A Starter will take place prior to this concert. You can attend this in the Swing on the second floor to the left of cloakroom. 

Residentie Orkest The Hague 

Daniel Raiskin, conductor 

Bram van Sambeek, bassoon 

Dorian Cooke, bassoon 

James MacMillan (1959) 

Larghetto (2009/2017) 

Kalevi Aho (1949) 

Double concerto for two bassoons and orchestra (2017-2018) (Dutch premiere)  

• I 

• II - Adagio 

• III  

Break 

Dmitri Shostakovich (1906-1975) 

Symphony no. 10 in e, op. 93 (1951/1953) 

• Moderato 

• Allegro 

• Allegretto - Largo - Piú mosso 

• Andante - Allegro - L'istesso tempo 

End of concert approximately 10 p.m. 

Residentie Orkest The Hague 

Daniel Raiskin, conductor 

Dmitri Shostakovich (1906-1975) 

Symphony no. 10 in e, op. 93 (1951/1953) 

• Moderato 

• Allegro 

• Allegretto - Largo - Piú mosso 

• Andante - Allegro - L'istesso tempo 

End of concert approximately 10 p.m. 

Daniel Raiskin - conductor 

Studies in St. Petersburg, Amsterdam and Freiburg. 

Current position Chief conductor of Philharmonia Slovakia, music director of Winnipeg Symphony Orchestra and regular guest conductor of Belgrade Philharmonic Orchestra. 

Highlights Was previously chief conductor of the Rheinischen Philharmonie Koblenz (2005-2016) and Artur-Rubinstein-Philharmonie in Lódz (2008-2015). Conducted Orchestre National de Belgique, Orchestre National de Lyon, Residentie Orkest and Warsaw Philharmonic Orchestra, among others. Will tour Japan with Philharmonia Slovakia. Has also conducted in several opera houses and at well-known international festivals.
In the press "Daniel Raiskin is clearly a musician of keen sensitivity and a master of his craft" Gramophone 

 
Bram van Sambeek - bassoon 

Studies Began playing the bassoon at age ten with Fred Gaasterland. Studied at the Royal Conservatoire The Hague. Master classes with Brian Pollard, Klaus Thunemann and Sergio Azzolini.
Highlights Was principal bassoonist with the Rotterdam Philharmonic Orchestra (2002-2011). Soloized a.o. with orchestras of Lathi and Göteborg, Netherlands Chamber Orchestra, philharmonie zuidnederland. Worked as chamber musician regularly with Alexej Ogrintchouck, Jörg Widmann, Liza Ferschtmann, Christoph Pregardien and Rick Stotijn. 

Other Teaches at the conservatories of Rotterdam, Amsterdam and The Hague. Composers such as Vanessa Lann and Sebastian Fagerlund wrote concertos for him.
Prizes Dutch Music Prize (2009), Borletti Buitoni Trust Award (2011).
Website Bram van Sambeek 

Dorian Cooke - bassoon 

Training Royal Conservatory in The Hague with Johan Steinmann and Hochschule für Musik Hanns Eisler in Berlin, with Prof. K. Thunemann. Master classes with Brian Pollard. 

Highlights Since 2000 first bassoonist of the Residentie Orkest. Also member of the Netherlands Wind Ensemble and the contemporary ensemble Nieuw Amsterdams Peil. Also often plays in chamber music ensembles. 

Other Composers such as Frigyes Hidas, Theodor Burkali, Stephen Melillo, Vincente Moncho and Harrie Janssen wrote compositions for her.
 

Residentie Orkest The Hague 

Founded The Hague, 1904 

Current chief conductor Anja Bihlmaier 

Permanent guest conductors Richard Egarr and Jun Märkl 

Chief conductors Henri Viotta, Peter van Anrooy, Frits Schuurman, Willem van Otterloo, Jean Martinon, Ferdinand Leitner, Hans Vonk, Evgenii Svetlanov, Jaap van Zweden, Neeme Järvi, Nicholas Collon. 

To be seen at Amare, Paard, The National Opera, Royal Concertgebouw, De Doelen, TivoliVredenburg among others . 

Education Annualreach of over 40,000 schoolchildren, adults and amateur musicians in educational projects. Part of this is The Residents, through which the orchestra brings hundreds of children from districts in The Hague into contact with classical music. 

MacMillan, Aho and Shostakovich 

Dynamism and energy with the return of Daniel Raiskin to the Residentie Orkest - including his bold, powerful interpretations of Russian work. 

Opening tonight is Scottish Sir James MacMillan (b. 1959), one of today's most successful composers. His musical language is defined his Scottish heritage, Catholic faith and Celtic folk music, mixed with influences from the Far East and Scandinavian and Eastern European music. Characteristic are his use of familiar themes and his colorful orchestration. MacMillan's Larghetto was originally a choral work, a setting of Psalm 51(Miserere), which perfectly reflects its solemn, mournful character, with passionate pleas for God's mercy. The version for orchestra, written for the Pittsburgh Symphony Orchestra and its director Manfred Honeck, is almost even more monumental with MacMillan managing to utilize the full orchestral sound. 

