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 

James Feddeck, conductor 

Roger Cramers, oboe 

Alam Hernández (1996) 

One Minute Symphony: Oxygen (2023) 

Gabriel Fauré (1845-1924)  

Suite "Pelléas et Mélisande," op. 80 (1898; 1901/1909) 

• Prélude (Quasi adagio) 

• Fileuse (Andantino quasi allegretto) 

• Sicilienne (Allegretto molto moderato)* 

• Mort de Mélisande (Molto adagio)
  * flute solo: Martine van der Loo 

Richard Strauss (1864-1949) 

Oboe Concerto in D (1945) 

• Allegro moderato 

• Andante 

• Vivace - Allegro 

Break 

Gabriel Fauré (1845-1924)  

Nocturne from "Shylock Suite," op. 57 (1889-1890) 

Felix Mendelssohn Bartholdy (1809-1847) 

Symphony no. 5 in d, op. 107 "Reformation" (1829-1830) 

• Andante - Allegro con fuoco 

• Allegro vivace 

• Andante 

• Andante con moto - Allegro vivace - Allegro maestoso 

End of concert approximately 10 p.m. 

Residentie Orkest The Hague 

James Feddeck, conductor 

Roger Cramers, oboe 

Gabriel Fauré (1845-1924)  

Nocturne from "Shylock Suite," op. 57 (1889-1890) 

Richard Strauss (1864-1949) 

Oboe Concerto in D (1945) 

• Allegro moderato 

• Andante 

• Vivace - Allegro 

Felix Mendelssohn Bartholdy (1809-1847) 

Symphony no. 5 in d, op. 107 "Reformation" (1829-1830) 

• Andante - Allegro con fuoco 

• Allegro vivace 

• Andante 

• Andante con moto - Allegro vivace - Allegro maestoso 

End of concert approximately 12:15 p.m. 

James Feddeck - conductor 

Studied oboe, piano, organ and conducting at Ohio's Oberlin Conservatory of Music, where he was awarded an Outstanding Young Alumni Award. 

Current position Chief Conductor Orchestra i Pomeriggi Musicali (Milan). 

Awards Aspen Conducting Prize (2008) and the prestigious Solti Conducting Award (2013). 

Highlights Debuts in recent seasons with orchestras such as San Francisco Symphony, Chicago Symphony Orchestra, BBC Symphony Orchestra, Helsinki Philharmonic Orchestra and the Atlanta, Houston, Vancouver and Milwaukee orchestras as well as the Residentie Orkest. 

Other Was labeled "a conductor to watch" by The Guardian. 

 
Roger Cramers - oboe 

Studied Conservatories of Maastricht and Rotterdam. Currently studies at the Hochschule für Musik und Theater, Munich. 

Highlights Was part of the Gustav Mahler Jugendorchester in 2011 and 2012. From 2013 to 2015 Akademist in the orchestra of the Hamburg Staatsoper. Played in several Dutch orchestras such as the Radio Philharmonic Orchestra and the Netherlands Chamber Orchestra and in foreign orchestras such as the WDR Sinfonieorchester Köln, BR Münchner Rundfunkorchester and Antwerp Symphony Orchestra. Since 2017 first oboist of the Residentie Orkest. 

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. 

Fauré, Strauss and Mendelssohn 

A lively, loving evening with Strauss, Mendelssohn and Fauré. In doing so, the stage is set in particular for Roger Cramers' oboe. 

Gabriel Fauré is among the leading French composers of the nineteenth century. A teacher of Ravel and others, he was a forerunner of "impressionism. His music is typically French; refined, transparent with lush melodies. His angelic Requiem and Pavane are among his most famous works. Pelléas et Mélisande is an 1898 orchestral suite based on the play of the same name by Maeterlinck (1862-1949). The medieval drama is about brothers Pelléas and Golaud who both fall in love with the beautiful mysterious Mélisande. Golaud finds her in the forest and is immediately enchanted by her. He marries her but rightly suspects that she is having an affair with Pelléas. Mad with jealousy, he seeks them out and finds them in a close embrace. With his sword, he kills Pelléas and injures Mélisande. Mélisande, who has given birth to a daughter is dying. Golaud asks for forgiveness. 

