Name: VFCO Goebel Fröst Richter Sá
Start: 2022-07-24T00:00:00.000Z
End: 2022-07-24T00:00:00.000Z
Location: Salle des Combins

Organization

Verbier Festival

Дирижер

Reinhard Goebel

Певец

Меццо-сопрано

Anna Richter

Сопрано

Bruno de Sá

Инструменталист

Martin Fröst

Orchestra

Verbier Festival Chamber Orchestra

VFCO / Goebel / Fröst / Richter / Sá

Bagnes

Швейцария

Salle des Combins

One of the world’s most respected 18th-century music specialists, Reinhard Goebel presents an entirely original program alongside three fantastic soloists: clarinet virtuoso Martin Fröst, mezzo-soprano Anna Lucia Richter, and sopranist Bruno de Sá!

The program begins with a “hypothetical concerto” for clarinet, crafted from exquisite arrangements of opera arias by Vivaldi and transcribed for the instrument by Andreas Tarkmann (Hanover, 1956). Next up is Haydn’s charming symphony—known as “The Clock”, as its second movement evokes the ticking of the clock—an archetypal masterpiece of the Classical symphony, written in 1793 in London. The program closes with Bach's arrangement of Pergolesi’s Stabat Mater, a work that has fascinated both audiences and musicians alike from the moment of its creation. For reasons that are still unknown to us today, the great German composer transcribed the work and embellished it with his masterful counterpoint.

The extraordinary voices of Anna Lucia Richter and Bruno de Sá—the latter defying the limits of the human voice by reaching soprano notes with a formidable falsetto technique—light up the last part of this varied program, which brings us on a musical journey from Naples to Leipzig, Vienna, London, and Venice…

Credits

Photo: Reinhard Goebel © Wolf Silveri

Bruno de Sá appears courtesy of Warner Classics.

VFCO / Goebel / Fröst / Richter / Sá: Concert Various

Public

Концерт

Одобрено

An evening of exquisite music from the baroque and classical periods featuring the Verbier Festival Chamber Orchestra, clarinetist Martin Fröst, Jakub Józef Orliński as mezzo-soprano, and soprano Bruno de Sá under the baton of conductor Reinhard Goebel.

When the clarinet was still in its infancy in Vivaldi’s day, he never wrote a solo concerto for it. The four-movement ‘Il Mezzetino’ is thus a ‘hypothetical’ creation by Andreas Tarkmann. Mezzetin was an astute, cynical servant character of the commedia dell’arte, and you hear him in the third movement with its flits between minor and major, as the clarinet glides over tiptoeing plucked strings. Pizzicato lower strings equally feature in the Andante second movement of Haydn’s 1793 ‘Clock’ Symphony, creating the ticking effect that inspired its own nickname; the ensuing Menuet’s grand theme meanwhile was adapted from one he’d penned for mechanical organ. Bach’s late-life transcriptions of works by his contemporaries, Vivaldi included, arose from both admiration and a desire to keep up with the latest styles. His flowing arrangement of Pergolesi’s Stabat Mater enriched its orchestration and switched its Marian Passion text to forgiveness-beseeching Psalm 51.

English

En kväll med utsökt musik från barock och klassisk period med Verbier Festival Chamber Orchestra, klarinettisten Martin Fröst, Jakub Józef Orliński som mezzosopran och sopranen Bruno de Sá under ledning av dirigenten Reinhard Goebel.


När klarinetten fortfarande var i sin linda på Vivaldis tid skrev han aldrig en solokonsert för den. Fyrsatsen ’Il Mezzetino’ är alltså en ’hypotetisk’ skapelse av Andreas Tarkmann. Mezzetin var en skarpsinnig, cynisk tjänarkaraktär av commedia dell’arte, och man hör honom i tredje satsen med dess flits mellan moll och dur, när klarinetten glider över tånande plockade strängar. Pizzicato lägre strängar finns också med i Andantes andra sats av Haydns 1793 'Clock' Symphony, vilket skapar den tickande effekten som inspirerade dess eget smeknamn; det efterföljande Menuets storslagna tema var under tiden anpassat efter ett han skrivit för mekanisk orgel. Bachs sena transkriptioner av verk av hans samtida, inklusive Vivaldi, uppstod från både beundran och en önskan att hänga med i de senaste stilarna. Hans flödande arrangemang av Pergolesis Stabat Mater berikade dess orkestrering och ändrade dess Marian Passion-text till psalm 51 som ber om förlåtelse.

svenska

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