Dutch premiere  

Kalevi Aho has been among Finland's leading composers for many years. He studied composition at home with Einojuhani Rautavaara and in Berlin with Boris Blacher. Between 1988 and 1993 he taught composition himself at Sibelius Academy after having been a lecturer in music theory at the University of Helsinki. 

In his choice of genres, Aho follows the tradition of symphonies, concertos, chamber music and opera. Between 1969 and 2010, for example, he wrote 15 symphonies and, since 1981, 18 concertos for a variety of solo instruments and orchestra, based on the idea of eventually writing a concerto for each orchestral instrument; but there are also two piano concertos and a concerto for saxophone quartet and orchestra. In 2012 his Concert for trombone and orchestra had its world premiere with the Residentie Orkest and trombonist Jörgen van Rijen. Today the Dutch premiere of his Double Concerto is on the program. Aho himself wrote about this: "I composed this work in 2016 on the initiative of bassoon virtuoso Bram van Sambeek. He had previously performed and recorded my 2004 Bassoon Concerto, and he has also performed most of my chamber music pieces for this instrument. According to Bram, the bassoon rarely gets the opportunity to be a solo instrument, and when it does, usually the orchestra's own bassoonist is asked to play Mozart's Bassoon Concerto - which is not even one of Mozart's most substantial concertos.  

Bram suggested that I compose a double concerto for two bassoons, which he could then perform with solo bassoonists from orchestras. It would be the first concerto ever written for two bassoons and a standard symphony orchestra. Bram's idea proved successful - he has already performed the concerto several times in different countries with different soloists. 

The work consists of three movements. Both solo parts are equal; one does not dominate the other. I strove to create music that brings out the best qualities of the solo instrument and also presents its virtuosic qualities." 

Forty degree fever 

As a composer, Dmitri Shostakovich was at odds with the Stalinist regime. On the one hand, he was considered one of the Soviet Union's most important culture bearers, a status that earned him a cartload of Stalin Prizes, Lenin Orders and related awards. On the other hand, several times in his life it came to a precarious collision with "Power. For example, Shostakovich's opera Lady Macbeth from Mtsensk landed him a threatening rebuke in the state newspaper Pravda in 1936, and in 1948 he was openly attacked by Stalin's cultural watchdog Andrei Zhdanov for the allegedly "formalist" content of his music. 

How much this and that affected the composer's state of mind can be read in Julian Barnes' historically accurate Shostakovich novel The Turmoil of Time. Terrified of the nightly knock on the door, in the book's first chapter the composer spends his nights waking beside the elevator of his apartment. He is sure he will soon be arrested, and because he wants to spare his family the sight of his arrest, he has already packed his suitcase: three packs of Kazbek cigarettes, pile of clean underwear, toothbrush and tooth powder. 

From this perspective, one can imagine that Shostakovich must have felt a certain relief when news of Stalin's death reached him on March 6, 1953. As the composer reveals in his Testimony recorded by Solomon Volkov, in Tenth Symphony, written in the summer and fall of that same year, he took stock of the years of terror under the Red Czar. 

After the oppressive climaxes of on the opening movement and the chilling anxiety parade that is stoked to a wind chill of forty-degree fever in the second movement, the symphony discharges into an ironic waltz in the third movement. On the compulsively repeated signature motif D-Es-C-B (D-S-C-H in German, the first letters of his first and last name), the composer pulls a sarcastic long nose at his tormentor. 

Kalevi Aho and Joep Christenhusz 
 

Shostakovich 

Dynamism and energy with the return of Daniel Raiskin to the Residentie Orkest - including his bold, powerful interpretations of Russian work. 

Forty degree fever 

As a composer, Dmitri Shostakovich was at odds with the Stalinist regime. On the one hand, he was considered one of the Soviet Union's most important culture bearers, a status that earned him a cartload of Stalin Prizes, Lenin Orders and related awards. On the other hand, several times in his life it came to a precarious collision with "Power. For example, Shostakovich's opera Lady Macbeth from Mtsensk landed him a threatening rebuke in the state newspaper Pravda in 1936, and in 1948 he was openly attacked by Stalin's cultural watchdog Andrei Zhdanov for the allegedly "formalist" content of his music. 

How much this and that affected the composer's state of mind can be read in Julian Barnes' historically accurate Shostakovich novel The Turmoil of Time. Terrified of the nightly knock on the door, in the book's first chapter the composer spends his nights waking beside the elevator of his apartment. He is sure he will soon be arrested, and because he wants to spare his family the sight of his arrest, he has already packed his suitcase: three packs of Kazbek cigarettes, pile of clean underwear, toothbrush and tooth powder. 

From this perspective, one can imagine that Shostakovich must have felt a certain relief when news of Stalin's death reached him on March 6, 1953. As the composer reveals in his Testimony recorded by Solomon Volkov, in Tenth Symphony, written in the summer and fall of that same year, he took stock of the years of terror under the Red Czar. 

After the oppressive climaxes of on the opening movement and the chilling anxiety parade that is stoked to a wind chill of forty-degree fever in the second movement, the symphony discharges into an ironic waltz in the third movement. On the compulsively repeated signature motif D-Es-C-B (D-S-C-H in German, the first letters of his first and last name), the composer pulls a sarcastic long nose at his tormentor. 

Joep Christenhusz