Name: Tjajkovskijs 5.Symfoni
Start: 2023-09-28T00:00:00.000Z
End: 2023-09-28T00:00:00.000Z
Location: Odense Koncerthus

Organization

Conductor

Andris Poga

Instrumentalist

Karol Mossakowski

Organ

Organist

Orchestra

Odense Symfoniorkester

Tjajkovskijs 5.Symfoni

Odense

Denmark

Odense Koncerthus

Tjajkovskijs 5.Symfoni: Concert

Public

Toccata Festiva Op. 36

Organ Concerto No.2, Op.177

Symphony No. 5

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

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

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

Contralto

Singer

Bass

Baritone

Countertenor

Tenor

Soprano

Mezzo-soprano

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Tjajkovskijs ekstremt personlige 5. symfoni er skrevet i dyb fortvivlelse over livets genvordigheder. Men den mørke undertone til trods, skinner det musikalske lys næsten blændende igennem i dette musikalske skæbneportræt, der flankeres af Barbers filmisk-dramatiske mesterværk for orgel og orkester, samt Rheinbergers overdådige orgelkoncert. 

En del af Odense Internationale Orgelfestival

 

Du kan læse, hvad Ole B. Kiilerich skrev om Tjajkovskijs symfoni nr. 5, sidst vi spillede værket, her:

Det var ikke noget let lod, Piotr Ilyich Tjajkovskij havde trukket i livet. Som homoseksuel mand i det nittende århundredes Rusland og samtidig en offentlig person var grunden lagt for et liv i konstant fortvivlelse, selvlede, længsel og desperation. En meget stor del af hans produktion bærer tydeligt præg af det depressive sindelag, mens en tilsvarende stor del lyser af optimisme og troen på kærligheden fra en kunstnersjæl, der havde så rig adgang til at udtrykke de allerfineste menneskelige følelser og relationer i toner.

Idéen om og lyden af skæbne er allestedsnærværende i symfonien, ikke mindst i kraft af det skæbnetunge ledemotiv, en slags idée fixe som i Berlioz’ Symphonie Fantastique. Det indleder hele symfonien i dystre klarinetter og dukker efterfølgende op i alle fire satser. Den forvandling, som dét tema undergår gennem symfonien, viser på en måde vejen fra mørke til lys, men ligesom symfonien og Tjajkovskijs liv i øvrigt, når lyset aldrig helt at fortrænge de velvoksne skygger.

1. sats starter med den ikoniske skæbnemelodi dybt nede i klarinetterne, og også i det andet store tema banker skæbnen hørbart på døren med en insisterende rytme, der vokser sig stor og truende. Selv om den musikalske undertone er mørk generelt, så er der faktisk lysindfald allerede her: optimistisk landlige sidetemaer, balletdansende ynde og smukke melodier nok til at gøre de fleste komponistkolleger bleggrønne af misundelse. Men trods alle disse mange forsøg på at hæve sig op over skæbnens tunge favntag, ender 1. sats præcis så mørk og fortvivlet, som den startede.

2. sats lægger også tungt og trist fra land med, hvad der senere viser sig at være, akkompagnementet til én af de smukkeste melodier, der nogensinde er skrevet. Den spilles i solohornet – en instrumentlyd, der bringer følelser af håb, menneskeligt storsind og alt godt fra havet, og som i film altid bliver brugt lige dér, hvor handlingen vender, og vi bare ved, at det kommer til at ende godt – og dette tema, den måske mest berømte hornsolo i hele repertoiret, må blødgøre selv den mest hårdhudede kritiker af Tjajkovskijs til tider meget følelsesfulde stil. Her er ikke antydningen af pladderromantik, bare musikalsk og melodisk overlegenhed, der gør det svært at begribe, at manden tilsyneladende ofte ikke selv kunne forstå kvaliteten af det, han havde skabt. Tjajkovskij lader os dog ikke sådan glemme understrømmen af alvor i værket, og skæbnemotivet fra 1. sats brager hårdt og helt uventet igennem i messingblæsere og pauke, mens de blødere instrumenter sidder chokerede tilbage og tøvende må sammenflikke deres smukke tema igen oven på denne brutale afbrydelse.

I 3. sats hører vi mesteren af russisk balletmusik i musik, der lige så vel kunne have hørt hjemme i Nøddeknækkeren eller Svanesøen. Den lethed, hvormed Tjajkovskij skruer en symfonisk vals i verdensklasse sammen, er næsten arrogant, og det eneste, vi hører til det tunge skæbnemotiv her, er som en fodslæbende eftertanke dybt i klarinetterne, der leder os over i den afsluttende sats.

