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Local Broadcast:
Open Rehearsal Jan 03 2013 0945AM

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Open Rehearsal
This concert is now past.
Location: Avery Fisher Hall  (Directions)
Price Range: $18.00
 
Thu, Jan, 3, 2013
9:45 AM
All Open Rehearsals are “working” rehearsals and therefore the program may not be played in its entirety. Additionally, we cannot guarantee the appearance of any soloist at an Open Rehearsal.
Jean-Yves Thibaudet

Program

  (Click the red play button to listen)
Suite from Fantastic Apparitions on a Theme by Berlioz
WALTER BRAUNFELS (1882-1954)
Suite from Fantastic Apparitions on a Theme by Berlioz (1914-17)

Walter Braunfels was having fun when he named the present work, punning on a work by the French composer Hector Berlioz. One might understandably expect the fantastically appearing theme to be from the Symphonie fantastique; it is instead derived from "The Song of the Flea," a sardonic tune sung by Mephistopheles in The Damnation of Faust. The full 50-minute work consists of 12 "apparitions" of the flea song theme, plus an introduction and a finale; the present Suite excerpts several sections from the score. Maestro Manfred Honeck, music director of the Pittsburgh Symphony Orchestra, previously toured this suite to Europe in 2010 with his orchestra. The composer relates how he came to write the Fantastic Apparitions: "During my young years [German playwright] Frank Wedekind had spoken to me about his flea ballet. Nothing came of the composition at the time. But when I later heard La damnation de Faust by Berlioz, I could not stop thinking of Mephisto's flea song, and I began to compose a piece: life, deeds, and opinions of a flea. The Fantastic Apparitions later developed from this." Known as an educator, pianist, composer, and head of the Cologne (Germany) Staatliche Hochschule für Musik, Walter Braunfels is having somewhat of a renaissance, and Honeck is one of his champions. David Hurwitz of Classics Today writes of the Fantastic Apparitions: "The orchestral technique [is] recognizably German school, with luscious writing for violins and horns, occasional outbursts of extreme virtuosity all around, and a discerning but minimal use of additional percussion."
Piano Concerto
EDVARD GRIEG (1843-1907)
Piano Concerto (1869)

"Go on! I tell you that you have the ability, and don't let anyone frighten you." Those were words of praise and encouragement from Franz Liszt after he sight-read the score of Edvard Grieg's Piano Concerto. Norway's most famous composer had studied in Leizpig (where he heard Clara Schumann play her husband's A Minor Piano Concerto) and with Niels Gade in Copenhagen. After absorbing the music of the continent, he returned to Norway to study and promote the music of his native country. In Denmark in the summer of 1868 he began to work on the concerto during a family vacation in Søllerød, near Copenhagen. It was a happy time for Grieg: he had gotten married the previous year, and a daughter was born to the couple in April 1868. By the time he returned home, the 25 year-old composer had essentially completed the concerto, and its premiere took place the following April. Even though it was well-received, Grieg continued to revise it until his death. A marvelous combination of lyricism and bravura, the concerto opens with a dramatic drum roll from the timpani and a huge tutti chord, followed by a cascade of descending octaves and rising arpeggios from the soloist. The gentle Adagio features soft string playing and equally lovely sounds from the piano. Trills and an arpeggio transition take the concerto to the final Allegro moderato molto e marcato. In this movement there are themes based on the rhythms of two Norwegian folk dances, the halling and the springdans. But, like Bartók, Grieg didn't quote native materials verbatim; rather the rhythmic patterns and melodies of Norway's folk tunes became his inspiration. A dramatic cadenza brings this popular romantic concerto to a majestic conclusion.
LUDWIG VAN BEETHOVEN (1770-1827)
Symphony No. 7 (1811-12)

While everyone may have a favorite Ludwig van Beethoven symphony, it is his Seventh that listeners usually think is the most fun. It fairly dances with rhythmic drive, vibrant energy — and possibly irrational exuberance, considering his circumstances during its composition. He was not in good health, had family and money woes, and was hopelessly in love with his "Immortal Beloved." Yet this symphony pulses with life and joy. Part of the reason might be the fact that it relies heavily on rhythm, rather than melody, with the same notes being repeated over and over again in various patterns. Jonathan Kramer writes that "the main motive of the opening movement is a telegraphic repeat of one pitch, the second movement is pervaded by a simple rhythm on one note, and the finale starts with a reiterated rhythm... The third movement... has a trio section in which one pitch is sustained with only the slightest ornamentation throughout... It is this emphasis on rhythms... that gives this composition impetuous, exuberant vitality that has reminded many commentators of carnivals." The symphony opens slowly and then bursts into a thrilling Vivace; the Allegretto had to be encored at the premiere; and the wild abandon of the final movement is nearly manic in character, putting timpani and horns through their paces. The first performance was a benefit concert for soldiers who were wounded at Napoleon's Battle of Hanau — and also included the composer's infamous battle symphony, Wellington's Victory — not everyone's preferred Beethoven piece. After the creation of the Seventh, fellow-composers ventured opinions about his state of mind condition when he wrote the piece. Was he drunk? Had he gone mad? But silly speculations aside, Wagner said it most eloquently, calling the symphony "the apotheosis of the dance itself." By happy coincidence these Philharmonic concerts are taking place almost exactly 200 years after the Seventh was premiered on December 8, 1813 in Vienna.

