Photo illustrating the event Czech Philharmonic<br>Vadim Gluzman

Czech Philharmonic

Vadim Gluzman

Czech Philharmonic
Programme

Josef Suk
Fantastic Scherzo for large orchestra op. 25

Leonard Bernstein
Serenade after Plato’s Symposium for solo violin, string orchestra, harp, and percussion

Bohuslav Martinů
Symphony No. 5 H 310

Antonín Dvořák
Symphony No. 5 in F Major op. 76 

Performers

Vadim Gluzman
violin

Jiří Rožeň
conductor

Czech Philharmonic

Photo illustrating the event Czech Philharmonic<br>Vadim Gluzman
Rudolfinum — Dvorak Hall
1 Nov 2017  Wednesday — 10.00am Final rehearsal
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1 Nov 2017  Wednesday — 7.30pm
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2 Nov 2017  Thursday — 7.30pm
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3 Nov 2017  Friday — 7.30pm
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Performers

Jiří Rožeň  Dirigent

Jiří Rožeň

One of the most exciting Czech conductors, Jiří Rožeň is very passionate about contemporary music and rediscovering seldom played pieces.

During the season 2017/2018 he will make his debuts with the Wiener Concert-Verien in the Musikverein Wien and Kölner Philharmonie. Further debuts including the Bruckner Orchester Linz, Prague Radio Symphony Orchestra, Bohuslav Martinů Philharmonic Orchestra, Czech Chamber Philharmonic Pardubice, State Philharmonic Košice. Jiří is re-invited to the PKF – Prague Philharmonia, Karlovy Vary Symphony Orchestra and Brno Philharmonic. Furthermore, he is assisting to Jukka-Pekka Saraste at the Junge Deutsche Philharmonie.

He recently completed his two years appointment as the Assistant Conductor to Thomas Dausgaard and Donald Runnicles at the BBC Scottish Symphony Orchestra and Leverhulme Conducting Fellow at the Royal Conservatoire of Scotland. He assisted, for example, at the BBC Proms and Edinburgh Festival, both 2016 and 2017. During his time in Scotland he conducted the BBC SSO, Royal Scottish National Orchestra, Orchestra of the Scottish Opera, Royal Conservatoire of Scotland Symphony Orchestra and the Red Note Ensemble.  

He was a finalist of two prestigious conducting competitions: the 2015 Nestlé and Salzburg Festival Young Conductors Award and the 2014 Donatella Flick LSO Conducting Competition, during which he led the London Symphony Orchestra in concert.

Past and future collaborations with acclaimed soloists include Olga Scheps, Kirill Gerstein, Lawrence Brownlee, Mahan Esfahani, Kateřina Kněžíková, Roman Patočka, Olga Šroubková, Marek Kozák, Vilém Veverka.

He conducted orchestras such as the Royal Concertgebouw Orchestra Amsterdam, Tonhalle-Orchester Zürich, Orchestra Philharmonique de Radio France, Antwerp Symphony Orchestra, WDR Symphony Orchestra Cologne, Bremer Philharmoniker, Lucerne Festival Academy Orchestra as an active participant of masterclasses with Daniele Gatti, Bernard Haitink, David Zinman, Jiří Bělohlávek, Jukka-Pekka Saraste, Peter Eötvös, Christopher Seaman, Edo de Waart, David Robertson.    

In 2017 he made a succesful debuts at the International Janáček May Festival with Lawrence Brownlee and at the Festival Allegretto Žilina, recieving the Prize of the Janáček Philharmonic Ostrava and an invitation to the Slovak Sinfonietta. In 2016 he made a highly acclaimed debut at the Prague Spring Festival with the PKF – Prague Philharmonia, with whom he regularly works. In 2015, he debuted at the Salzburg Festival with the Camerata Salzburg and appeared at the Lucerne Festival within the Lucerne Festival Academy in 2013.

Jiří is also at home in the world of opera. In Glasgow he conducted and assisted Stravinskyʼs Mavra, The Bear by Walton, Straussʼs Fledermaus and Brittenʼs Owen Wingrave. He also conducted Ravelʼs L’enfant et les sortilegès with the Hamburg Symphony Orchestra in 2014. In 2012, he conducted the world premiere of the contemporary opera Eine Kluge Else by Sven Daigger at the Brücken Festival for the New Music in Rostock.

Jiří studied conducting at the Royal Conservatoire of Scotland, Zurich University of the Arts, Hamburg University of Music and Theatre, University Mozarteum Salzburg and at the Prague Conservatory. His mentors include Garry Walker, Dennis Russell Davies, Ulrich Windfuhr, Johannes Schlaefli and Hynek Farkač. Jiří was also a fellow of the German Music Council’s Conductors Forum.

Vadim Gluzman  violin

Vadim Gluzman

Vadim Gluzman’s extraordinary artistry brings to life the glorious violinistic tradition of the 19th and 20th centuries. Gluzman’s wide repertoire embraces new music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label.

The Israeli violinist appears regularly with major orchestras such as the Berlin Philharmonic, Boston Symphony, Philadelphia Orchestra, Israel Philharmonic, London Symphony, and Leipzig Gewandhaus. Gluzman has enjoyed collaborations with many of today’s leading conductors. His festival appearances include performances at Verbier, Tanglewood, Ravinia, and Lockenhaus, as well as the North Shore Chamber Music Festival in Chicago, Illinois, which was founded by Gluzman and pianist Angela Yoffe, his wife and recital partner.

Highlights of his 2016/17 season included appearances in London at The Proms with the BBC Symphony and Edward Gardner, with the Chicago Symphony under Neeme Järvi, the NDR Elbphilharmonie Orchestra Hamburg under Christoph von Dohnányi, the Deutsches Symphonie-Orchester Berlin under Tugan Sokhiev, and with the Orchestre de Paris under Juraj Valčuha. He toured the United States with the Orpheus Chamber Orchestra, including an engagement in New York at Carnegie Hall, and performed with Baltimore Symphony, NHK Orchestra in Tokyo, and the Orchestre Philharmonique de Radio France in Paris, among other engagements. Gluzman led performances with the Franz Liszt Chamber Orchestra and the ProMusica Chamber Orchestra in Columbus, Ohio, where he continued in his third year as Creative Partner and Principal Guest Artist.

Last season Mr. Gluzman gave the world premiere performances of new concertos written for him by two of today’s most important composers: Sofia Gubaidulina’s Triple Concerto for Violin, Cello and Bayan with Elsbeth Moser, Nicolas Altstaedt and the NDR Radio Philharmonic in Hannover under Andrew Manze; and Elena Firsova’s Concerto for Violin and Cello with Johannes Moser and the Deutsches Symphonie-Orchester Berlin under Tugan Sokhiev. Gluzman has given live and recorded premieres of other works by Gubaidulina, as well as Giya Kancheli, Peteris Vasks, Michael Daugherty, and most recently, Lera Auerbach.

Vadim Gluzman’s latest CD for the BIS label features Sergey Prokofiev’s Violin Concertos No. 1 and 2, as well as the composer’s Sonata for Violin Solo, with Estonian National Orchestra conducted by Neeme Järvi. Accolades for his extensive discography on BIS include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica Magazine’s esteemed Choc de Classica award, and Disc of the Month by The Strad, BBC Music Magazine, ClassicFM, and others.

Born in the former Soviet Union in 1973, Gluzman began violin studies at age 7. He studied in Latvia and in Russia before moving to Israel in 1990, where he became a student of Yair Kless. In the United States, he studied with Arkady Fomin in Dallas and at the Juilliard School with Dorothy DeLay and Masao Kawasaki. Early in his career, Gluzman enjoyed the encouragement and mentorship of Isaac Stern which continued until the Stern’s passing in 2001. In 1994 he received the prestigious Henryk Szeryng Foundation Career Award.

Vadim Gluzman plays the legendary 1690 ‘ex-Leopold Auer’ Stradivari on extended loan to him through the generosity of the Stradivari Society of Chicago.

