The Beethoven Burst
A blinding flash and a giant explosion in a galaxy 10 billion light years away, followed by a longer-lived afterglow, were observed on December 16, 1999 by Dr. Brad Schaeffer of Yale University.
He named it The Beethoven Burst', since it was discovered on the 229th anniversary of Ludwig van Beethoven's birth and because of the veneration he felt for the composer.
There is something poetic about the event: were the discovery of the hypernova and the birth of Beethoven meant by the forces of nature to occur on the same day?
The light when a star is born is a miracle one can only see: but "Music is like a dream one can hear," said Beethoven, (a star himself).
Sounds of Earth
On August 20, 1977, the space probe Voyager 2 was launched by NASA to explore the outer planets.
On board is a gold-plated audio-visual disc (an ancestor of the CD rom) carrying a collection of sounds from the Earth in case the spacecraft is (ever) found by intelligent alien life-forms.
They include the sounds of whales, a baby crying, waves breaking on a shore and Beethoven's Cavatina from the Quartet op 130, all flying towards the limits of our knowledge to be the nearest to God as a human creation can be...
Forever
Beethoven's music, his borderless imagination embodying passion, visions, nature, moonshine, tempests, jealousy, love, contempt and admiration, or recreating the myths of Prometheus, ghosts and the Muses, not forgetting the Ode to Joy have all become part of the same, eternal afterglow...
Vladimir Mendelssohn
Artistic Director
Beethoven becomes ‘BEETHOVEN’
1. 14.30 Kuhmo Church €22/18
Il maestro e lo scolare
J. S. Bach (1685—1750):
Prelude and Fugue No. 8 in E flat minor, BWV 853 from Well-Temperied Clavier I (1722)
Joseph Haydn (1732—1809):
Divertimento Il maestro e lo scolare (Master and Pupil), Theme and seven Variations, Hob. XVIIa:1 for piano four hands (1778)
Antonio Salieri (1750—1825):
Trio No. 3 in C for two oboes and bassoon
Louis van Beethoven [sic]... a boy of 11 years and most promising talent. He plays the piano very skilfully and with power, reads at sight very well... the main piece he plays is Das Wohltemperierte Klavier of Johann Sebastian Bach, which Herr Neefe puts in his hands.
The Prelude in F minor WoO 55 could have been one of Bach's from the same work. May be the 25th…
Ludwig van Beethoven (1770—1827):
Prelude in F minor, WoO 55 for piano (ca. 1803)
Joseph Haydn (1732—1809):
Vivace in F, Hob. XIX:6 for mechanical organ 'Der Kaffeeklatsch' (1772)
Ludwig van Beethoven (1770—1827):
Violin Sonata No. 1 in D, Op. 12/1 (1797-98)
Encore:
Antonio Salieri (1750—1825):
Overture from Prima la musica e poi le parole (1786)
THIS CONCERT’S FRIEND IS THE PATRONS’ ASSOCIATION OF THE KUHMO CHAMBER MUSIC FESTIVAL.
