program - SVIZ

azgibana koda, ki nato resignira v pianissimo. V sledečem Allegrettu
prva tema sestoji iz dveh kontrastnih elementov, ki sooblikujeta potek
stavka: postopa violončela navzgor ter kantilene violine. Kromatična
druga tema pripelje v fugatni odsek. Posamezni motivi se po izpeljavi
vse bolj drobijo, dokler nazadnje ne ostanejo le še skupinice »vzdihov«.
V eksplozivnem Scherzu Beethoven uporabi nenavadne kontraste med
tonalitetami. Zadnji stavek uvaja otožen uvod z motivi vzdihov, ki jim
sledi napet in ambivalenten zaključek: »allegretto« je nežnejši tempo,
kakršnega »agitato« spodbija. Sklep kvarteta, čeprav v duru, se tako zdi
bolj uporniško dejanje volje kot sprava s svetom in seboj.
After studying the viola in Brisbane and Berlin, Australian composer, violist
and conductor Brett Dean joined the Berlin Philharmonic in 1985. In 2000, he
returned to Australia and dedicated himself to composing. His first works were
linked with experimental films. From the first public performance of his work
some birthday … in 1992, Dean spent more and more time composing, and
his works are performed by recognised orchestras and conductors throughout
the world. In 2006, he became the artistic director of the Australian National
Academy of Music. For his violin concerto The Lost Art of Letter Writing he
received the prestigious Grawemeyer Award 2009, which is virtually regarded
as the ‘Nobel Prize for music’.
Dean regards himself as a traditionalist, and in his compositions one can
recognise the influence of film, electronic music, and painting. He applies
layers of sound to his ‘canvas’ like a painter. His composition Carlo is also a
‘painterly’ work. It was commissioned by the Australian Chamber Orchestra
for the Huntington Festival in 1997. The title refers to Carlo Gesualdo, who was
a highly regarded composer of vocal music, while at the same time being one
of the most notorious criminals of 16 th century Italy – in 1590 he murdered
his wife and her lover. Deans seeks links between Gesualdo’s life and music:
the texts of Gesualdo’s later madrigals are full of associations with love,
guilt and death. Carlo begins with a recording of Gesualdo’s madrigal Moro
lasso. Alongside a collage of musical quotations from the madrigal, which
are harmonically connected but diverse in terms of character, the orchestra
of solo strings is included in the process with quotations from other works
by Gesualdo, drawing the music ever closer to the sound world of the 20 th
century. Carlo is a journey between two eras, two types of music. Eventually
Gesualdo’s madrigals withdraw into whispering and nervous sighing, echoes
of that fateful Neapolitan night in 1590.
PROGRAM / PROGRAM
In the second half of the 18 th century, an enormous influence was exerted on
European music by “a boring chap who composed again and again in one and
the same form”, as he was described by Stravinsky. However, in spite of the
incredible number of concertos he produced (around 500 in total) Antonio
Vivaldi was far from being boring. He was one of the most original Italian
composers of his generation, an imaginative and extravagant individualist,
but at the same time a pious and earnest man. His concerto opus reveals
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