Name: A Carnival Of Fate Tsung Yeh & Szs
Start: 2024-01-27T00:00:00.000Z
End: 2024-01-27T00:00:00.000Z
Location: Jinji Lake Concert Hall

Organization

Conductor

Yeh Tsung

Instrumentalist

A Bu

Piano

Orchestra

Suzhou Symphony Orchestra

A Carnival Of Fate Tsung Yeh & Szs

Suzhou

China

Jinji Lake Concert Hall

Concert Hall

Public

Le Carnaval Romain

Piano Concerto, op. 38

Symphony No. 5

Approved

Maestro Tsung Yeh and Suzhou Symphony Orchestra teamed up with A Bu, a multitalented piano prodigy, to present a symphony feast that is truly diverse and unique: American romance with a modernist twist is accompanied by a well-known classical masterpiece, and the “appetizer” is a French overture of great panache. Samuel Barber’s Pulitzer-winning Piano Concerto, very rarely heard in China’s concert halls, sits at the heart of this truly diverse programme. Premiered in 1962, Barber’s Piano Concerto is remarkable for its absorption of some of the sound and feeling of the then-fashionable “serial” style within an unabashedly neo-romantic composition. Highly chromatic, nearly atonal thematic material is subsumed within a conventionally structured virtuoso concerto, balanced with passages of lyrical passion and ferocious cadenzas, all of which culminate in dramatic climaxes. For Ludwig van Beethoven, four notes were enough to start a revolution—‘this is how Fate knocks at the door!’ The electrifying opening of Beethoven’s Fifth Symphony is one of the most iconic sounds in orchestral music, but the rest of the symphony delivers a still more powerful punch. Beethoven outlines an all-consuming human drama filled with tragedy, tranquilly, and blazing triumph. At the beginning of this concert, however, prepare to be gripped, and to be uplifted, too, by Le carnaval romain Overture from the French composer Hector Berlioz—nine minutes of dashing music, orchestrated in the brightest colours that he was famous for. Intended as the prelude to the second act of his opera BENVENUTO CELLINI, this Overture seamlessly stitches together themes from the opera, including Cellini’s first-act aria in praise of his beloved—the luscious melody now sung by the solo English horn.

English

叶聪大师与苏州交响乐团携手多栖旅美青年钢琴家阿布，献上一席风格多元而别致的交响乐盛宴：现代风貌的美式浪漫佐以一部脍炙人口古典集大成之作，“前菜”则是一支法式派头十足的序曲。曾给塞缪尔·巴伯带来普利策奖的《钢琴协奏曲》在国内音乐厅实属难得一闻。这部诞生于1962年的作品在其典型的新浪漫主义风格中融入了当时流行的前卫“序列”元素。协奏曲的传统结构囊入剑走偏锋的现代音响；抒情乐章与激情华彩交相辉映，并在戏剧性的高潮中实现统一。在贝多芬的音乐宇宙中，四个音符就足以引发一场革命。所有人都能哼出第五交响曲开头那振聋发聩的“命运敲门声”，但作品的主体部分才是更强大冲击力的来源——这里有一出集悲剧、宁静与炽热胜利于一体的人性戏剧。开场的《罗马狂欢节》序曲一样扣人心弦。柏辽兹以最明亮的管弦乐色彩编排了这九分钟的潇洒音乐。作为歌剧《本韦努托·切利尼》第二幕的序曲，此作将歌剧主题无缝黏合在一起，其中有一支由英国管奏出的甜美咏叹调——这是对心上人的赞美。

中文

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