Artists

Manfred Honeck by Jason Cohn

Conductor Manfred Honeck was born in Austria and studied at the Academy of Music in Vienna. An accomplished violinist and violist, he spent more than 10 years as a member of the Vienna Philharmonic and Vienna Staatsoper Orchestra.

In January 2007 Mr. Honeck was appointed the ninth music director of the Pittsburgh Symphony Orchestra. Following successful European tours in 2010 and 2011, the orchestra returned to Europe in the fall of 2012, performing in Barcelona, Madrid, Paris, Luxembourg, Cologne, Frankfurt, Stuttgart, and as part of a week-long residency at the Vienna Musikverein. The orchestra has released recordings on the Exton label of Mahler’s Symphonies Nos. 1, 3, 4, and 5; Tchaikovsky’s Symphony No. 5; and R. Strauss’s Ein Heldenleben. The recording of Mahler’s Fourth Symphony received a 2012 International Classical Music Award (ICMA).

From 2007 to 2011 Mr. Honeck was music director of the Stuttgart Staatsoper. His other opera engagements have included the Dresden Semperoper, Komische Oper Berlin, Théâtre de la Monnaie, Royal Danish Opera, and Salzburg and White Nights Festivals.

Mr. Honeck began his career as conductor of Vienna’s Jeunesse Orchestra, which he cofounded, and as an assistant to Claudio Abbado for the Gustav Mahler Youth Orchestra in Vienna. In 1993, while working at the Zurich Opera House, he received the European Conductor’s Award. Three years later he became one of the main conductors of Leipzig’s MDR Symphony Orchestra, and in 1997 he served as music director at the Norwegian National Opera in Oslo for a year. A tour of Europe with the Oslo Philharmonic marked the beginning of a close collaboration with that orchestra, for which he served as principal guest conductor for several years. From 2000 to 2006 he was music director of the Swedish Radio Symphony Orchestra, and from 2008 to 2011 he served as principal guest conductor of the Czech Philharmonic, a position he will hold again from 2013 to 2016. For more than 15 years he has been artistic director of the International Concerts Wolfegg in Germany.

Other ensembles Mr. Honeck has led include the Royal Concertgebouw Orchestra; German Symphony Orchestra Berlin; Dresden Staatskapelle; Orchestre de Paris; Vienna, London, Israel, and Los Angeles philharmonic orchestras; and Chicago, Boston, National, and Bavarian Radio symphony orchestras. He is also a regular guest at the Verbier Festival. Engagements for the 2012–13 season include concerts in Stockholm and Prague and appearances with the Orchestra dell’Accademia Nazionale di Santa Cecilia; Cleveland, Bamberg Symphony, and Leipzig Gewandhaus orchestras; and debuts with the Berlin and New York Philharmonic orchestras.

Jean Yves Thibaudet by Decca Kasskara

Pianist Jean-Yves Thibaudet's career includes 30 years of performances and dozens of recordings. Much of his activity during the 2011–12 season is centered on music by Liszt, Ravel, and Saint-Saëns, including performances of Ravel and Liszt concertos with The Philadelphia Orchestra and the San Diego Symphony, and Liszt and Brahms Lieder with mezzo-soprano Angelika Kirchschlager at Carnegie Hall. He also tours Europe with Amsterdam's Royal Concertgebouw Orchestra, and the U.S. with the Royal Philharmonic Orchestra, performing works by Saint-Saëns. He will conclude his season by celebrating the 150th anniversary of Debussy's birth with recitals in Germany and France. Mr. Thibaudet has released more than 40 albums on the Decca label, garnering numerous awards. His latest release, Gershwin (2010), features jazz-band orchestrations of the Rhapsody in Blue, variations on "I Got Rhythm," and the Concerto in F, recorded live with the Baltimore Symphony Orchestra led by Marin Alsop.

Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At age 12 he entered the Paris Conservatoire to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel; at age 15 he won the Premier Prix du Conservatoire and three years later won the Young Concert Artists Auditions in New York City. He was inducted into the Hollywood Bowl Hall of Fame in 2010.

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