The Russians don't know Santa Claus, but they do have a rich fairy tale culture. Well-known Russian figures are Grandfather Sovereign, the Snowgirl and the witch Baba Jaga; grateful sources of inspiration for Russian composers. The Ciconia Consort brings you the most beautiful Russian music with one of the most important repertoire pieces for string orchestra: Tchaikovsky's 'String Serenade' and Mussorgsky's popular 'Painting Exhibition' in a beautiful arrangement for string orchestra. In addition, the atmospheric Variations for string orchestra by Alexander Glazunov, a heartbreaking aria from the opera 'Aleko' by nineteen-year-old Rachmaninov and the song 'O Delvig' from Shostakovich's 'Fourteenth Symphony' sound. In these last works baritone Marc Pantus joins the Ciconia Consort
Dick van Gasteren about Mussorgsky's Painting Exhibition: "Everyone knows Ravel's orchestral version, but it sounds very French. In our version for string orchestra we emphasize the Russian character of the music. The sound of Russian string school is world-famous." (Read the interview with Dick van Gasteren.)
Ciconia Consort
Baritone Marc Pantus
Special guest at this concert is the baritone Marc Pantus. At home in both opera and oratorio, he is a popular soloist in performances of Bach's cantatas and passions. He has previously played with the Rotterdam Philharmonic Orchestra, the Residentie Orkest, the ASKO/Schoenberg Ensemble, the Nederlandse Bachvereniging, the Royal Philharmonic Orchestra, conducted by conductors such as Edo de Waart, Kenneth Montgomery, Reinbert de Leeuw, Paul McCreesh and Jos van Veldhoven
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In-depth
Preface
In the middle of the nineteenth century, five young Russian composers, including Modest Mussorgsky, caused quite a stir in Russian musical life. They felt that the music of their colleagues, including Tchaikovsky, relied too much on European examples and went in search of the roots of Russian music. These composers found their roots in the music of the peasants in the Russian countryside. This contrast between the 'traditionalist' Mussorgsky and the more Western oriented composers such as Tchaikovsky and Rachmaninov is beautifully reflected in this programme of the Ciconia Consort.
Glazunov - Theme and variations, on. 97
Between these two 'camps' stood the more moderate Aleksandr Glazunov. On the one hand he drew inspiration from folk music, on the other hand he sought connection with the Western music tradition. In Theme and Variations this is clearly audible. The typically Russian sounding melody inspired Glazunov in 1895 to create a series of picturesque variations for string quintet. More than twenty years later he reworked the work for string orchestra. In this version you will hear the play tonight.
Tchaikovsky - Serenade in C
As an insatiable Mozart lover, Tchaikovsky clearly belonged in the West-oriented camp. In 1880, Tchaikovsky wrote to his girlfriend Nadezhda von Meck that he was working on something between a string quartet and a symphony. It became Tchaikovsky's famous Serenade. To Nadezhda he wrote: "In the first part I pay homage to Mozart". Also in the second part, a light waltz, Tchaikovsky relied on Western sources of inspiration. This roller was also known as a stand-alone piece. The 'Elegia' and the 'Finale' are the most Russian parts of the Serenade. In the 'Finale' Tchaikovsky even quotes the national anthem 'Under the green apple tree'.
Shostakovich - "O Delvig
Despite their broad view of the West, the music of Shostakovich and Rachmaninov also has subtle lines with the Russian musical tradition. The orchestration of Mussorgsky's Songs and dances of death inspired Shostakovich to his Fourteenth Symphony (1969). In the ninth part 'O Delvig', Shostakovich paid homage to the deceased writer Anton Delvig (1898-1831). The aria 'Ves Tabor Spit' from Rachmaninov's Aleko (1893) also looks back on the past. It is a beautiful aria full of heartbreaking melancholy, for which Rachmaninov is so famous.
Mussorgsky - Painting exhibition
Modest Mussorgsky's Painting Exhibition is undoubtedly the most deeply rooted in the tradition of Russian folk music. The piece, originally composed for piano, is a tribute to his late friend and painter Viktor Hartmann. As a starting point Mussorgsky took ten paintings by Hartmann. A recurring folk song-like melody, entitled 'Promenade', connects the echoing paintings. Several images from the Russian folk tradition pass in review, ranging from an evil dwarf (the gnome) and an old castle, to a chick ballet and the hut on chicken legs of the witch Baba-Yaga. The Painting Exhibition ends with a magnificent apotheosis, in which Mussorgsky gives a musical rendition of Hartmann's famous Gate of Kiev, including typical Russian bell chimes. Hartmann's paintings have unfortunately been lost, but Mussorgsky's music has enough imagination to let his own imagination run wild. Just like the famous Russian sailors' dance, with which the Ciconia Consort concludes this concert
Russian winter fairy tales belong to a winter month of December. The young string orchestra Ciconia Consort plays an atmospheric programme, with highlights such as Tchaikovsky's 'String Serenade' and Mussorgsky's 'Painting Exhibition'. Everlasting snowy forests, colourful church towers, fur hats and bearded men singing low pass by in thoughts. Two beautiful arias by Rachmaninov and Shostakovich, sung by bass-baritone Marc Pantus, complete the evening
The Edesche Concert Hall. Unheard of acoustics, intimate beauty, one of the most beautiful concert grand pianos in the Netherlands with the very best musicians.
From one hour before the start of the concert you are welcome in the Edesche Concert Hall, for example for a cup of coffee in advance. Please note: during the performance we do not grant access to the concert hall
The Edesche Concertzaal is unsubsidized and is made possible by Eskes Media / DagjeWeg.NL.
Many payment options online;
Stage Gift Card OK, also online;
Free coffee/drinks/breakfasts;
Free wardrobe;
Free luxury program magazine;
Free and paid parking in the vicinity;
ECLive! Listen to the concert again in high quality afterwards (at selected concerts);
Dick van Gasteren about Mussorgsky's Painting Exhibition:
