Czech Philharmonic performs with Petr Altrichter and German-Japanese pianist Alice Sara Ott at Tokyo's Suntory Hall as a part of the orchestra's 2017 tour of Asia.
Tickets and contact informationMore about tickets
Please contact the promoter of the concert for ticket information and availability.
Overture to The Bartered Bride
Ludwig van Beethoven
Piano Concerto no. 5 in E-flat major „Emperor“
Symphony No. 8 in G major, Op. 88
Alice Sara Ott
For Dvořák, 1889, in which he finished Symphony No. 8 in G major, Op. 88, was a successful year indeed. He was offered the post of professor of composition at the Prague Conservatory and the National Theatre premiered his opera The Jacobin. The general interest in his music was further boosted by his fruitful visits to England.
Dvořák was absorbed in work on his Eighth Symphony from 28 August to 8 November, with the bulk of the time spent at his summer residence in Vysoká, the place he felt the most at ease. Yet the idyllic creative atmosphere was disturbed by a dispute with his “chief” publisher, Simrock, which ultimately resulted in an interruption of their co-operation for three years. Dvořák’s opus 88 was hence published by the London-based Novello. The symphony was subsequently given the subtitle “English”. In its basic features – four movements and their tempo scheme – Dvořák’s Eighth retains the structure of a classical symphony. Nevertheless, the work is striking owing to numerous innovations and a varied succession of changing moods. As the composer himself put it, he strove to treat themes and motifs in other than the “usual, universally used and acknowledged forms”.
Symphony No. 8 was premiered, with Dvořák himself conducting, on 2 February 1890 at the Rudolfinum in Prague within the popular Umělecká beseda society concerts. On 24 April of the same year it was performed in London at a Philharmonic Society concert at St. James’s Hall. An English reviewer wrote: “Although, just like Brahms, striving to adhere to the Beethoven school, Dvořák is the only one who is able to employ a distinctly new element in a symphony.” The Viennese critic Eduard Hanslick described the piece as follows: “This is one of Dvořák’s finest pieces……His works demonstrate an original personality, and this personality breathes the refreshing spirit of something novel and original.”
Noteworthy too is Dvořák’s commentary following the London premiere: “The concert turned out splendidly, dare I say as well as any other before… I was called several times to the stage – by and large, it was as nice and sincere as at the premieres at home in Prague. So I am satisfied and thank God that it has turned out so well!”
Ludwig van Beethoven (1770–1827) created five piano concertos, leaving unfinished the sixth one which he began in 1815. He built on Mozart’s legacy and developed it further in the presentation of the solo part; he strived for the unity of thought within movements as well as in their mutual relationship, and expanded the harmonic means. The introduction of Concerto for Piano and Orchestra No. 5 in E flat major Op. 73 confirms the main key; then comes the orchestral exposition which is repeated in modified harmonies. The whole first movement oscillates between the major and minor keys; the change of moods is supported by a contrast of the thematic material. The second movement anticipates the Romantic period by its meditative lyricism. Its conclusion features the theme of the final movement, which moves from the second movement into the third one without interruption. Formally, it is a sonata rondo with an extensive coda.
Piano Concerto in E flat major was composed in 1809 and completed in February 1810; Beethoven dedicated it to his pupil and patron Archduke Rudolf of Habsburg. That same year the concert was published in London; the epithet Emperor was coined by its English publisher. In 1811 the score was also published by Breitkopf & Härtel in Leipzig, where on 28 November 1811 the concerto had its world premiere at the Gewandhaus with the soloist Johann Christian Friedrich Schneider. The Vienna premiere the following year, on 11 February 1812, was performed by another pupil of Beethoven, Carl Czerny. Within a very short time Piano Concerto in E flat major became the most popular of all five piano concertos by Beethoven.
This website uses to provide services, personalize ads, and analyzing traffic cookies.