“Painter” – that is how Claude Debussy once answered the question of what profession he would have preferred to take up. His Préludes for piano, composed between 1909 and 1913, are like musical paintings whose impressive richness of tone colour invites the audience to let their imagination run free. French pianist Jean-Yves Thibaudet presents the complete cycle of these standard-setting compositions in an intimate concert in which the listener travels to snowy landscapes, the bottom of the ocean, a fairy ball, and much more. “A gourmet repast with refreshing contrasts of mood and texture.” (New York Classical Review). Programme: Claude Debussy: Préludes, Book I, L. 117 Préludes, Book II, L. 123 Edward Elgar: Salut d’Amour, Op. 12
RCO: Gatti conducts a French Night
Daniele Gatti is conducting three works all connected by the theme of nature and embodying the great musical changes taking place around 1900: Claude Debussy’s Prélude à l’après-midi d’un faune and La mer and Igor Stravinsky’s Le sacre du printemps. In 1914, Debussy himself led the Concertgebouw Orchestra in his Prélude à l’après-midi d’un faune and was met at the stage door by an applauding crowd after the performance. Stravinsky made his first guest appearance with the orchestra in 1924, after which he returned regularly. He conducted his Sacre twice in a single day in 1926 to long and loud ovations – a striking contrast to the premiere which caused a scandal. Under the baton of Maestro Gatti, the orchestra is performing these three groundbreaking classics on the same programme for the very first time. “What a mesmerizing playing level! The RCO was again incredibly good, with a level of detail and refinement that no other conductor achieves.” (Het Paarol)
Martha Argerich & Daniel Barenboim – Piano Duos at the Teatro Colon
The return to their native city of Martha Argerich and Daniel Barenboim – two childhood friends from Buenos Aires, born just a year apart, who both grew up to become global superstars – proved an unforgettable evening of pianistic magic. “Coexistence”, as symbolisation of the festival motto, was in terms not just of two musical parts coming together in the hands of two very different yet equally distinctive artistic personalities – “the mercurial Martha and Daniel the master-architect” (Buenos Aires Herald) PROGRAM Schumann: Six Studies in the Form of Canons for Pedal Piano; Debussy: En blanc et noire; Bartok: Sonata for Two Pianos and Percussion
Claude Debussy – Commemorating the 100th Anniversary
Commemorating the 100th anniversary of the death of Claude Debussy, a group of acclaimed international artists, led by Daniel Barenboim, presents a selection of the French composer’s chamber music and songs. Along with duo and trio sonatas, the program includes the evocative “Syrinx for solo flute” played by Emmanuel Pahud and the “Chansons de Bilitis”, featuring French mezzo-soprano Marianne Crebassa. A celebration of an exceptional composer who is widely considered one of the fathers of modern music.
Hélène Grimaud – “Woodlands and beyond…”
Together with her creative and life partner, photographer Mat Hennek, French star pianist Helene Grimaud comes up with a multimedia concert project at the Grand Hall of Hamburg’s Elbphilharmonie. Grimaud’s virtuoso piano performance is accompanied by Hennek’s highly praised photo series Woodlands, which depicts genuine portraits of trees, the results of numerous hikes through various forests in Europe and the USA. With works by romantic and impressionist composers, such as Luciano Berio, Nitin Sawhney, Toru Takemitsu, Franz Liszt and Claude Debussy, Grimaud leads her audience into the enchanting world of those various Woodlands and even beyond … “Grimaud is completely at ease, showing flawless clarity in her interpretations” (Die Welt).
Christian Thielemann conducts Chausson, Debussy and Fauré
Christian Thielemann conducts the Berliner Philharmoniker in a programme of late Romantic French masterpieces, accompanied by the outstanding voices of Christiane Karg, Sophie Koch and Adrian Eröd. Gabriel Fauré’s heart-easing Requiem with its famous “Pie Jesu” is turned into a “magical moment” by Karg’s “divine” way of singing (Kulturradio). Ernest Chausson’s haunting song cycle Poème de l’amour et de la mer, in which Sophie Koch performs “superbly with her dramatic, yet light voice” (FAZ), constitutes the Requiem’s temporal counterpart. Thematically bridging the two works are Debussy’s Danse sacrée and Danse profane for harp and strings, with the orchestra’s principal harp Marie-Pierre Langlamet creating “cascades of artful polyphony in delicate nuances” (FAZ).
Portrait Alison Balsom – The Trumpet’s Splendour
In only a few years, trumpeter Alison Balsom has shot forward to the topmost ranks of today’s instrumental soloists, reaching untold popularity for her playing – and for the trumpet. At the latest since her appearance in a live international broadcast of the ‘Last Night of the Proms,’ she has become one of the best-known UK artists of today, with sales of her CDs topping the charts. At the center of the documentary are two performances. One is a public performance of Haydn’s celebrated Trumpet Concerto in E flat major with the Konzerthausorchester Berlin under the Chinese conductor Xian Zhang, recorded in the classicistic hall of the Konzerthaus Berlin. The other is a ‘private’ recording of Bach’s Concerto in D major BWV 972 and Gigue BWV 1008, Debussy’s ‘Syrinx’, and George Thalben-Ball’s Elegy for trumpet and organ, performed with organist David Goode at Berlin’s historic Sophienkirche.
Recital Diana Damrau
One of the warmest personalities on the opera and concert stage today, soprano Diana Damrau has put together a beguiling program for her recital at the Festspielhaus Baden-Baden. The selection of Romantic to fin-de-siècle pieces not only underscores her own vocal artistry, but also pays tribute to her accompanist Xavier de Maistre and, in particular, to the diaphanous delicacy of his instrument, the harp. The use of the harp to replace the piano in a voice recital is a truly unique and unexpected musical treat. De Maistre does more than simply transpose the piano part to his instrument; under the fingers of the Wiener Philharmoniker’s solo harpist, the ethereal sound of this instrument melds consummately with the soprano’s finely honed vocal part, so that the masterpieces by composers such as Schumann, Fauré and Debussy sound as if they had been conceived for voice and harp.
Debussy, Images (Rondo, Gigue, Ibéria)
“I truly admire this orchestra and hope it becomes better known abroad,” confided Leonard Bernstein in 1989 to the audience in Rome’s Auditorio Pio before his concert of works by Claude Debussy (1862-1918) with the prestigious “Orchestra dell’Accademia di Santa Cecilia.” In the words of Rome’s “Il Giornale,” Bernstein served up a “Debussy that is neither ethereal nor shapeless, but uncommonly vital, caught in the full light of noon.” The concert begins with “Images,” Debussy’s last orchestral work and one of his most colorful scores. It consists of three separate pieces: the rather doleful “Gigues,” the “Rondes de printemps,” which incorporates a French nursery tune, and “Ibéria,” a vibrant homage to Spain, complete with tambourines and castanets.
Debussy, La mer
Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) embodied classical music in the general consciousness as an epoch-making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers.