Start with a tribute to Hector Berlioz in the year in which the first concert of the 150 occurs years after death 2019-2020 symphonic season at the Teatro del Maggio. On the podium to direct the Orchestra del Maggio, the 27 October at 20, the master will rise Emmanuel Krivine - musical director of the Orchester National de France and principal guest conductor of the Scottish Chamber Orchestra - who will perform the Suite n.1 op. 46 by Peer Gynt e Since the time of Holberg, antique style suite for string orchestra op. 40 by Edvard Grieg and to follow the Symphonie fantastique op. 14, èpisode de la vie of an artist by Hector Berlioz, officially giving way to an intense calendar of other 12 symphonic concerts that focuses on the northern European musical paths without neglecting the masterpieces of symphony and that will see directors follow each other as Alpesh Chauhan, Nicola Piovani, Joan Sheep, Dennis Russell Davies, Daniele Cats, James Conlon, Alexander Lonquich, Myung-Whun Chung, Lionel Bringuier e Zubin Mehta.
Edvard Grieg - Suite n.1 op. 46 from Peer Gynt and From the times of Holberg, antique-style suite for string killer whale op. 40
Grieg's relationship with the theater was undoubtedly fortunate and fruitful. From the encounter with two leading names in Scandinavian dramaturgy, two of his best-known compositions were born: the incidental music for Henrik Ibsen's Peer Gynt and the Holberg Suite, dedicated to the writer and playwright Ludvig Holberg. Born in Denmark, Holberg lived between the end of the seventeenth century and the first half of the eighteenth century and was so much appreciated and known in the Scandinavian countries that he earned the nickname of 'Molière of the North'. To pay homage to the writer, on the occasion of the bicentenary celebrations of his birth in 1884, Grieg composed the Suite op. 40, an anthology of dances composed in the eighteenth century style. Initially conceived for piano, the suite was then transcribed for string orchestra without losing any of the melodic gallantry of its five sections - Preludium, Sarabande, Gavotte, Air and Rigaudon - which trace the forms and sounds of the Rococo. The link with Ibsen is instead due to Peer Gynt, a verse drama that engaged the writer for years with the final result of a long and almost unrepresentable work due to the continuous changes of the scene. The solution to the problem was found by replacing large portions of text with musical parts. Grieg was the most prominent Norwegian composer of the time and the work was entrusted to him without delay. To tell the story of the eternal Peter Pan adventurer and a bit braggart protagonist of the drama, Grieg spared nothing of his unmistakable melodic vein, creating orchestral pages of immediate appeal to the public. Years after the first performance of Peer Gynt, the composer decided to extrapolate some pieces to be enclosed in two suites. The first, op. 46, dates back to 1888 and consists of four sound panels that describe some of the most characteristic scenes of the drama: the crystalline atmospheres of the Morning, the sad song of the Death of Ase, mother of Peer, the oriental dance of Anitra up to the overwhelming march that describes the entrance In the cave of the king of the mountain, a fantastic place populated by gnomes bef-fardi, witches and trolls.
Hector Berlioz - Symphonie fantastique op. 14, èpisode de la vie d'un artiste
Composed in 1830, the Symphonie fantastique, episodes from the life of an artist in five parts, op. 14 is the work that brings the XNUMX-year-old Berlioz to the international stage. The inspiration comes from an autobiographical fact, the initially unrequited love for the Irish actress Harriett Smithson who years later will become the composer's wife. With the romantic exaltation typical of his production, Berlioz pours the torments of the heart onto the stave giving life to the first example of program music. The symphony is in fact divided into five movements accompanied by captions that describe the phases of the artist's burning infatuation: sensations, memories, delusional dreams and hallucinations that translate into musical images; and even the beloved woman is sublimated into music thanks to a melody, the famous idée fixe, which cyclically recurs to give unity to the various parts of the composition. But if the structure of the Symphonie fantastique is innovative only in appearance - the movements with descriptive titles actually follow the rules of classical symphony, and the subdivision into five parts has an illustrious precedent in Beethoven's Pastorale - the real novelty lies instead in the value given. to the stamp. Berlioz creates a new palette of instrumental colors with unique combinations that enliven the nineteenth-century orchestral language from within.
The concert will be broadcast on a deferred basis RAI Radio3.