2. 18.00 Kuhmo Arts Centre €22/18
Lustig und traurig
Ludwig van Beethoven (1770—1827):
String Quartet No. 5 in A, Op. 18/5 (1798-1800)
Ludwig van Beethoven (1770—1827):
Bagatelle in C minor, WoO 54 for piano 'Lustig und Traurig' (Joy and Sadness) (1802)
Ludwig van Beethoven (1770—1827):
String Quartet No. 4 in C minor, Op. 18/4 (1799)
3. 21.00 Kuhmo Church €22/18
Beethoven becomes 'BEETHOVEN'
Ludwig van Beethoven (1770—1827):
String Quartet No. 2 in G, Op. 18/2 (1798-1800)
Ludwig van Beethoven (1770—1827):
Präludium durch alle Dur-Tonarten, Op. 39/2 for organ (1789)
Ludwig van Beethoven (1770—1827):
String Quartet No. 1 in F, Op. 18/1 (1798-1800)
Europe from above
4. 11.00 Kuhmo Church €22/18*
Gassenhauers
W. A. Mozart (1756—1791):
Five Contradances, K. 609 (1791)
Joseph Haydn (1732—1809):
Piano Trio No. 39 in G, Hob XV:25 'Gypsy' (1795)
Daniel Steibelt (1764—1823):
Bacchanales for tambourine and piano
Ludwig van Beethoven (1770—1827):
Piano Trio in B flat, Op. 11 'Gassenhauer' (1797)
5. 15.00 Kuhmo Arts Centre €22/18
From the time of Beethoven - BOLERO
Ludwig van Beethoven (1770—1827):
Yo no quiero embarcarme (Iberian), WoO 158a/11 from 23 Songs of Various Nationalities (1816)
Juan Crisóstomo Arriaga (1806—1826):
String Quartet No. 1 in D minor (ca. 1823)
Ludwig van Beethoven (1770—1827):
Tiranilla Española (Spanish), WoO 158a/21 from 23 Songs of Various Nationalities (1816)
Luigi Boccherini (1743—1805):
String Quintet No. 60 in C, G. 324 'La musica notturna di Madrid' (1780)
Ludwig van Beethoven (1770—1827):
Bolero, Una paloma blanca (Spanish), WoO 158a/19 from 23 Songs of Various Nationalities (1816)
Ludwig van Beethoven (1770—1827):
Bolero, Como la mariposa (Spanish), WoO 158a/20 from 23 Songs of Various Nationalities (1816)
6. 18.00 Kuhmo Arts Centre €25/20
Air Russe
Ludwig van Beethoven (1770—1827):
String Quartet No. 7 in F, Op. 59/1 'Razumovsky' (1806)
Ludwig van Beethoven (1770—1827):
Akh, recen'ki, recen'ki (Russian), WoO 158a/14 from 23 Songs of Various Nationalities (1816)
Ludwig van Beethoven (1770—1827):
Kak Posli nasi podruzki (Russian), WoO 158a/15 from 23 Songs of Various Nationalities (1816)
Ludwig van Beethoven (1770—1827):
String Quartet No. 9 in C, Op. 59/3 'Razumovsky' (1806)
7. 21.30 Kuhmo Church €22/18
Hungarische melodie
Franz Schubert (1797—1828):
Ungarische Melodie in B minor, D. 817 for piano (1824)
Carl Maria von Weber (1786—1826):
Andante and Rondo Ungarese, Op. 35 for bassoon and piano (1813)
Johannes Brahms (1833—1897):
Piano Quartet No. 1 in G minor, Op. 25 (1861)
Harmonious words
8. 11.00 Kuhmo Church €22/18
Gesänge des Harfners
Franz Schubert (1797—1828):
Overture from Die Zauberharfe, D. 797 (1823; arr. for piano four hands by A. Schönberg 1903)
Ludwig van Beethoven (1770—1827):
Adieu my lov'd harp (Irish), WoO 158b/1 from Seven British Songs (1813)
Franz Schubert (1797—1828):
Gesänge des Harfners I, D. 478 for tenor and piano (1816)
Franz Schubert (1797—1828):
Gesänge des Harfners II, D. 479 for tenor and piano (1816)
Franz Schubert (1797—1828):
Gesänge des Harfners III, D. 480 for tenor and piano (1816)
Ludwig van Beethoven (1770—1827):
String Quartet No. 10 in E flat, Op. 74 'Harp' (1809)
9. 15.00 Kuhmo Arts Centre €22/18
From the time of Beethoven - Air Français
Ludwig van Beethoven (1770—1827):
Air Français, WoO 158d
le Chevalier de Saint-Georges (1745—1799):
String Quartet in C, Op. 1/1 (1773)
Ludwig van Beethoven (1770—1827):
Que le temps me dure, WoO 116 (?1794)
W. A. Mozart (1756—1791):
Twelve Variations on 'Ah, vous dirai-je Maman' in C, K. 265 for piano (1781-82)
Hector Berlioz (1803—1869):
Trio of the Young Ishmaelites from L'enfance du Christ, Op. 25 (1850-54)
Ludwig van Beethoven (1770—1827):
Non, non, Collette n'est point trompeuse, WoO 158c No. 2 from Six Songs of Various Nationalities (1817)
Charles-Valentin Alkan (1813—1888):
Allegretto alla barbaresca, Op. 39/10 from 12 Etudes for piano (1857)
10. 18.00 Kuhmo Arts Centre €22/18
1802
Ludwig van Beethoven (1770—1827):
Violin Sonata in A, Op. 47 'Kreutzer' (1802-03)
Ludwig van Beethoven (1770—1827):
Symphony No. 2, Op. 36 (1800-02; arr. for piano trio by composer)
Les Tablettes de Polymnie reckoned that it sounded “as if doves and crocodiles were locked up together”. Vienna’s Zeitung für die elegante Welt, meanwhile, described it as ‘a hideously wounded, writhing dragon that refuses to die’. Posterity has treated it more kindly.