In the "Prélude," Fauré outlines the indefinable atmosphere and melancholy character of Mélisande. The repeated notes of the horn announce the emergence of Golaud, who, like the enigmatic young lady, is lost in the forest. The second movement 'La Fileuse' depicts Mélisande as she sits working behind the spinning wheel. 'Sicilienne' features a beautiful flute solo with harp, and the dark Last movement was also played at Fauré's funeral in 1924. 

Fauré wrote more stage music, such as to Shakespeare's The Merchant of Venice, in an adaptation by the French poet Edmond Haraucourt: called Shylock . The play premiered at the Théâtre de l'Odéon in Paris in December 1889 and had 56 performances, a respectable number for the Odéon. Not much later, Fauré chose to compose a concert suite for a much larger orchestra. The Nocturne is considered the highlight of the suite, in which the love scene between the two leads Jessica and Lorenzo is tenderly and profoundly depicted by the strings, music like Venetian moonlight. 

Indian summer 

Richard Strauss had a long and productive career. The scion of a famous horn player, he composed as early as age six. He broke through with symphonic poems and excelled as an opera composer. His style and influences ranged from Mozart and Brahms to Liszt and Wagner. When the Nazis seized power in 1933, the 68-year-old Strauss became head of the Reichsmusikkammer, to promote Aryan-German music. After a brief period of disapproval, his status was soon restored. The apolitical composer spoke out against anti-Semitism and protected his Jewish daughter-in-law. During World War II, he retreated to his rustic villa in Bavaria. After the war, in his Indian summer as an octogenarian, he wrote several more masterpieces such as the moving Vier letzte Lieder and his unsurpassed Oboe Concerto. 

On April 30, 1945, the day Hitler committed suicide, American troops arrived in the town of Garmisch. The soldiers wanted to take the villas, but the elderly composer came out and boldly said, "I am Richard Strauss, the composer of Rosenkavalier and Salomé." 

Lieutenant Milton Weiss, himself a musician, instructed his men to let the renowned composer into his home. Strauss received regular visits from the American military who took pictures, asked for his autograph or listened to him play the piano. Among them was 24-year-old officer John de Lancie, in his civilian life first oboist with the Pittsburgh Orchestra. Lancie was a Strauss fan and asked the master if he had ever considered writing an oboe concerto. "No" was the short answer. Nevertheless, Strauss began sketches a few weeks later and completed the score in October 1945. It became one of the most beloved oboe concertos of the 20th century. When Lancie returned to the United States, he was stunned that Strauss had published an oboe concerto after all. In the score, Strauss wrote "suggested by an American soldier." The concerto, consisting of three movements without intermission, has classical, Mozartian traits, has no references to a world outside of music and offers the soloist the chance to perform elegantly. It exudes an atmosphere of autumn and setting sun, worthy of a composer in retreat. 

Mendelssohn wrote his Reformation Symphony, his fifth, as a celebration of the Reformation initiated by Luther in 1517. The work marks the three-hundredth anniversary of the 1530 Augsburg Confession. That precisely Mendelssohn would pay musical tribute to the Reformation is extraordinary. He grew up in an intellectual Jewish family, but without religion and was baptized at age seven. After that, he considered himself a Lutheran. He wrote such Biblical oratorios as Elias and Paul and, moreover, was the first conductor to perform Bach's St. Matthew Passion, after Bach's death in 1750, in 1829 and caused a revival . That he was nevertheless dismissed as a "Jewish composer" by Wagner and later the Nazis is therefore extra wry. The Reformation symphony is performed less frequently than the popular "Scottish" and "Italian" symphonies, but is not inferior in quality. 

The symphony opens with slow introduction with fanfares. In it he quotes the so-called "Dresden Amen," a six-note motif popular at the time. This is followed by a passionate Allegro. The second movement is a light-footed scherzo, a genre in which Mendelssohn excelled. The Andante is lyrical with a tuneful string melody. The grand finale uses the chorale Ein feste Burg ist unser Gott, a famous Reformation hymn composed by Luther himself. Bach quoted it in his cantata of the same name. It is an exuberant final movement in which Mendelssohn pulls out all the orchestral stops to celebrate the Reformation! 

