Kirill Petrenko and Yuja Wang

יוג'ה ואנג

Date

20.2.2018

Tuesday 20:00

Hall

Lowy Concert Hall

Venue

Charles R. Bronfman Auditorium, Tel Aviv

Venue

Charles R. Bronfman Auditorium, Tel Aviv

Hall

Lowy Concert Hall

Artists

Kirill Petrenko, conductor 

Yuja Wang, pianist 

Concert Program

Dukas: La Péri

Prokofiev: Piano Concerto no. 3

Stravinsky: Petrouchka (with Yuja Wang at the piano)

Event Info

Of the few works French composer Paul Dukas left behind we tend to remember only “The Sorcerer’s Apprentice.” And we almost lost the music to the ballet “La Péri” since Dukas planned to use it to pay for a gambling debt. But friends persuaded him to safeguard this work which he had composed for ballerina Natasha Trouhanova and it was thus preserved for eternity. The subject of the work is immortality:  a fairy guards the flower of immortality and Iskender is the man who sets out to find it. But (as expected?) he fails.  The music is imbued with a magical atmosphere while Iskender’s attempts to steal and keep the flower endow it with additional color.

“Like Beethoven” Sergei Prokofiev composed five piano concertos and stopped composing this genre when he ceased performing and “like Beethoven” he went on to compose piano sonatas. “Like Beethoven,” Prokofiev traveled always with a notebook at hand, in which he noted musical ideas he was afraid of losing. “Like Beethoven,” he sat down to compose his Piano Concerto No. 3 when most of the work was already sketched out in his notebook. The result? After the world premiere of the work, the Chicago Daily Herald wrote that “this was the most beautiful concerto of the modern world.” Prokofiev dedicated the concerto to the poet Konstantin Balmont who reacted to the tribute with a sonnet beginning with these words: “A joyful flame from a scarlet flower/ a keyboard of words shines in the flames/that suddenly leap in tongues of fire….” Beautiful, rousing words that move us just like the concerto.

Following his great success with “Firebird” Stravinsky composed Petrushka, in which he makes a personal statement with a sharp, independent language that is very Russian. The piece was first written as a work for piano and orchestra. In Stravinsky’s eyes, the piano represented a soloist-puppet that slowly comes alive.  As a living creature, the puppet rebels against the orchestra using musical means and the orchestra answers the puppet. As he continued to develop the work, Stravinsky viewed the piano as a figure that was wretched and ridiculous, ugly and romantic, constantly rebelling with reason or not. The producer, Sergei Diaghilev, read the original score when he visited Stravinsky in Switzerland and immediately saw the choreographic potential of the work. The rest, as we know, is history.

Price Range

180-550 nis

Duration

approx 100 minutes including intermission

Duration

approx 100 minutes including intermission

Price range

180-550 nis

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