Name: Fantaisies classiques
Start: 2022-11-27T00:00:00.000Z
End: 2022-12-04T00:00:00.000Z
Location: Philharmonie de Paris

Organization

Conductor

Anu Tali

violin

Eldbjørg Hemsing

Instrumentalist

Violin

Orchestra

Orchestre National d'Île de France

Fantaisies classiques

Bonneuil-sur-Marne

France

Orly

Élancourt

Paris

Philharmonie de Paris

Choisy-le-Roi

Fantaisies classiques: Symphony No. 1 in D Major, op. 25 (+2 More)

Public

Symphony No. 1 in D Major, op. 25 ("The Classical")

Violin Concerto No. 3 in G major, K. 216

Symphony No. 4 in A major, op. 90

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Singer

Countertenor

Contralto

Mezzo-soprano

Tenor

Soprano

Bass

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Fantaisies classiques - Trois minutes Max !

Vous avez dit classique ? Mais de quel « classicisme » parle-t-on ? Le pianiste et musicologue américain Charles Rosen présente le style classique viennois de Mozart comme une synthèse : la réconciliation harmonieuse de toutes les forces en conflit du dernier tiers du xviiie siècle. Et c’est sans aucun doute dans ses concertos, encore plus que ses symphonies, que l’on peut percevoir cette convergence d’éléments de langage et d’écriture musicale parfois si contradictoires. Mélodie accompagnée, traits de virtuosité, contrepoints savants et conversations échevelées cohabitent en effet avec la plus grande évidence dans ces pages fortement structurées, suivant les préceptes inculqués par son père : « Le petit est grand quand il est composé de manière naturelle, coulante, aisée, et mis en œuvre comme il le faut. La structure et la charpente solide, la continuité, voilà qui distingue le maître de l’imbécile, même dans des riens ! » (lettre de Leopold à Wolfgang, 1778). Un demi-siècle plus tard, on retrouve cette pertinence dans l’alliance des forces contraires à tous les niveaux de la composition, chez Felix Mendelssohn qui réussit

à allier les élans les plus fougueux et inspirés de l’époque romantique à une conception toujours équilibrée de la forme. C’est cette évidence lumineuse que recherche le jeune Serge Prokofiev lorsqu’il compose sa Première Symphonie en ré majeur (1916-1917), la plus courte de ses symphonies. Et le compositeur

de s’amuser à justifier ainsi le titre de « Symphonie classique » : « …d’abord pour la simplicité du titre, ensuite pour provoquer les philistins, et avec l’espoir de vraiment gagner si la Symphonie devait se révéler réellement classique ! »

français

Did you say classic? But what “classicism” are we talking about? The American pianist and musicologist Charles Rosen presents Mozart's Viennese classical style as a synthesis: the harmonious reconciliation of all the conflicting forces of the last third of the 18th century .century. And it is undoubtedly in his concertos, even more than his symphonies, that one can perceive this convergence of elements of language and musical writing that are sometimes so contradictory. Accompanied melody, virtuoso strokes, skilful counterpoints and wild conversations indeed coexist with the greatest evidence in these strongly structured pages, following the precepts instilled by his father: "The small is great when it is composed in a natural, flowing, easy way , and implemented as required. The structure and the solid frame, the continuity, here is what distinguishes the master from the imbecile, even in trifles! (letter from Leopold to Wolfgang, 1778). Half a century later, we find this relevance in the alliance of contrary forces at all levels of the composition,

to combine the most fiery and inspired impulses of the romantic era with an always balanced conception of form. It is this luminous evidence that the young Sergei Prokofiev seeks when he composes his First Symphony in D major (1916-1917), the shortest of his symphonies. And the composer

to have fun justifying the title of “Classical Symphony” in this way: “…first for the simplicity of the title, then to provoke the Philistines, and with the hope of really winning if the Symphony were to turn out to be truly classical! »

English

Fantaisies classiques by Prokofiev, Mozart, Mendelssohn, Frá (2022/2022), Hljómsveitarstjóri Anu Tali, Philharmonie de Paris, Paris, France

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