Filharmonie at the Theatre I (FJD I)

RICHARD STRAUSS

Serenade in E-flat major, Op. 7

WOLFGANG AMADEUS MOZART

“Giunse alfin il momento . . . Al desio di chi t’adora”, recitative and aria, K 577

“Ch’io mi scordi di te? . . . Non temer”, soprano scene and rondo, K 505

GUSTAV MAHLER

Symphony No. 4 in G major

Martina Janková soprano

Filharmonie Brno

conductor Dennis Russell Davies piano

When Gustav Mahler (1860–1911) conceived the idea of composing his Fourth Symphony in 1899, he was already an admired and feared director of the Vienna Opera. His plan for the work started from the song in the finale, which returns to an earlier piece for voice and orchestra from 1892, from the collection Des Knaben Wunderhorn. The song, “Das himmlische Leben”, describing the bucolic and epicurean delights of heaven, thus served Mahler as the conclusion of his symphony. Compared to earlier symphonies, the orchestral apparatus in the Fourth is much reduced. In the second movement, a scherzo, the composer used a part for solo violin, whose unusual, mystic sound is due to the instrument being tuned a whole tone higher than normal, in the Baroque fashion. In the context of Mahler’s oeuvre, where tragedy is a constant, the Fourth, completed in summer 1900, appears as a divertimento, as a lyrical intermezzo. Hiding behind the apparent simplicity, however, is rich invention and a carefully thought-out compositional work.

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RICHARD STRAUSS

Serenade in E-flat major, Op. 7

WOLFGANG AMADEUS MOZART

“Giunse alfin il momento . . . Al desio di chi t’adora”, recitative and aria, K 577

“Ch’io mi scordi di te? . . . Non temer”, soprano scene and rondo, K 505

GUSTAV MAHLER

Symphony No. 4 in G major

Martina Janková soprano

Filharmonie Brno

conductor Dennis Russell Davies piano

When Gustav Mahler (1860–1911) conceived the idea of composing his Fourth Symphony in 1899, he was already an admired and feared director of the Vienna Opera. His plan for the work started from the song in the finale, which returns to an earlier piece for voice and orchestra from 1892, from the collection Des Knaben Wunderhorn. The song, “Das himmlische Leben”, describing the bucolic and epicurean delights of heaven, thus served Mahler as the conclusion of his symphony. Compared to earlier symphonies, the orchestral apparatus in the Fourth is much reduced. In the second movement, a scherzo, the composer used a part for solo violin, whose unusual, mystic sound is due to the instrument being tuned a whole tone higher than normal, in the Baroque fashion. In the context of Mahler’s oeuvre, where tragedy is a constant, the Fourth, completed in summer 1900, appears as a divertimento, as a lyrical intermezzo. Hiding behind the apparent simplicity, however, is rich invention and a carefully thought-out compositional work.

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MILOSLAV KABELÁČ

Symphony No. 5 in B-flat minor “Drammatica” for soprano and orchestra, Op. 41

DMITRI SHOSTAKOVICH

Symphony No. 5 in D minor, Op. 47

Jana Šrejma Kačírková soprano

Filharmonie Brno

conductor Robert Kružík

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MILOSLAV KABELÁČ

Symphony No. 5 in B-flat minor “Drammatica” for soprano and orchestra, Op. 41

DMITRI SHOSTAKOVICH

Symphony No. 5 in D minor, Op. 47

Jana Šrejma Kačírková soprano

Filharmonie Brno

conductor Robert Kružík

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FRANZ SCHUBERT

Symphony No. 8 in B minor “Unfinished”, D 759

RICHARD WAGNER

Der Ring ohne Worte (The Ring Without Words) arranged by Lorin Maazel

Filharmonie Brno

conductor Dennis Russell Davies

Richard Wagner’s (1813–1883) opera tetralogy Der Ring des Nibelungen consist of four evening-long works: Das Rheingold, Die Walküre, Siegfried and Götterdämmerung – in sum, about 15 hours of music. The premiere of the complete cycle, treating themes drawn largely from Icelandic mythology (though presented by Wagner as Germanic), took place from 13 to 17 August 1876 in Bayreuth, where Wagner had a theatre built for the purpose. Every subsequent performance of the tetralogy is a musical sensation and a tremendous experience. Can this musical colossus ever be turned into a “compressed” symphonic version without voices, to serve as a concert performance? Many conductors have attempted it, including Leopold Stokowski, yet it is the 1987 version by the Wagnerian conductor Lorin Maazel, premiered on 11 May 1990 by him with the Pittsburgh Symphony Orchestra, that is considered the best embodiment of the idea. Wagner’s Ring loses nothing of its essence as a musical drama here, and the chronological order of all the sections used has been faithfully preserved as well.

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FRANZ SCHUBERT

Symphony No. 8 in B minor “Unfinished”, D 759

RICHARD WAGNER

Der Ring ohne Worte (The Ring Without Words) arranged by Lorin Maazel

Filharmonie Brno

conductor Dennis Russell Davies

Richard Wagner’s (1813–1883) opera tetralogy Der Ring des Nibelungen consist of four evening-long works: Das Rheingold, Die Walküre, Siegfried and Götterdämmerung – in sum, about 15 hours of music. The premiere of the complete cycle, treating themes drawn largely from Icelandic mythology (though presented by Wagner as Germanic), took place from 13 to 17 August 1876 in Bayreuth, where Wagner had a theatre built for the purpose. Every subsequent performance of the tetralogy is a musical sensation and a tremendous experience. Can this musical colossus ever be turned into a “compressed” symphonic version without voices, to serve as a concert performance? Many conductors have attempted it, including Leopold Stokowski, yet it is the 1987 version by the Wagnerian conductor Lorin Maazel, premiered on 11 May 1990 by him with the Pittsburgh Symphony Orchestra, that is considered the best embodiment of the idea. Wagner’s Ring loses nothing of its essence as a musical drama here, and the chronological order of all the sections used has been faithfully preserved as well.

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