We would like to inform the listeners that due to health issues, conductor Michael Sanderling will be replaced by Jamie Phillips. The programme of the concert is to remain unchanged. Thank you for your understanding.
L’italiana in Algeri, overture to the opera
Concerto for Harp and Orchestra in E Flat Major, Op. 74
Ludwig van Beethoven
Symphony No. 7 in A Major, Op. 92
Jamie Phillips first came to international attention through his success in the Nestle Salzburg Conducting Award in 2012. He has since developed a strong guest conducting profile, demonstrating a natural authority and confidence on the rostrum, which he combines with a clear, expressive technique and innate musicality. He has been described as having “an uncommon ability to pick up a familiar piece by the scruff of its neck and shake invigorating new life into it.” – Bachtrack.
Engagements in the 2016/2017 season include debuts with the Oslo Philharmonic, Tonkünstler Orchestra, London Philharmonic Orchestra, BBC Philharmonic Orchestra, Royal Scottish National Orchestra, Royal Philharmonic Orchestra, Bournemouth Symphony Orchestra, Copenhagen Philharmonic, the orchestra of the Opéra de Rouen Normandie, and Polish National Radio Symphony Orchestra Katowice. Phillips returns to the Orchestre de la Suisse Romande, Orchestre de Chambre de Lausanne, City of Birmingham Symphony Orchestra and Philharmonie Zuidnederland.
In recent seasons, Phillips has conducted the Los Angeles Philharmonic when in residence as a Gustavo Dudamel Fellow, the BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Royal Northern Sinfonia, Manchester Camerata, Nash Ensemble, the orchestra of Welsh National Opera, Ulster Orchestra, RTÉ National Symphony Orchestra, Mozarteumorchester Salzburg, Camerata Salzburg, Deutsche Radio Philharmonie, Swedish Chamber Orchestra, Helsingborg Symphony Orchestra, Luxembourg Philharmonic Orchestra, and Brussels Philharmonic.
Phillips was Assistant Conductor of the Hallé from 2012–2015 and was the youngest conductor to work with the orchestra. In the 2015/2016 season the orchestra created the post of Associate Conductor for him.
Jamie Phillips is a committed advocate of new music and in the 2016/2017 season he will appear on a new recording on NMC of orchestral music by Tarik O’Regan recorded with the Hallé. In September 2014, together with Sir Mark Elder and the Hallé Orchestra he recorded the music of Scottish composer, Helen Grime, which was released on the NMC Label: “Performances are spot-on, not least from the orchestra’s assistant conductor, Jamie Phillips, making an auspicious debut on disc.” – Classical Music Magazine.
Jana Boušková belongs to the elite category of the world renowned harpists, who are thanks to their distinct artistic qualities invited to the most prestigious world scenes. She regularly performs as a soloist as well as in chamber ensembles at important Czech and world concert venues and festivals. The following performances rank undoubtedly among her most prestigious ones: the solo recitals in Alice Tully Hall – Lincoln Centre (New York), in the Théâtre Châtelet in Paris, in the Wiener Musikverein, Berliner Festtage etc. Jana Boušková performed at the Gala concert to the 50th birthday anniversary of Jurij Bashmet in Moscow, she participated in the Grand Tour in Israel and Europe together with the violinist Maxim Vengerov. In the field of chamber music she cooperates with a number of outstanding interprets in the frame of the Spannungen Festspiele in Germany, Parry Sound in Ontario, Festival des Laureats Juventus Cambrai, Elba Isola Musical in Europe or Théâtre de la Ville together with flautists Emmanuel Pahud and Mathieu Defour, harpist Marie Pierre Langlamet, or grand tours with flautist Patrick Gallois. As a soloist in the symphony repertoire she cooperates with such orchestras as the Prague Philharmonia, Chicago Simfonietta, Amsterdam Sinfonietta, Israel Philharmonic Orchestra, MDR Symphonieorchester Leipzig, Tokyo Chamber Orchestra etc.
Jana Boušková graduated from the Prague Conservatory and Ostrava University where she studied in the class of Libuše Váchalová. She continued studying at the prestigious Indiana University with Susann McDonald. She is the only Czech harpist who won the world’s most important and acknowledged international harp competition – in 1992 in the USA. In the same year she was awarded the 2nd prize in the competition with the oldest tradition in the world in Israel. Among other numerous successes let us name victories in Concours International de Musique de Chambre in Paris and in Torneo Internazionale di Musica in Italy. Jana Boušková was honored for outstanding concert successes and contribution to the harp field in Switzerland and is also the laureate of the Juventus Festival in France. In the Czech Republic she was awarded the Prize Talent of the year 1996.
