マリインスキー劇場の, 小ホール

室内楽の夕べ

マリインスキー劇場管弦楽団のソリストによるコンサート


PERFORMERS:
特別ゲスト:ローレンツ・ナストゥリカ=ヘルシュコヴィッチ (violin)
Yuri Afonkin (viola)
Evgeniya Peschanskaya (viola)
Oleg Sendetsky (cello)
Viktor Kustov (cello)
Vladimir Yunovich (cello)
Daria Zemskaya (cello)
Denis Kashin (double-bass)

Sofia Viland (flute)
Alexei Fyodorov (oboe)
Nikita Vaganov (clarinet)
Rodion Tolmachev (bassoon)
Alexander Afanasiev (horn)
Sofia Kiprskaya (harp)
Trofim Konvisarov (harpsichord)

PROGRAMME:
François Couperin
Pièces en concert for cello and basso continuo

Johann Sebastian Bach
Brandenburgische Konzert No. 6 in B flat-major, BWV 1051

Camille Saint-Saens
Fantasia for violin and harp in A major, Op. 124

Carl Nielsen
Wind Quintet, Op. 43

About the Concert

Leading soloists of the Symphony Orchestra of the Mariinsky Theatre – all of them are virtuosos who received awards and prizes at many prestigious competitions – will exhibit their proficiency in chamber music. The concert program includes compositions by European authors of the 18th, 19th and 20th centuries for various instrumentations.
François Couperin (1668-1733), who came from a long line of French musicians, was dubbed Le Grand yet while he was alive. As a performer, he allured the audience with his exquisite harpsicord and organ improvisations and expressively entitled pieces. This custom was also followed by Couperin in his cycle Pièces en concert for cello and basso continuo, when he included Plainte and Air De Diable in it.
“I produce music as an apple tree produces apples,” Camille Saint-Saens (1835-1921) wrote. During his long lifetime the French composer created over three hundred works in various genres and often paid his attention to chamber ensembles. His Fantasia for violin and harp in A major, Op. 124 – this dreamy composition was written by Saint-Saens for a rather unusual instrumentation in 1907 – reflected his ambition to enhance performance potentials of different instruments. The Fantasia may be divided into five movements, and each of them demonstrates its own character of two strings.
The Wind Quintet, Op. 43, which was written by Carl Nielsen (1865-1931) at the beginning of 1922, is justly considered to be the best in its genre. The founder of Danish music culture composed it for specific members of the Copenhagen Wing Quintet. That was the reason for which he aimed to express the members’ personalities in each part. The quintet composes three movements: Allegro; neoclassic Minuet of rustic nature; and Theme and Variations on Nielsen’s wind song.
Natalia Rogudeeva 

On March 24, 1721 Johann Sebastian Bach dispatched six scores “for various instruments” to Christian Ludwig, Margrave of Brandenburg-Schwedt. The Margrave, with whom Bach got acquainted in Berlin in 1719, was a music addict who collected over two hundred concerto scores by different composers and a devotee of Antonio Vivaldi. Bach’s Brandenburg Concertos was also written after Vivaldi, but they were eminently original. Among them there are not similar ones; each of them is inimitable, and all of them compose a true encyclopedia of baroque music.
Brandenburgische Konzert No. 6 in B flat-major, BWV 1051, was written for two violas, two violas da gamba – ancestors of contemporary cellos – and basso continuo. Unconventionally the concert parties were given to violas, and the noble gambas accompanied them. It is probably explained by the fact that the then patron of Bach, Prince of Anhalt-Köthen, liked to play the viola da gamba while Bach had pleasure in playing the viola – it is easy to guess who played better. In the second movement the gambas are silent, and on the background of basso continuo the violas sing out a double fugue as a beautiful dialogue. If the number of performers is increased, Brandenburgische Konzert No. 6 turns out to be concerto grosso for two violas and low winds.
Anna Bulycheva

Age category 6+

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