Program Booklet
RO meets Storioni Trio
friday, april 26
20:15
hour until approximately 10:15 p.m.
Innovation is of all times. Tonight Fagerlund's brand new work for piano trio and orchestra as well as Beethoven's Third, which took us into the Romantic era.
Programme
Prior to this concert there will be a Starter at 7:30 pm. A lively and relaxed program with live performances by our own musicians and interviews with soloists and conductors. The Starter is free of charge and will take place in the Swing, to the left of cloakroom.
Anat Spiegel (1979)
One Minute Symphony: The Fool Card (2024)
Felix Mendelssohn Bartholdy (1809-1847)
Overture "Die Hebriden," op. 26 (1830)
Sebastian Fagerlund (1972)
Triple Concerto 'Lanterna' (2023, Dutch premiere)
Nebbioso - Misterioso quasi improvisando - Sonoramente - Energico, molto ritmico - Adagio di molto - Sognante - Energico ed espressivo
At intermission we will serve a free drink.
Ludwig van Beethoven (1770-1827)
Symphony No. 3 in E-flat, op. 55 'Eroica' (1803)
Allegro con brio
Marcia funebre: Adagio assai
Scherzo: Allegro vivace
Finale: Allegro molto
What are you going to listen to?
One Minute Symphony
Opening tonight is Anat Spiegel's One Minute Symphony, titled The Fool Card. According to Spiegel, "the fool (The Fool) reminds us of the freedom that comes from trusting that 'something' will catch us when we fall. The Fool calls us to remember our innocence, our folly and the greater cosmic power involved. He challenges us to think about what is orderly and encourages us to be unruly and misunderstood." You can hear how all of this was turned into notes at the premiere of her One Minute Symphony: The Fool Card.
Mendelssohn
Tranquil landscapes with rugged cliffs, the occasional waterfall, ruin or cityscape. Looking online at Felix Mendelssohn 's smooth, but extremely precise drawings and watercolors, one immediately gets an impression of the journey the 20-year-old composer undertook through England and Scotland in 1829. Foreign travel, in addition to visual art, music, philosophy and literature, was a natural part of the Mendelssohns' cultural education. The poetic verses of Ossian, the mythical, blind singer who is said to have lived in a cave (Fingal's Cave) on one of the Hebridean islands off the Scottish west coast, were passed on to Mendelssohn from home. The actual visit to the cave with its special acoustics of waves and wind must have made a deep impression on the composer. Despite his seasickness.
In the first sketches of the Overture "Die Hebriden" that Mendelssohn made during this voyage, ancient melodies emerge from the rippling sea as if from the mist. The wave motion of the music remains palpable throughout the piece, from hushed memory to romanticized sea storm. Although the musical result was fine-tuned for years to come, it creates the impression of a quick, striking watercolor, sketched on the spot.
Storioni Trio
Sebastian Fagerlund 's new work, also inspired by the sea, fits into the extensive series of triple concertos written for the Storioni Trio. As is his custom, the Finnish composer first explored the ensemble in a separate composition, in this case Remain from 2022 for piano trio. The slow movement of this then became the starting point for his Triple Concerto Lanterna which has its Dutch premiere in this program.
When writing the new concert, Fagerlund had in mind the image of a lantern at sea. "If you are close to it you can see it clearly, from when you start moving away from it, it fades. Sometimes you can't see the light at all; there may be waves or fog in between, for example," the composer explains. The seven movements - or "situations" as he calls them - merge seamlessly. The orchestra paints, as it were, the sea panorama into which the three soloists gradually begin to move. First the violin, followed by the cello and only in the third movement the piano. Gradually, the soloists and orchestra blend together.
Beethoven
In the early nineteenth century, the new ideals of liberty, equality and fraternity were buzzing in Vienna. The yearning for revolution was also pervasive among Ludwig van Beethoven, in which he had become a great admirer of Napoleon, who had defeated the French nobility under his own steam and was meanwhile making advances in the rest of Europe. The Third Symphony Beethoven dedicated to the French general in 1803 was therefore to be a work of revolutionary innovation, titled "Bonaparte.
