on a Rococo Theme for Cello
and Orchestra (1876). The refined timbre of the cello, expressive
yet also noble, was tremendously popular among 19th century Russian
composers. Musical soirйes, held regularly at noble families' estates, rarely
passed without his being involved: as well as instrumental pieces for various
ensembles, the rich and beautiful sound of the cello often had
a solo role in vocal works in a duet with the singer. Variations
on a Rococo Theme for Cello and Orchestra is a brilliant example of
combining two styles – the concert virtuoso and the chamber
domestic – in one work. In spite of certain allusions to music of
the 18th century – and first and foremost the style of
Mozart who was reverentially admired by the Russian composer –
the theme of the Variations is absolutely unique. Developing
throughout the work, it as if travels through a century of musical
history, building a bridge from Mozart’s era to the time when
Tchaikovsky lived and wrote. “Brilliant! There, at last, is real music!”
exclaimed Liszt after hearing the Russian composer’s latest opus at
a music festival in Wiesbaden.
Maurice Ravel. Pavane pour une infante dйfunte (1899). One
of his most popular piano works, Ravel composed the piece when he was
a student. This is the second of his works that were published. The
Pavane quickly became famous, in no small degree thanks to its intriguing title.
Who was this dying Infante who had inspired the young Ravel’s creative
genius? The composer himself always assured the public that her image was
nothing more that the fruit of his imagination and that the work
itself was just a “slow Spanish dance that could be performed by
a young princess in times gone by.” And, in actual fact, the Princesse
de Polignac, the mistress of a salon and patron of the arts to
whom Ravel dedicated this work, was the only aristocrat who was truly
concerned. The subtle enchantment of the light and sad lyricism of
the work and its beautiful plastique melody have unfailingly found their
place in the audience’s hearts. It is hard to understand why Ravel
subsequently claimed that there were many flaws in the Pavane. Possibly one
of the reasons for this was the deceptive simplicity of the work,
which made it “a show of strength” for pianists who are starting out.
W. A. Mozart. Symphony No 31 “Paris” (1778). In
1777 Mozart, who had recently celebrated his twenty-first birthday, decided to
undertake a tour of Europe to find a position worthy of his talents.
One of his destinations was Paris, where the composer stayed for half
a year. Thanks to assistance from his friends, he succeeded in receiving
a commission for a symphony from the Sociйtй de musique
spirituelle. The Director of the Sociйtй de musique spirituelle, who was
extremely sceptical about Mozart (rivals spread rumours that Wolfgang’s genius
was nothing more than a cunning trick of his father, who passed off his own
works as those of his Wunderkind), forced the composer to write
a symphony in his presence without any instruments. This could not,
however, prevent the talented young man from writing wonderful music, which
was highly praised by the knowledgeable Parisian public. In his symphony,
Mozart made broad use of innovative techniques of the famed orchestra of
the city of Mannheim, which the composer had visited shortly before
coming to France. These were the vivid dynamic contrasts, the famed
intensifications and weakening of the wound as well as the expressive
effects of the Paris school – for example the “first swish of
the bow” or the broad exposition of the theme by all
the instruments.
Nadezhda Kulygina
Schedule for Yuri Bashmet and the Moscow Soloists Chamber Orchestra. Gautier Capucon (cello), Yuri Bashmet (viola). Haydn. Tchaikovsky. Ravel. Mozart. 2022
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