Ruben Heimans 

Shostakovich 

A nice Lazy start to Sunday, with the most beautiful classical music. Starring the oboe this time. 

Gabriel Fauré is among the leading French composers of the nineteenth century. A teacher of Ravel and others, he was a forerunner of "impressionism. His music is typically French; refined, transparent with lush melodies. His angelic Requiem and Pavane are among his most famous works but also the music to the plays Pelléas et Mélisande and Masques et bergamasques. But Fauré wrote more stage music, such as to Shakespeare's The Merchant of Venice, in an adaptation by the French poet Edmond Haraucourt: called Shylock . The play premiered at the Théâtre de l'Odéon in Paris in December 1889 and had 56 performances, a respectable number for the Odéon. Not much later, Fauré chose to compose a concert suite for a much larger orchestra. The Nocturne is considered the highlight of the suite, in which the love scene between the two leads Jessica and Lorenzo is tenderly and profoundly depicted by the strings, music like Venetian moonlight. 

Indian summer 

Richard Strauss had a long and productive career. The scion of a famous horn player, he composed as early as age six. He broke through with symphonic poems and excelled as an opera composer. His style and influences ranged from Mozart and Brahms to Liszt and Wagner. When the Nazis seized power in 1933, the 68-year-old Strauss became head of the Reichsmusikkammer, to promote Aryan-German music. After a brief period of disapproval, his status was soon restored. The apolitical composer spoke out against anti-Semitism and protected his Jewish daughter-in-law. During World War II, he retreated to his rustic villa in Bavaria. After the war, in his Indian summer as an octogenarian, he wrote several more masterpieces such as the moving Vier letzte Lieder and his unsurpassed Oboe Concerto. 

On April 30, 1945, the day Hitler committed suicide, American troops arrived in the town of Garmisch. The soldiers wanted to take the villas, but the elderly composer came out and boldly said, "I am Richard Strauss, the composer of Rosenkavalier and Salomé." 

Lieutenant Milton Weiss, himself a musician, instructed his men to let the renowned composer into his home. Strauss received regular visits from the American military who took pictures, asked for his autograph or listened to him play the piano. Among them was 24-year-old officer John de Lancie, in his civilian life first oboist with the Pittsburgh Orchestra. Lancie was a Strauss fan and asked the master if he had ever considered writing an oboe concerto. "No" was the short answer. Nevertheless, Strauss began sketches a few weeks later and completed the score in October 1945. It became one of the most beloved oboe concertos of the 20th century. When Lancie returned to the United States, he was stunned that Strauss had published an oboe concerto after all. In the score, Strauss wrote "suggested by an American soldier." The concerto, consisting of three movements without intermission, has classical, Mozartian traits, has no references to a world outside of music and offers the soloist the chance to perform elegantly. It exudes an atmosphere of autumn and setting sun, worthy of a composer in retreat. 

Mendelssohn wrote his Reformation Symphony, his fifth, as a celebration of the Reformation initiated by Luther in 1517. The work marks the three-hundredth anniversary of the 1530 Augsburg Confession. That precisely Mendelssohn would pay musical tribute to the Reformation is extraordinary. He grew up in an intellectual Jewish family, but without religion and was baptized at age seven. After that, he considered himself a Lutheran. He wrote such Biblical oratorios as Elias and Paul and, moreover, was the first conductor to perform Bach's St. Matthew Passion, after Bach's death in 1750, in 1829 and caused a revival . That he was nevertheless dismissed as a "Jewish composer" by Wagner and later the Nazis is therefore extra wry. The Reformation symphony is performed less frequently than the popular "Scottish" and "Italian" symphonies, but is not inferior in quality. 

The symphony opens with slow introduction with fanfares. In it he quotes the so-called "Dresden Amen," a six-note motif popular at the time. This is followed by a passionate Allegro. The second movement is a light-footed scherzo, a genre in which Mendelssohn excelled. The Andante is lyrical with a tuneful string melody. The grand finale uses the chorale Ein feste Burg ist unser Gott, a famous Reformation hymn composed by Luther himself. Bach quoted it in his cantata of the same name. It is an exuberant final movement in which Mendelssohn pulls out all the orchestral stops to celebrate the Reformation! 

Ruben Heimans