With a scope of nearly an hour full of power and intensity, his composition transcended all previous symphonies. Each of the movements seems to have been liberated from the traditional forms expected by the audience. For example, themes are suddenly resumed in unexpected keys and later interrupted aggressively by series of loud chords. "Heaven and earth will tremble when it is performed," predicted one of Beethoven's pupils when he played it at home on the piano. The second movement is a monumental funeral march, followed by a hopeful, combative Scherzo that is nothing like the traditional minuet. The Finale contains a series of variations on a theme Beethoven wrote earlier for his Prometheus, a ballet about the mythical hero punished for having robbed fire and given it to mankind.
Even before the first performance in 1805, news reached Vienna that Napoleon had crowned himself emperor. Beethoven was furious and felt betrayed by his Corsican hero. He scratched the name "Bonaparte" off the manuscript with a knife and renamed the symphony "Sinfonia eroica, composed to celebrate the memory of a great man.
Some of the audience did not know what to make of the revolutionary work. "The composition is too violent and bizarre, so that one cannot get a grip on the whole. The sense of unity is completely lost," wrote the reviewer of the Allgemeine Musikalische Zeitung. For another part of the audience, however, music history had broken new ground forever with this masterpiece.
Frans Boendermaker
Prefer it on paper? Download a condensed printable version of this program.
Biographies
The Residentie Orkest offers the conductor and soloist at this concert a linocut by The Hague artist Mariska Mallee.
Fun Fact
Premiere
How revolutionary Beethoven's Third Symphony sounded to his contemporaries may be evident from an anecdote about its first public performance at Theater an der Wien. From the upper gallery a visitor shouted, "I'll give money for it, as long as it stops!"
![](https://glide.ams3.cdn.digitaloceanspaces.com/residentie-orkest-preview/containers/assets/bh55-theater-an-der-wien.jpg/0721788000f8bcbca312c75907d5bb19.jpg)
RO QUIZ
Question: who painted the Hague Green Market?-
Sebastian Fagerlund
Good answer: Felix Mendelssohn
Felix Mendelssohn was not only a composer but also a gifted painter who loved to capture scenes from nature. He also liked to travel and visited The Hague and Scheveningen in 1836. Unfortunately, he did not write a Hague symphony or overture here, but he did make drawings of the Kleine Groenmarkt, among other places.
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Ludwig van Beethoven
Good answer: Felix Mendelssohn
Felix Mendelssohn was not only a composer but also a gifted painter who loved to capture scenes from nature. He also liked to travel and visited The Hague and Scheveningen in 1836. Unfortunately, he did not write a Hague symphony or overture here, but he did make drawings of the Kleine Groenmarkt, among other places.
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Felix Mendelssohn
Good answer: Felix Mendelssohn
Felix Mendelssohn was not only a composer but also a gifted painter who loved to capture scenes from nature. He also liked to travel and visited The Hague and Scheveningen in 1836. Unfortunately, he did not write a Hague symphony or overture here, but he did make drawings of the Kleine Groenmarkt, among other places.
![](https://glide.ams3.cdn.digitaloceanspaces.com/residentie-orkest-preview/containers/assets/der_klyne_groenmarkt_-_aquarell_von_felix_mendelssohn_bartholdy_1836-1713970618.jpg/4b021c2222b138f0326925b3bdd8056f.jpg)
Good answer: Felix Mendelssohn
Felix Mendelssohn was not only a composer but also a gifted painter who loved to capture scenes from nature. He also liked to travel and visited The Hague and Scheveningen in 1836. Unfortunately, he did not write a Hague symphony or overture here, but he did make drawings of the Kleine Groenmarkt, among other places.
Today in the orchestra
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