Julian Rachlin is one of those outstanding artists for whom perfect technique and uncompromising purity of intonation seem somehow a natural matter of course. Moreover, Julian Rachlin is constantly expanding his musical horizons: not only is he an outstanding violinist; he is also a superb viola player as well as conductor of ever increasing reputation. His move into conduction has been supported by no less a personage than maestro Mariss Jansons. This Czech Philharmonic concert conducted by Julian Rachlin, who will also be the soloist of the evening in Mendelssohn's violin concerto, does then indeed promise an exception and unprecedented artistic experience.
Tickets and contact informationMore about tickets
Tickets are available on the website of Dvořákova Praha festival.
Dvořák Prague Festival Infopoint
Jan Palach square, Prague 1, Czech Republic
+420 775 875 875
Where to pick up tickets reserved online?
Tickets reserved on our website can be picked up at all the festival’s points of sale, except the Ticketpro network.
Where to pick up tickets that have already been purchased?
Tickets already paid for on our website can be picked up only at the Dvořák Prague Festival Ticket Centre, the Perfect System Service Centre, the box office of the Municipal hall, or starting 14 August 2017 also the box office of the Rudolfinum.
Throughout 1829–1831, Felix Mendelssohn-Bartholdy travelled around Europe, visiting Paris, Vienna, England and Italy. This last country, with its joyful atmosphere, entirely captivated the native of Hamburg. With great enthusiasm, he started to work on his new “Italian” Symphony there; he completed it in 1833 in Berlin. The premiere was held on 13 May of the same year in London. Although the audience responded enthusiastically, the composer was dissatisfied with the work; he sought to revise it extensively, and never published it during his lifetime (the symphony was only published four years after his death).
Looking at Symphony No. 4 in A Major “Italian”, Op. 90 as reflecting the composer’s experience, we might see it as four images of Italian life: Roman carnivals (Allegro vivace); a religious procession (Andante con moto); greetings sent home from sunny Italy (Con moto moderato), inspired by Goethe’s poem, Lilis Par, German forests and hunts; and folk dances (Presto) – a Roman saltarello and a wild Neapolitan tarantella. The symphony is also one of the earliest multi-movement works in which the home major key (here A Major) is swapped in the finale for a parallel minor key (here A Minor).
Owing to his singular phraseology, Mikhail Ivanovich Glinka (1804–1857) is considered the founder of modern Russian music. Although he wrote merely two operas, his works served as models of musical drama for the next generations of Russian composers. Glinka’s second opera, Ruslan and Lyudmila (1842), is a fairy-tale work in five acts based on A. S. Pushkin’s eponymous poem. The sprightly Overture possesses the classical structure of the sonata form and its themes draw upon the musical material of the opera itself. The main theme, first appearing immediately after the introduction made up of several bars, is taken over from the final chorus scene, in which the Russian people rejoice at Lyudmila’s escape from the clutches of the evil sorcerer Chernomor. The Overture to the opera Ruslan and Lyudmila reveals Glinka’s pure harmonic thinking and ability to orchestrate colourfully, salient traits of his operas and symphonic works.
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