Den åbner ganske som 1. sats med skæbnemotivet, men denne gang i dur i stedet for mol, hvilket giver den et anstrøg af håb og optimisme, uden dog at fratage den al sin iboende ildevarslende alvor. Og selv om Tjajkovskij gennem hele satsen gør, hvad han kan, for at lysne, hvor der kan lysnes, så bliver det aldrig til den entydige sejr over skæbnen, som Beethoven kunne udråbe i sin 5. symfoni; efter nogle flotte, vældigt af sluttende dur-akkorder, som kunne have været en fin og optimistisk slutning, byder skæbnen igen op til dans i noget, der vel bedst kan betegnes som en kamp med at holde troen på håbet. Der er bravur og flotte rytmer, masser af durakkorder og afslutningskaskader, men alligevel er det skæbnemotivet, der får det sidste ord – og det endda med den verdenskendte rytme, der åbner Beethovens 5. symfoni, og således ender vi i Tjajkovskijs skæbnesymfoni lidt det samme sted, som vi startede. Og hans generelle sindelag og besværlige liv taget i betragtning, er det nok også en mere fuldgyldig konklusion fra den russiske mester på, hvad livet har at tilbyde.

dansk

Tchaikovsky's extremely personal 5th symphony was written in deep despair over the indignities of life. But despite the dark undertone, the musical light shines through almost blindingly in this musical portrait of fate, which is flanked by Barber's cinematic-dramatic masterpiece for organ and orchestra, as well as Rheinberger 's sumptuous organ concerto. 

Part of the Odense International Organ Festival

 

You can read what Ole B. Kiilerich wrote about Tchaikovsky's Symphony No. 5, the last time we played the work, here:

It was no easy lot that Piotr Ilyich Tchaikovsky had drawn in life. As a gay man in nineteenth-century Russia and a public figure at the same time, the foundation was laid for a life of constant despair, self-reliance, longing and desperation. A very large part of his production is clearly marked by the depressive state of mind, while a correspondingly large part shines with optimism and the belief in the love of an artistic soul who had such rich access to express the finest human emotions and relationships in tones.

The idea of ​​and the sound of fate is omnipresent in the symphony, not least because of the fateful leitmotif, a kind of idée fixe as in Berlioz's Symphonie Fantastique. It begins the entire symphony in gloomy clarinets and subsequently appears in all four movements. The transformation that theme undergoes through the symphony shows in a way the way from darkness to light, but like the symphony and Tchaikovsky's life in general, the light never manages to completely displace the well-grown shadows.

The 1st movement starts with the iconic melody of fate deep in the clarinets, and also in the second major theme, fate knocks audibly on the door with an insistent rhythm that grows large and menacing. Although the musical undertones are generally dark, there are actually glimpses of light already here: optimistically rural side themes, ballet-dancing grace and beautiful melodies enough to make most fellow composers pale with envy. But despite all these many attempts to rise above the heavy grasp of fate, the 1st movement ends exactly as dark and despairing as it started.

The second movement also sets off heavy and sad with what later turns out to be the accompaniment to one of the most beautiful melodies ever written. It is played in the solo horn – an instrumental sound that brings feelings of hope, human magnanimity and all that is good from the sea, and which in movies is always used right where the plot turns and we just know it's going to end well – and this theme, perhaps the most famous horn solo in the entire repertoire, must soften even the most hardened critic of Tchaikovsky's sometimes highly emotional style. There is no hint of blabbering romance here, just musical and melodic superiority that makes it difficult to comprehend that the man apparently often could not understand the quality of what he had created. However, Tchaikovsky does not let us forget the undercurrent of seriousness in the work,

In the 3rd movement, we hear the master of Russian ballet music in music that could just as well have belonged in The Nutcracker or Swan Lake. The ease with which Tchaikovsky assembles a world-class symphonic waltz is almost arrogant, and the only thing we hear of the heavy fate motif here is as a foot-dragging afterthought deep in the clarinets that lead us into the final movement.

It opens just like the 1st movement with the fate motif, but this time in major instead of minor, which gives it a hint of hope and optimism, without, however, depriving it of all its inherent ominous seriousness. And although Tchaikovsky throughout the movement does what he can to brighten where it can be brightened, it never becomes the unequivocal victory over fate that Beethoven could proclaim in his 5th symphony; after some nice, lots of closing major chords, which could have been a nice and optimistic ending, fate again offers to dance in something that can probably best be described as a struggle to keep faith in hope. There is bravura and beautiful rhythms, lots of major chords and closing cascades, but nevertheless it is the motif of fate that gets the last word – and even with the world-famous rhythm that opens Beethoven's 5th symphony, and so we end up in Tchaikovsky's Symphony of Fate somewhat in the same place where we started. And considering his general mindset and difficult life, it is probably also a more valid conclusion from the Russian champion on what life has to offer.

English

Tjajkovskijs 5.Symfoni by Barber, Rheinberger, Josef Gabriel, Tchaikovsky, P. I., 从 (2023/2023), 导体 Andris Poga, Odense Koncerthus, Odense, Denmark

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