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in fact, derived from his travels in America, during which he was enthused by the beauty of the natural reserves Bryce Canyon and Cedar Breaks. Witten for solo horn, the sixth movement demonstrates a strictly symmetrical form, as it is constructed from an introduction, a refrain, a central development, a repetition of the refrain and a coda, which is conceived as a crab canon of the introduction. We can understand the latter as a kind of demonstration of various performance possibilities offered by this brass instrument: we can hear flutter tonguing, trills, microtonal oscillations and glissandi. In contrast to this are the two refrains, in which the composer treats the horn as a typically ‘romantic’ signal instrument. It is precisely in this combining of the contemporary and the traditional that we discover the main trait of Messiaen’s late opus, which is marked by a synthesis of all of the composer’s compositional searching, as evident in the superposition of rhythms, taken from Indian music, the use of modes of limited transposition and the exploitation of the melodic wealth of bird calls (throughout the work we hear the tonal arabesques of birds that live in the Bryce Canyon and on the Hawaiian islands). PROGRAM / PROGRAM In the autumn of 1773, the seventeen-year-old Mozart returned from a nine-week stint in Vienna and immediately began to compose a series of five symphonies. The second of them is the so-called ‘Little’ Symphony in G Minor, the first of the composer’s symphonies in a Minor key. The work is characterised by a dark, frightening tone, but its ‘more serious’ tone cannot be linked with some kind of personal crisis of the composer. It is much more likely that in Vienna the young Mozart heard the ‘sturm und drang’ symphonies of Joseph Haydn, amongst them most certainly the masterful Symphony No. 39, which, just like Mozart’s symphony, is composed in G Minor and has four horns. In fact, Mozart’s Symphony No. 25 represents significant progress relative to his youthful works: the thematic relationships between the movements become more thought out, the musical style is denser, three movements are written in sonata form, the development becomes more extensive, and the symphony is cyclically connected. The symphony demonstrates a certain shift from the gallant music making that was predominant at the time, being marked by syncopated rhythms, relentless repetition of tones, dramatic unisons and chromatic stringency. Even the first movement is full of falling and rising syncopations, with the intensity being carried forward to the second theme of this sonata movement. The melancholy atmosphere also flows into the second movement, in which the bassoon stands out from the muted strings with its characteristic sighing motive. The minuet is also darkly coloured, with the only light being provided by the short trio, scored for wind alone. The finale commences immediately with a unison, before a return of the syncopations that marked first movement, providing the work with a meaningful rounded conclusion. 132 Gregor Pompe Prevod / Translation: Neville Hall
Sobota, 12. September 2009 / Saturday, 12. September 2009 Koncert št. 18 / Concert No. 18 Dvorana Union ob 11:00 / Union Hall at 11:00 JUTRANJE REFLEKSIJE 7: Prekipevajoča živahnost MORNING REFLECTIONS 7: Bursting vivacity FESTIVALSKI ORKESTER / FESTIVAL ORCHESTRA Arvid Engegård – dirigent, violina / conductor, violin Spored / Program: Joseph Haydn (1732–1809): Simfonija št. 1 v D-duru Hob. I:1 / Symphony No. 1 in D Major, Hob. I:1 1. Presto 2. Andante 3. Presto Wolfgang Amadeus Mozart (1756–1791): Koncert za violino in orkester št. 4 v D-duru K 218 / Violin Concerto No. 4 in D Major, K 218 1. Allegro moderato 2. Andante cantabile 3. Rondeau * * * Georg Friedrich Händel (1685–1750): Glasba na vodi HWV 348–350 (izbor iz suit) / Water Music HWV 348–350 (selection from the following suites) Suita št. 1 v F-duru / Suite No. 1 in F Major Ouverture: Largo / Allegro – Adagio e staccato – Allegro – Andante – (Presto: Passepied) – Air – Minuet – Bourrée – Hornpipe – (Allegro moderato) Suita št. 2 v D-duru / Suite No. 2 in D Major (Allegro) – Alla Hornpipe – Minuet – Lentement – Bourrée Suita št. 3 v G-duru / Suite No. 3 in G Major (Menuet) – Rigauždon: Presto – (Rigaudon) – Menuet – (Menuet) – (Affettuoso) – (Cantabile) 133
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3.-13. september 2009 Maribor, Slov
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UVODNIKI / EDITORIALS 4 Lani mi je
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UVODNIKI / EDITORIALS 6 Implausibly
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Ob 150. obletnici Slomškovega prih
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Glasba lahko izreče neizrekljivo U
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Festival Maribor The Maribor Festiv
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Spored / Program: Anton Martin Slom
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je dokončal pri dvajsetih - nekaj
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‘historical’ stance can undoubt
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Petek, 4. september 2009 / Friday,
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Zdi se celo, da je našel pot do ve
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numerous masterpieces that came abo
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Petek, 4. september 2009 / Friday,
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in parodičnim elementom. Nenavadna
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imming with joy. Written partly for
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Sobota, 5. september 2009 / Saturda
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predstavlja osrednji del, ki si ga
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conceived as a rondo in three-eight
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Sobota, 5. September 2009 / Saturda
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Richard Tognetti o Musici Surfici P
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Derek Hynd o Musici Surfici Deskarj
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Jon Frank o Musici Surfici Ime mi j
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Glide, Somewhere To capture an esse
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Derek Hynd about Musica Surfica Sur
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Jon Frank about Musica Surfica My n
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Sobota, 5. September 2009 / Saturda
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življenja, ki se zrcalijo v izvede
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telling of days and seasons gone, o
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Richard Dehmel: Ozarjena noč iz zb
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Poslušalce in muzikologe je vedno
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Listeners and musicologists are alw
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had been regarded as incompatible:
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Avstralski skladatelj, violist in d
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azgibana koda, ki nato resignira v
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are virtuoso and arabesque, but not
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Elliott Carter (*1908): Scrivo in v
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stavek je prvemu podoben po uporabi
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cite as the model of the classical
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Elena Kats-Chernin (1957*): Re-inve
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IZVAJALCI / PERFORMERS 182 rato Sal
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IZVAJALCI / PERFORMERS 184 Slovakia
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Informacije in prodaja vstopnic INF
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POKROVITELJI / SPONSORS Generalni p
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PROGRAMSKA KNJIŽICA / PROGRAMME BO
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