The Opening of the Season with Maestro Mehta and Maria João Pires

זובין מהטה

Date

18.10.2017

Wednesday 20:00

Hall

Ussishkin

Venue

International Convention Center (ICC) Jerusalem

Venue

International Convention Center (ICC) Jerusalem

Hall

Ussishkin

Artists

Zubin Mehta, conductor 

Maria João Pires, pianist 

Concert Program

Amit Poznansky: Footnote, Suite for Orchestra

Beethoven: Piano Concerto no. 3

Schubert: Symphony no. 9, D. 944 (“The Great”)

Event Info

The selection of works for the opening series of the Israel Philharmonic Orchestra’s 82nd season reflects an out-of-the-box approach both compositionally and artistically.

The first concert opens with an orchestral suite based on the soundtrack composed by Amit Poznansky for Joseph Cedar’s prizewinning movie “Footnote.” The work is a sort of neo-classic waltz, which changes form in accordance with the inter-generational conflict at the center of the movie. Its performance is unique, connecting different art disciplines in Israel—a contemporary orchestral suite from a current film—in contrast to the classic movie scores often performed by symphony orchestras.

The first performance of Beethoven’s Piano Concerto No. 3 was one he would not forget. The best musicians in Vienna were playing in another concert and Beethoven was forced to assemble an orchestra from the remaining musicians in town.  With insufficient funds to finance a meal, one of his friends paid for cold meat and wine for all the musicians out of his own pocket. And what about the score? The copyist had not managed to finish transcribing the work so Beethoven played the solo part from a blank score whose pages he turned just for form. But with this performance, however, Beethoven broke new ground for he completely re-invented the piano concerto form.

Outwardly, Beethoven seemed to be looking to Mozart, his famed predecessor, and his concerto No. 24. But with this concerto, he also parted from the tradition of Haydn and Mozart in important, new ways. His innovations can be heard in the tone-color of the orchestral instruments and in the balance between soloist and orchestra. His changes were not overly dramatic; it was an evolutionary rather than a revolutionary process. But it was clear from the very first performance that the piano concerto had changed definitively and forever.

Maria João Pires, who performs this concerto, is one of the most refined, sensitive pianists of our time and an artist who has initiated numerous innovative projects. Pires opened a center in Portugal where artists can connect with one another, and she started choral projects for children with disabilities in several places across Europe. She firmly believes that music should not solely be the domain of a concert hall but should also have a social function, and her actions support these beliefs.

Schubert’s Symphony No. 9 was rejected by orchestra after orchestra. He, too, followed a different path and broke from tradition. Principal orchestral musicians read the score and saw that his work placed emphasis on the woodwinds. “The new approach does not suit us. The work is too difficult,” said the musicians. It took the intervention of two great artists, Robert Schumann and Felix Mendelssohn, for this rich, exciting work to finally be performed, eleven years after Schubert’s death. The symphony and its rich collection of melodies, songs if you wish, is true joy and, of course, out-of-the-box.

Price Range

130 - 430 nis

Duration

approx 115 min including intermission

Duration

approx 115 min including intermission

Price range

130 - 430 nis

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