11. 21.30 Kuhmo Church €22/18**
At the stream
Franz Schubert (1797—1828):
Am Bach im Frühling, D. 361 for tenor and piano (1816)
Franz Schubert (1797—1828):
Auf dem Flusse from Winterreise, D. 911 (1827)
Franz Schubert (1797—1828):
Die Forelle, D. 550 (ca. 1817)
Franz Schubert (1797—1828):
Piano Quintet in A, D. 667 'Trout' (1819)
THIS CONCERT’S FRIEND IS OSUUSKAUPPA MAAKUNTA.
Gates to another world
12. 11.00 Kuhmo Church €22/18
Serioso
J. S. Bach (1685—1750):
Adagio from Concerto in D minor, BWV 974 (1713-14)
Ludwig van Beethoven (1770—1827):
Elegischer Gesang, Op. 118 'Sanft wie du lebtest' (1814)
W. A. Mozart (1756—1791):
Violin Sonata in E minor, K. 304 (1778)
Ludwig van Beethoven (1770—1827):
String Quartet No. 11 in F minor, Op. 95 'Serioso' (1810-11)
13. 15.00 Kuhmo Arts Centre €22/18
Op. 131
Ludwig van Beethoven (1770—1827):
String Trio No. 5 in C minor, Op. 9/3 (1797-98)
J. S. Bach (1685—1750):
Fugue No. 4 in C sharp minor, BWV 849 from Well-Tempered Clavier I (1722)
Stravinsky called it “perfect, inevitable, inalterable.”
Ludwig van Beethoven (1770—1827):
String Quartet No. 14 in C sharp minor, Op. 131 (1825-26)
14. 18.15 Kuhmo Church €22/18
After Op. 131
"After this (op. 131) what is there left for us to write?"
Franz Schubert
Ludwig van Beethoven (1770—1827):
Andante maestoso in C, WoO 62 for string quintet (1826)
Franz Schubert (1797—1828):
String Quintet in C, D. 956 (1828)
15. 21.15 Kuhmo Arts Centre €22/18
after AFTER
Franz Liszt (1811—1886):
Isoldes Liebestod, S. 447 from Richard Wagner's Tristan and Isolde for piano (1865)
Alban Berg (1885—1935):
Four Pieces, Op. 5 for clarinet and piano (1919)
Arnold Schönberg (1874—1951):
Die Verklärte Nacht (Transfigured Night), Op. 4 for string sextet (1899)
Memory lanes
16. 11.00 Kuhmo Church €22/18
Subconscient
BACK TO MOZART AND HAYDN
Ludwig van Beethoven (1770—1827):
Symphony No. 8 in F, Op. 93 (1812; arr. for string quintet 1817)
BACK TO THE FUTURE
Robert Schumann (1810—1856):
Piano Quintet in E flat, Op. 44 (1842)
17. 15.00 Kuhmo Arts Centre €22/18
Portraits in my room
“1815 I have a place in my room for portraits of Handel, Bach, Gluck, Mozart and Haydn. You can help me to accept my suffering…”
From the Fischhoff Manuscript (1804-1818)
W. A. Mozart (1756—1791):
Adagio and Fugue No. 2 in G minor, K. 404a from Well-Tempered Clavier II, BWV 883 by J. S. Bach
Johan Halvorsen (1864—1935):
Passacaglia in G minor on the Theme by Georg Friedrich Handel for violin and viola (1897)
Joseph Haydn (1732—1809):
Trio in A, Hob XI:5 (Aria Che faró senza Euridicé from Gluck's Orpheus and Eurydice)
Ludwig van Beethoven (1770—1827):
Piano Trio in B flat, Op. 97 'Archduke' (1810-11)
THIS CONCERT’S FRIEND IS KAINUUN SANOMAT.
