program - SVIZ

month. On the other hand, some of the concertos could have been written
for Vivaldi’s patrons.
The Concerto for Bassoon in B-flat Major, RV 501, is one of many Vivaldi concertos
with a programme, as is indicated both by the concerto’s title and the
titles of the individual movements. The first movement presents a scene in
which the bassoon has an ornamented recitative melody. The second movement
is dramatic, with the bassoon exploring night-time apparitions. This
is followed by a tranquil movement entitled Il sonno, which illustrates sleep.
This movement concludes with daybreak, and with the sunrise the bassoon
is faced with various responses from the orchestra.
One of ten Vivaldi’s bassoon concertos in minor key, the Concerto in A Minor,
RV 497, opens with a vigorous ritornello, continuing in a gentler mood with
violins and viola, before the initial impetus is restored. The virtuoso solo part
starts with entries varied by the inclusion of elements drawn from the second
part of the opening ritornello. The Andante is introduced by the orchestra,
before the bassoon embarks on its own aria. The third movement duly starts
with the orchestral ritornello, framing solo episodes for the solo bassoon.
PROGRAM / PROGRAM
Ottorino Respighi is today best known for his orchestral ‘trilogy’ Fountains
of Rome, Pines of Rome and Roman Festivals. However, the composer first
gained international recognition in 1908 with his orchestration of Claudio
Monteverdi’s Lamento d’Arianna. Even as a child Respighi was attracted to
ancient music, and he later transcribed works by Italian composers from the
17 th and 18 th centuries. His love of Gregorian chant and Monteverdi is well
known. He was not, however, drawn to modern musical streams and ideas,
and did not find himself in any innovative musical groups. In 1932, he even
signed his name to a manifesto that attacked the new musical directions of the
time and called upon composers to return to the established Italian tradition.
Respighi’s interest in early music also extended to the genre of ‘aria antica’,
connected with arias with lute accompaniment and the tradition of court
dances of the 16 th century. After two very successful orchestral suites from
1917 and 1923, Respighi composed a third suite in 1931 entitled Antiche arie
e danze for string orchestra, in which he achieved a happy balance between
typically Respighi colouration and a renaissance clarity of sound. There is no
irony to be found in the charming dance movements, freely reconstructed
on the basis of works by composers from the 17 th century, but rather just a
simple love of the beauty of music from past centuries.
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Elena Kats-Chernin emigrated from Uzbekistan to Australia with her family
in 1975. She studied the piano and composition at the Moscow Conservatory
and at the Sydney Conservatory. From 1980, she studied at the Hanover
University of Music and Drama, and then remained in Germany, where she
primarily composed music for ballet and theatre productions. In 1994, she
returned to Sydney. She has received numerous prizes and awards for her
compositions and her works are performed by recognised orchestras and
other ensembles.