Besides the solo career Jana Boušková devotes herself to pedagogical activity and teaches simultaneously on the Royal Academy in Brussels and on Music Faculty of the Academy of Performing Arts in Prague. Since 2005 Jana Boušková is a solo harpist of the Czech Philharmonic Orchestra. She is being regularly invited to participate in world renowned harp congresses and symposiums and leads masterclasses all over the world. She teaches at prestigious schools including Indiana University in the USA or Haute Ecole de Musique in Geneve. In 1999 she was the Artistic Director of the 7th World Harp Congress in Prague.
Jana Boušková has recorded more than twenty CDs for Czech and international labels, radios and television companies. In 2004 EMI published a recording of her concert in the frame of the German festival Spannungen.
The vast repertoire of Jana Boušková includes compositions of all eras. Numerous Czech and foreign contemporary composers have composed pieces for her.
Jana Boušková is the official player of the prestigious Lyon & Healy harp producer and plays the instrument by this US company.
Notwithstanding the variety of musical trends in the 20th century, Reinhold Moritzevich Glière, a Russian composer of German-Polish ancestry, throughout his career remained faithful to the tradition of Russian national Romanticism, following the model of Mikhail Ivanovich Glinka in particular. In the wake of the transformation of Imperial Russia into the Soviet Union, he never endeavoured to travel to the West, nor did he meet with disfavour on the part of the ruling establishment, with his non-conflicting music wholly conforming to the new political system.
Glière studied in Kyiv and Moscow, and among his teachers were the famed Czech violinists Otakar Ševčík and Jan Hřímalý. His best-known works include Symphony No. 3, “Ilya Muromets”,and the ballet The Red Flower (originally The Red Poppy). Favoured by harpists is his Concerto for Harp and Orchestra in E-flat major Op. 74, which to a large degree was edited by the distinguished Russian harpist Ksenia Alexandrovna Erdely (1878–1971), who gave its premiere in 1939. The concerto is written in the traditional classical-romantic manner, with the first movement being in the sonata form, while the second is a theme with six variations, and the final, cheerful Allegro giocoso, is the piece’s most virtuoso section.
Symphony No. 7 in A major Op. 92, completed in 1812, represents atonement and a levelling of the different poles reflected in the dramatic Symphony No. 5 and the joyous Symphony No. 6. Beethoven’s contemporaries sought a “programme” back in the Third, Fifth and Sixth,and the Seventh too was subject to additional interpretations. Wagner branded it an “apotheosis of dance”, Beethoven’s biographer Herriot saw in it the composer’s retreat to intoxicating pleasure, while the philosopher Nietzsche sought in the music the secret of the origin of art.
The first sketches of Op. 92 date from 1806, yet Beethoven only began intensively dedicating to its composition in October 1811. In April of the next year, he drew up the definitive version of the score. Even though this period was a far from easy one, Beethoven imbued Symphony No. 7 with music teeming with joy and vital energy. The Allegretto of the second movement, however, seems to be from a different world, with the three-part form of the theme with variations in marching rhythm comprising something grievous and thus within the context of the other movements becoming the ideational centre of the entire piece. In its time, the gradated finale came across as the greatest surprise. The Symphony in A major was first performed in public on 8 December 1813.
The turning point in Rossini’s career occurred in 1813, the year in which two of his operas, the tragic Tancredi and the comic Lʼitaliana in Algeri, received their premieres, to great acclaim. Following the two works, which definitely established his position as one of most beloved composers of this genre, Rossini would create another 27 operas, with the best-known and most popular among them still being Il barbiere di Siviglia (1816). An independent chapter in his oeuvre is represented by opera overtures, which Rossini frequently transposed and recycled. One of the exceptions in this respect seems to be the overture to Lʼitaliana in Algeri,which contains an entirely original music material. It features Rossini’s typical accelerated pulse in the form of abrupt intensification, moments of surprise, whereby the tutti orchestra unexpectedly bursts into the soft pizzicato basses (after the fashion of Joseph Haydn’s Symphony No. 94 in G major, Hob 1/94,commonly referred to as the “Surprise Symphony”, or in German “mit dem Paukenschlag” – “with the kettledrum stroke”), as well as roguishly playful melodies. Rossini wrote the opera within less than a month. Lʼitaliana in Algeri was premiered at the Teatro San Benedetto in Venice on 22 May 1813. Its first performance in Prague took place in 1818, in German translation. On 31 December 1933, the piece was presented in Czech.
This website uses to provide services, personalize ads, and analyzing traffic cookies.