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stavek je prvemu podoben po uporabi istih tonov, po ritmu, tempu in<br />

harmonizaciji pa se od njega razlikuje. Njegov pesemski značaj teži k<br />

variacijski obliki, a tudi oblikovno spominja na prvi stavek. Hitri menuet<br />

je le še reminiscenca na starinski ples, medtem ko se trio bliža dunajskemu<br />

ländlerju. Živahni finale v sonatni obliki je tehtna in velika sinteza<br />

dunajske klasike z elementi ljudske in plesne glasbe.<br />

Haydn je v »londonskih simfonijah« združil simfonične ideale 18. stoletja<br />

ter v njih zajel raznolikost glasbenih slogov in žanrov svojega časa.<br />

Simfonijo klasicizma je pripeljal do skrajnosti in zaključil bogato obdobje<br />

glasbene zgodovine. Simfonija št. 104 ima celo nekaj »mozartovskih«<br />

potez, s katerimi se je morda poklonil svojemu sopotniku v nekem glasbenem<br />

obdobju. Ko je Haydn pod zadnjo simfonijo napisal »Fine Laus<br />

Deo« (»Konec, Bogu hvala«), je morda slutil, da do konca življenja ne bo<br />

napisal nobene simfonije več. Kar je v njih iskal, je našel, in kar je hotel<br />

povedati, je tudi povedal.<br />

Sergei Prokofiev is known primarily for his symphonic works, such as the<br />

Classical Symphony and the musical fairy tale Peter and the Wolf. Artistically<br />

he stands between Stravinsky and Shostakovich, between the freedom of the<br />

cosmopolitan and the social realism of the Soviet Union. Although in his last<br />

years it seemed that he would have to choose between ‘patriotic ideals’, that<br />

is, the regime, and artistic freedom, he was fortunate in that after the war he<br />

created daring and original music that was at the same time ‘understandable’,<br />

as was demanded by the authorities.<br />

Prokofiev did not write a great number of chamber works; apart from two<br />

shorter compositions there is the sonata for violin, cello or flute and piano,<br />

the solo violin sonata and two string quartets. The Flute Sonata was written<br />

during the Second World War. Prokofiev responded to the events of the war<br />

with patriotic propaganda music, while also withdrawing into the ‘absolutism’<br />

and intimacy of instrumental, chamber music. The Flute Sonata falls into<br />

the period of this wave of chamber music creativity. It was first performed<br />

on 7 December 1943 in Moscow (in 1944 it was performed in its version for<br />

violin as the Violin Sonata No. 2). Counting amongst Prokofiev’s neoclassical<br />

works in terms of form, Sonata Op. 94 is joyous, clear and transparent. In the<br />

composition’s four movements the elegant working of the thematic material<br />

unfolds before the listener, full of fantasy and at the same time making exhaustive<br />

use of the colouristic and technical capabilities of the solo instrument.<br />

PROGRAM / PROGRAM<br />

Mozart’s quartets for transverse flute and strings are lighter occasional<br />

works. Three of them were written in Mannheim in the 1777/78 season for<br />

Ferdinand Dejean from the Dutch East India Company. Dejean had actually<br />

commissioned three concertos and three quartets with flute, but due to time<br />

pressure Mozart was unable to fulfil the commission entirely. At the time, the<br />

22-year-old composer was drawn more to the freedom that he experienced for<br />

75

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