Name: Purcell Britten Schumann Williams Haas
Start: 2024-02-20T00:00:00.000Z
End: 2024-02-20T00:00:00.000Z
Location: Slovak Philharmonic

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Slovak Philharmonic

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Simon Wallfisch

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Edward Rushton

Piano

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Purcell / Britten Schumann Williams Haas

Bratislava

Slovacchia

Small Hall

Purcell / Britten Schumann Williams Haas: Let The Dreadful Engines of Eternal Will Purcell | Britten (+3 More)

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Let The Dreadful Engines of Eternal Will

Amori del poeta, op. 48

The House of Life

4 Songs on Chinese Poetry

Joshua Dos

Approvato

The romantic German song is an achievement of the 19th century. Until then, the songs had the character of inconsequential miniatures, to which composers paid attention only marginally. In Poet’s Love, a cycle of 16 songs to texts from Heinrich Heine’s Book of Songs, Robert Schumann perfectly expresses the ambiguity of poetry. Love is interpreted as gentle caresses and flights of fantasy, while poetic melancholy is veiled behind images of flowers and birds. Other song cycles introduce a more contemporary approach to working with the text. Ralph Vaughan Williams works in his cycle with six sonnets by Dante Gabriel Rossetti. The four songs by Pavel Haas are considered the pinnacle of the author’s vocal work. The piece was created at the initiative of the singer Karel Berman, who was imprisoned together with Haas in a camp in Terezín. The book New Songs of Old China, from which Haas set four texts to music, was either from the library of the Terezín ghetto, or someone smuggled it into the camp. The lyrics refer to an extraordinary desire to return home: “Home is there, far away there”, “you should go home, stray heart!”, “Sleep, give me a dream of returning home”. Verses written in a different life situation took on a new meaning in the ghetto: the songs had such a positive response among the prisoners that Berman had to sing them at least fifteen more times. The German-British cellist and baritone Simon Wallfisch must possess the ability to convey a broad spectrum of emotions.

English

Romantická nemecká pieseň je výdobytkom 19. storočia. Dovtedy mali piesne charakter nezávažnej miniatúry, ktorej skladatelia venovali pozornosť len okrajovo. V Láske básnikovej, cykle 16 piesní na texty z Knihy piesní Heinricha Heineho, vyjadruje Robert Schumann vynikajúco dvojzmyselnosť poézie. Láska je chápaná ako nežné laškovanie a hry fantázie, za obrazy kvetín a vtákov sa skrýva poetická melanchólia. Ďalšie piesňové cykly prinášajú novší prístup k práci s textom. Ralph Vaughan Williams v cykle pracuje so šiestimi sonetmi Danteho Gabriela Rossettiho. Štyri piesne Pavla Haasa sú pomysleným vrcholom autorovej vokálnej tvorby. Dielo vzniklo na podnet speváka Karla Bermana, ktorý bol spolu s Haasom väznený v tábore v Terezíne. Kniha Nové spevy starej Číny, z ktorej Haas zhudobnil štyri texty, bola buď z knižnice terezínskeho geta alebo ju do tábora ktosi prepašoval. Texty odkazujú na mimoriadnu túžbu vrátiť sa domov: „Domov je tam, daleko tam“, „mělo bys domů, zbloudilé srdce!“, „Spánku sen dej mi o návratu domů“. Verše napísané v odlišnej životnej situácii nabrali v gete nový význam, medzi väzňami mali piesne tak pozitívny ohlas, že ich Berman musel spievať ešte najmenej pätnásťkrát. Široký diapazón emócií musí zvládnuť zachytiť nemecko-britský violončelista a barytonista Simon Wallfisch.

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