Compositions

Leonard Bernstein — Serenáda podle Platónova Symposia pro sólové housle, smyčcový orchestr, harfu a bicí

Dirigent, klavírista, skladatel a popularizátor hudby Leonard Bernstein se narodil do rodiny ukrajinských Židů v Lawrence v americkém státě Massachusetts. Po absolutoriu studia na Harvardu a na Curtisově institutu ve Filadelfii se stal v Tanglewoodu žákem Sergeje Kusevického, který si ho vybral za asistenta u Bostonského symfonického orchestru. Bernsteinovu dirigentskou kariéru odstartoval záskok za nemocného Bruna Waltera v Newyorské filharmonii v roce 1943. Úspěch mu zajistil další velká angažmá a funkce. V letech 1958–1969 byl hudebním ředitelem Newyorské filharmonie, poté až do konce života hostoval u významných orchestrů po celém světě a byl protagonistou mnoha vzdělávacích a popularizačních programů. Ve své tvorbě vycházel z interpretačních zkušeností i ze záliby v jazzu a pop-music. Všichni známe jeho muzikál West Side Story, jehož úspěch zastínil mnohá Bernsteinova klasičtější díla – tři symfonie a mnoho dalších orchestrálních a scénických skladeb.

Během léta 1954 komponoval Bernstein dvě velké skladby: operetou inspirovaný muzikál Candide a nový orchestrální kus se sólovým houslovým partem. Ten si u něho objednali Kusevického nadace a Bersteinův přítel, houslista Isaac Stern. Pětidílná Serenáda pro sólové housle, harfu, smyčcový orchestr a bicí je jednou z nejlyričtějších Bernsteinových orchestrálních skladeb. Je inspirována Platónovým dialogem Symposion, který pojednává o povaze a účelu lásky formou chvalozpěvů na Eróta, boha lásky a mužnosti. Vystupují v něm starořečtí myslitelé, shromáždění za tímto účelem v Aténách na sympoziu – to v tehdejších zvyklostech znamenalo spíše hostinu či to, co po hostině následovalo. Účastníky sympozia jsou básník Agatón, který ostatní hostí ve svém domě, Atéňan Faidros, zeměpisec Pausaniás, lékař Eryximachos, dramatik Aristofanés, filozof Sókratés a státník a vojevůdce Alkibiadés.

Na začátku srpna 1954, když dokončil partituru, sepsal Bernstein následující popis každé části jako návod pro posluchače:

I. Phaedrus; Pausanias (Lento; Allegro marcato) Faidros zahajuje sympozium lyrickým chvalozpěvem na Eróta, boha lásky. (Fugato zahájené sólovými houslemi.) Pausaniás pokračuje popisem duality milujícího a milovaného, a tedy, že Erotové jsou dva. To je vyjádřeno allegrem klasické sonáty využívajícím materiál vstupního fugata. (Druhé téma této sonátové věty v podobě elegantního houslového sóla obsahuje rozdělené ozdobné figury a disonantní intervaly.)

II. Aristophanes (Allegretto) V tomto dialogu Aristofanés nehraje roli baviče, ale spíše vypravěče příběhů na dobrou noc. Využívá k tomu pohádkovou mytologii o lásce a vytváří kouzelně klidnou atmosféru. (Aristofanés vidí lásku jako uspokojující lidskou potřebu. Mnohé z hudebního matriálu pochází z ozdobných figur z první části. Střední část věty přináší milostnou melodii houslí, označenou „Zpěvně“, hranou v těsném kánonu.)

III. Eryximachus (Presto) Lékař hovoří o tělesné harmonii jako o vědeckém modelu fungování lásky. Toto je extrémně krátké fugato-scherzo, postavené na směsi tajemství a humoru. (Hudba této části tematicky koresponduje s kánonem předchozí části.)

IV. Agathon (Adagio) Asi nejdojemnější proslov v dialogu. Agatónova oslavná řeč zahrnuje všechny aspekty moci, kouzla a funkcí lásky. Tato část je jednoduchou třídílnou písní.

