Photo illustrating page  Giovanni Antonini Czech Philharmonic

Czech Philharmonic • Giovanni Antonini


Czech Philharmonic

Subscription series A
Duration of the programme 2 hod

Programme

Christoph Willibald Gluck
Don Juan, ballet suite 

Ludwig van Beethoven
Symphony No. 2 in D Major, Op. 36 

Ludwig van Beethoven
Symphony No. 8 in F Major, Op. 93

Performers

Giovanni Antonini
conductor

Czech Philharmonic

Photo illustrating the event Czech Philharmonic Giovanni Antonini

Rudolfinum — Dvorak Hall

1 Apr 2020  Wednesday 10.00am
Final rehearsal
Can't order online
1 Apr 2020  Wednesday 7.30pm
Can't order online
2 Apr 2020  Thursday 7.30pm
Can't order online
3 Apr 2020  Friday 7.30pm
Can't order online

Customer Service of Czech Philharmonic

Tel.: +420 778 532 539

E-mail: info@czechphilharmonic.cz

Customer Service office hours are on weekdays from 09:00 a.m. to 06:00 p.m. July, August from 09:00 a.m. to 03:00 p.m.

Customer Service of Czech Philharmonic

Tel.: +420 778 532 539

E-mail: info@czechphilharmonic.cz

Customer Service office hours are on weekdays from 09:00 a.m. to 06:00 p.m. July, August from 09:00 a.m. to 03:00 p.m.

While Count Carl von Oppersdorff was visiting his friend Prince Lichnowsky, he heard Ludwig van Beethoven’s Second Symphony, and he was so enthusiastic that he immediately offered the composer a large sum of music to composer another symphony for him. But while Beethoven’s music thrilled Count von Oppersdorff, the critics in Vienna could not stand it. According to the “Newspaper for the Elegant World”, the Second Symphony made the impression of “a hideously writhing, wounded dragon that refuses to die, but is writhing in its last agonies and, in the fourth movement, bleeds to death.” Beethoven further strengthened the effect of this terrible, devilish music by excluding the elegant minuet and by putting a thorny scherzo in its place. As it turns out, scherzos would become a fixed feature of symphonic form, displacing the unfortunate minuet for good. The Eighth Symphony is one of Beethoven’s few compositions that does not bear any dedication. Beethoven called it “my Little Symphony in F Major” to differentiate it from the Pastoral Symphony. Although its premiere was not as successful as that of the Seventh Symphony that preceded it, the composer held it in very high regard musically.

The ballet Don Juan by Christoph Willibald Gluck also tells a very exciting story. Its importance to the ballet genre is similar to the importance of the revolutionary work Orfeo ed Euridice to opera. Don Juan is actually the first ballet to present the entire narrative of a story. Gluck had a very good grasp of dance, and he understood it as an art form all its own, entirely independent of music. The task of the dancer was to combine the musical and dancing elements into a single effective whole. There could be no better subject matter for this “prototype” than the drama of Don Juan.

Performers

Giovanni Antonini  Dirigent

Compositions

Christoph Willibald Gluck
Don Juan, suita z baletu
Ludwig van Beethoven
Symphony No. 2 in D Major, Op. 36

In the early nineteenth century, Beethoven was known to the Viennese public mainly as a pianist and a skilled improviser, but after the premiere of his Symphony No. 1. in C Major, he also began to earn a reputation as a composer. While composing his Symphony No. 2 (1801–1802), Beethoven was undergoing a crisis involving his physical condition. He was not healthy, and the problems had been manifesting themselves for several years. Without knowing the real cause of his problems, physicians had been prescribing various therapies, but they did not help. His hearing – the most important sense for a musician – was constantly worsening. In 1802 Beethoven wrote his brothers a letter later named after its place of origin, the "Heiligenstadt Testament". Heiligenstadt, now part of Vienna, remains an idyllic place. The despair of Beethoven’s words sharply contrasts with the peace and quiet and the undisturbed atmosphere of the place. He contemplated death, but he chose to live. We can sense this decision from the Symphony No. 2 in D Major. One period music critic descried the symphony’s defiant music as being like "a wounded dragon that refuses to die, but furiously thrashes about with its tail". This was the first symphony to contain a movement labelled as a "scherzo".

Ludwig van Beethoven
Symfonie č. 8 F dur op. 93

V létě 1812 se Ludwig van Beethoven konečně seznámil s Johannem Wolfgangem Goethem. Setkání v Teplicích ho však spíše zklamalo – básník na něho nepůsobil ani jako revolucionář, ani jako spřízněný demokrat, spíše jako stárnoucí dvořan. Ani Beethoven neudělal dobrý dojem na Goetha – byl na něho moc náruživý a jeho způsoby podle Goetha hraničily s hrubostí. V jediném ohledu básníka oslovil: jako neohrožený a originální umělec. Právě v letech 1812 a 1813 byl Beethoven plný kompozičního elánu, mimo drobnější skladby psal současně Sedmou i Osmou symfonii. Obě skladby vyzařují energii a radost, je proto s podivem, že první uvedení Osmé 27. února 1814 za řízení autora velký úspěch nepřineslo. Současníkům se ve srovnání s předchozími symfoniemi zdála příliš málo náročná a překvapující. Na vině však byla především nešťastná dramaturgie premiérového koncertu.

Beethovenovu Osmou symfonii můžeme charakterizovat jako dílo rozjasněné, čiré, dílo mistra zkratky a znalce hudební podstaty. Navíc není vše nudné a podle „šablony“. Běžná čtyřvětá struktura i klasické formy jednotlivých částí jsou periodicky narušovány různými, mnohdy humornými prvky. V první větě jsou to velké rytmické nepravidelnosti. Zvláštní ráz díla zvýrazňuje i absence typicky pomalé části. Allegretto scherzando je jiskřivé, brilantní a suverénní. Menuet třetí věty je spíše zemitým, ale rychlým ländlerem s noblesní instrumentací, podtrženou melodií lesních rohů v triu. Finale v rondové formě je nejenergičtější částí symfonie. Má pochodový charakter, Beethoven zde používá „sforzando“ v přiznávkách smyčců, dokola opakuje hlavní téma, vytváří velký kontrast mezi extrémně vysokými a extrémně hlubokými tóny. V některých částech mezi rondy se setkáme s určitou delikátností, za okamžik však opět nastupuje rázné úvodní téma s fanfárami trubek a bicích a s hlučným tečkovaným rytmem. Beethoven považoval osmou symfonii za jednu ze svých nejlepších, Robert Schumann ocenil jeho „hluboký humor“ a napsal, že druhá věta ho naplnila „klidem a štěstím“.

What are you looking for?
Close
Close
What are you looking for?