Ferencsik bérlet 8.
Julian Rachlin is one of the most exciting and respected violinists of our time. In the first three decades of his career, he has established close relationships with many of the most prestigious conductors and orchestras. Mr. Rachlin is Principal Guest Conductor of the Royal Northern Sinfonia and Turku Philharmonic Orchestra. He also leads the “Julian Rachlin & Friends Festival” in Palma de Mallorca.
Highlights of Mr. Rachlin’s 2017/18 season include the opening of the St. Petersburg Philharmonic Orchestra season with Yuri Temirkanov, the opening of the Barcelona Symphony Orchestra season with Kazushi Ono, a tour with La Scala Filarmonica and Riccardo Chailly, his return to the Orchestra del Maggio Musicale with Zubin Mehta, and a residency at the Prague Spring Festival. He will also have his own cycle at the Vienna Musikverein.
As conductor, he will tour Europe with the English Chamber Orchestra and will guest conduct, among others, the Royal Philharmonic Orchestra, State Academic Symphony Orchestra of Russia, Vienna Symphony Orchestra, Moscow Philharmonic Orchestra, Hungarian National Philharmonic, Royal Liverpool Philharmonic Orchestra, Orchestra della Svizzera Italiana, Moscow Virtuosi, National Taiwan Symphony Orchestra and Prague Philharmonia.
Born in Lithuania, Mr. Rachlin immigrated to Vienna in 1978. He studied violin with Boris Kuschnir at the Vienna Conservatory and with Pinchas Zukerman. After winning the “Young Musician of the Year” Award at the Eurovision Competition in 1988, he became the youngest soloist ever to play with the Vienna Philharmonic, debuting under Riccardo Muti. At the recommendation of Mariss Jansons, Mr. Rachlin studied conducting with Sophie Rachlin. Since September 1999, he is on the violin faculty at the Music and Arts University of the City of Vienna. He is also an accomplished viola player, and his recordings for Sony Classical, Warner Classics and Deutsche Grammophon have been met with great acclaim. Mr. Rachlin, a UNICEF Goodwill Ambassador, is committed to educational outreach and charity work.
Julian Rachlin plays the 1704 “ex Liebig” Stradivari and a 1785 Lorenzo Storioni viola, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. His strings are kindly sponsored by Thomastik-Infeld.
The Polonaise is a Polish dance with folk origins: the three-quarter time is characterised by the frequent dactylic rhythm of the first quarter. The dance was popular among Russian composers of the 19th century, and features as a divertissement in several of Tchaikovsky’s operas. The Polonaise from Eugene Onegin comes at the start of the opera’s third act as the opening to the ball scene, serving to demonstrate both the rich splendour of the venue and the transformation of Tatyana from naïve country girl into glamorous princess. Following Eugene Onegin’s Moscow premiere in 1881, this proud, three-part dance with a lyrical middle section took on a life of its own, independently of the opera itself. As well as becoming a much-loved concert piece, the Polonaise also saw a return to its original purpose: the piece is still played as a firm favourite at balls all over the world.
Mendelssohn composed his first violin concerto in D minor at the age of thirteen. Twenty-three years had to pass for him to revisit the genre. The E-minor concerto was written in his last creative period, presumably as a kind of summary of his efforts, even if he chose a lighter genre to do so in comparison with the Elijah oratorio, completed around the same period. The glittering surface of the Violin Concerto, the conspicuously simple theme, the “Midsummer Night’s” feel of the finale, however, are somewhat misleading. Mendelssohn incorporated numerous formal innovations in his work, which would have taken the audiences of the time by surprise – as opposed to the majority of unsuspecting audiences of our day, for whom the work is The Violin Concerto, an ultimate point of reference. For example, the soloist’s entry at the very beginning (with none of the “obligatory” orchestral introduction) would have been unexpected at the time, as were the “transitions” between the movements, such as the extended note of the bassoon before the slow movement, and the short, almost speech-like, violin solo preceding the finale, whose theme refers back to the opening movement. These would have undoubtedly elicited surprise at the employment of solutions familiar from other genres. Mention must also be made of Mendelssohn’s truly revolutionary solution of writing out of the solo cadence in the first movement, leaving no space for the soloist’s improvisation, and placing it before the recapitulation of the main theme, as opposed to its usual place at the end of the movement.
I. Andante – Allegro con anima
II. Andante cantabile, con alcuna licenza
III. Valse. Allegro moderato
IV. Finale. Andante maestoso – Allegro vivace
Tchaikovsky (1840–1893) composed his Symphony No. 5 in 1888, during his final creative period. For Tchaikovsky, this period brought together the act of summarising with the idea and the need to recapitulate.
The rhythmic pattern of the opening theme to this ‘symphony of fate’ is – in Tchaikovsky’s words – “a complete resignation before fate, which is the same as the inscrutable predestination of fate”. The theme (played here on the clarinet) returns as a motto in each of the movements. While all the individual movements feature their own musical ideas, the ‘theme of fate’ is used to reinforce the epic character of the composition.
The liveliness, thematic diversity and rich character of the first movement, which is in sonata form, does more than carry the narrative of the ‘total acceptance’ of one’s fate. The beautiful theme of this slow-tempo movement is brought to a close by the horn, while, at the dramatic climax of the movement marked by a change of pace and a triple forte dynamic, the ‘Fate theme’ appears in the brass section amid the rattle of kettle drums.
In the build-up to the finale, the elegant waltz of the third movement almost imperceptibly glides from a joyous atmosphere to an uncertain, intangible foreboding: the ‘theme of fate’ appears in an augmented form as a dark shadow hanging over the end of the movement. The Andante opening to the Finale recalls the beginning of the opening movement (starting there in the major key, here in the minor one), while the main Allegro vivace section is aligned with the basic triumphant sound of the symphony as a whole. The popular Russian dance episode is akin to a similar dramatic moment from in Symphony No. 4, expressing an affirmation of life and the strength of togetherness. As Tchaikovsky said: “Rejoice in others’ rejoicing. To live is still possible!”
Kövesse a koncertet az élő közvetítésen keresztül 2018. május 19-én 19:30-tól!