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 by Peer Gynt and from the time of Holberg, suite in antique style for orc-str arce op. 40
Grieg's relationship with the theater was undoubtedly lucky and fruitful. Two of his most famous compositions were born from the encounter with two leading names in Scandinavian dramaturgy: incidental music for Henrik Ibsen's Peer Gynt and 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 appreciated and known in the Scandinavian countries that he earned the nickname 'Molière del Nord'. To pay tribute to the writer, on the occasion of the bicentenary celebrations since his birth in 1884, Grieg composed the Suite op. 40, an anthology of dances composed in eighteenth-century style. Initially conceived for piano, the suite was then transcribed for string orchestra without losing anything of the melodic gallantry of its five sections - Preludium, Sarabande, Gavotte, Air and Rigaudon - which follow the shapes and sounds of the Rococo. The link with Ibsen is instead due to the Peer Gynt, a drama in verse that engaged the writer for years with the final result of a long and almost unrepresentable work due to the continuous changes of scene. The solution to the problem was found by replacing large portions of text with music parts. Grieg was the most prominent Norwegian composer of the time and the work was entrusted to him without delay. To narrate the events of the eternal adventurer Peter Pan and a bit of a great protagonist of the drama, Grieg spared nothing of his unmistakable melodic vein, creating orchestral pages immediately taken by the audience. Years after the first performance of the Peer Gynt, the composer decided to extrapolate some pieces to be enclosed in two suites. The first, the op. 46 dates back to the 1888 and consists of four sound panels that describe some of the most characteristic scenes of the drama: the crystalline atmospheres of Mattino, the sad song of Death of Ase, mother of Peer, the oriental dance of Anitra up to the overwhelming march that describes the entrance to the mountain king's cave, a fantastic place populated by bef-fardi gnomes, witches and trolls.

Hector Berlioz - Symphonie fantastique op. 14, is an example of the ways of an artist
Composed in the 1830, the Symphonie fantastique, episodes from the life of an artist in five parts, op. 14 is the work that brings twenty-seven Berlioz to international prominence. 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 on a pentagram, giving life to the first example of program music. The symphony is in fact divided into five movements accompanied by descriptions that describe the phases of the artist's burning infatuation: sensations, memories, delirious dreams and hallucinations that translate into musical images; and also the beloved woman is sublimated into music thanks to a melody, the famous idée fixe, which cyclically uses together 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 division into five parts has an illustrious precedent in Beethoven's Pastorale - the real novelty lies instead in the given value 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.