V. Socrates; Alcibiades (Molto tenuto; Allegro molto vivace) Sókratés popisuje svoji návštěvu u vědmy Diotimy a cituje její řeč o démonologii lásky. Démoničnost je pro Sókrata obrazem hloubky lásky. Jeho vyšší věk vnáší dojem lehké didaktičnosti v jinak příjemné a družné diskusi po večeři. Jde o pomalý úvod s větší závažností, než jakou mají předchozí věty a slouží jako vysoce rozvinutá repríza středního dílu předchozí části Agathon, a naznačuje tím skrytou sonátovou formu. Prudký vpád opilého Alkibiada a jeho druhů mění tempo na Allegro a náladu na radostnou oslavu. Jde o rozšířené rondo ve stylu irského tance jig. Pokud se v tomto veselí objeví nějaký jazz, doufám, že nebude považován za cizorodý prvek v řeckém prostředí, ale spíše za přirozené vyjádření soudobého amerického skladatele, prodchnutého duchem té večeře mimo čas a prostor. (Sókratés hlasem Diotimy prezentuje názor, že nejctnostnější formou lásky je láska k vědění, tedy filozofii.)

Navzdory ději obsaženému v předchozím popisu nelze Bernsteinovo zhudebnění považovat za programní hudbu. Skladba spíše líčí nálady vyvolané četbou textu. Je to polystylová hudba, silná a originální, která posluchače oslovuje. Serenáda měla premiéru v září 1954 v Benátkách, sólový part přednesl Isaac Stern a Leonard Bernstein dirigoval Izraelskou filharmonii.

 — Symfonie č. 5 F dur op. 76

Josef Suk — Scherzo fantastique op. 25

Suk composed his Scherzo fantastique in G Minor, Op. 25, between July and October of 1903 while working on the Fantasy in G Minor for Violin and Orchestra, Op. 24, and before the symphonic poem Praga, op. 26. The composer chose a ternary form (A-B-Aʼ + Coda), with material from the first section abbreviated and varied in the third section, while the middle section is slower and features lyrical passages. The transition between the A and B sections consists of harmonic undulations. The Coda brings the work to a close. The dynamic layout of the work plays an important role, with the sound reaching a maximum volume in the middle third of part A and towards the conclusion.

The Scherzo was premiered on 18 April 1905 at the Rudolfinum in Prague at a concert of the conservatoire orchestra with the school’s director Jindřich Kàan z Albestů conducting. It was performed again six months later at the first popular concert of the Czech Philharmonic at the Municipal House under the baton of Oskar Nedbal, to whom the printed score is dedicated. The score was published together with a piano reduction in Leipzig at the time of the performance by the Czech Philharmonic.

That same year, the composer reviewed the range of expression of his existing works, and he asserted that his music had become associated with “drive and passion”, and that the public might be surprised by the dreamy mood of A Fairy Tale (Op. 16, a suite of incidental music to Zeyer’s play Radúz and Mahulena) or by the monumentality of the symphonic poem Praga. He then described the Fantasy for Violin and Orchestra and the Scherzo fantastique as unclassifiable, and he attributed a “demonic character” to them. In 1921, Suk took a very critical view of this stage: “The Scherzo fantastique somehow stands aside from my oeuvre, [...] I seem to be resorting to playing around with notes, and when doing so, perhaps something makes me wonder instinctively about what there is beyond us. Thus a scherzo, and a fantastical one. But in the spirit there is uncertainty; it is will without enthusiasm and without conviction. So I get stuck on motifs, and I’m not ashamed to repeat myself – repeating the same things endlessly. The fantastical element is in the dynamics, and nothing more. There are jokes in the instrumentation, but the music, while exotic, is less original than anything that preceded it. Or, to put it in two words: witty nothingness.” The composer was undoubtedly comparing this work written without much mental anguish with his later orchestral scherzos, which he created in an entirely different intellectual context, and which appeared in his symphonic tetralogy and had a tragic or tragic-sarcastic subtext (3rd movement – Vivace – of the Asrael Symphony, Op. 27, and the 4th movement of A Summer’s Tale, Op. 29, which bears the title In the Power of Phantoms and is subtitled Fantastic scherzo). Fortunately, it has been confirmed again in this instance that a work can live a life of its own without the composer’s influence. Suk’s youthfully playful Scherzo from 1903 immediately won the favour of musicians, critics, and the public as a representative example of music as art for its own sake (l’art-pour-l’art) and as a manifestation of remarkable invention, wonderful handling of motifs, and masterful orchestration.