18. 18.00 Kuhmo Arts Centre €22/18
Beethoven's shadow
Ludwig van Beethoven (1770—1827):
Septet in E flat, Op. 20 (1799)
Johannes Brahms (1833—1897):
Scherzo No. 3 from F. A. E. Sonata for violin and piano (1853)
Encore:
Archduke of Austria Rudolph (1788—1831):
Vivace assai from Septet in E minor
19. 21.00 Kuhmo Church €22/18
Alter ego
Impossible to imagine life without the Septet of Beethoven.
Nevertheless, by adding just a second violin to Beethoven's septet template, Schubert managed to escape from the pressure and the shadow of Beethoven. However, his wish to match him went unfulfilled.
He only managed to be a genius.
Franz Schubert (1797—1828):
Octet in F, D. 803 for clarinet, bassoon, French horn and string quintet (1824)
FAST FORWARD >>
THE PARTNER FOR THIS DAY IS OP.
20. 11.00 Kuhmo Church €22/18
Op. 1
Ludwig van Beethoven (1770—1827):
Piano Trio in E flat, Op. 1/1 (1794-95)
Ludwig van Beethoven (1770—1827):
Symphony No. 1 in C, Op. 21 (1799-1800; arr. for string quintet)
Emma Mali and Charlotta Westerback both play an instrument owned by the OP Art Foundation.
21. 15.00 Kuhmo Arts Centre €22/18
From the Time of Beethoven - Made in 1826
Ludwig van Beethoven (1770—1827):
String Quartet No. 13 in B flat, Op. 130 (1825-26)
Felix Mendelssohn (1809—1847):
Overture from a Midsummer Night's Dream by William Shakespeare, Op. 61 for piano four hands
Felix Mendelssohn (1809—1847):
Scherzo from a Midsummer Night's Dream by William Shakespeare, Op. 61 (arr. for piano by Sergey Rachmaninoff, 1933)
Felix Mendelssohn (1809—1847):
Notturno from a Midsummer Night's Dream by William Shakespeare, Op. 61 for piano four hands
Felix Mendelssohn (1809—1847):
Fairy March from a Midsummer Night's Dream by William Shakespeare, Op. 61
Felix Mendelssohn (1809—1847):
A Dance of Clowns from a Midsummer Night's Dream by William Shakespeare, Op. 61 for piano four hands
Felix Mendelssohn (1809—1847):
The Wedding March from a Midsummer Night's Dream by William Shakespeare, Op. 61
Otto Antikainen, Emma Mali, Charlotta Westerback and Artturi Aalto play an instrument owned by the OP Art Foundation.
There are works of art from the OP Art Foundation on display at the concert venue.
THIS CONCERT’S PARTNER IS OP.
22. 18.15 Kuhmo Arts Centre €22/18
Unfinished
J. S. Bach (1685—1750):
Fuga a 3 Soggetti from Die Kunst der Fuge, BWV 1080
Rebecca Roozeman plays an instrument owned by the OP Art Foundation.
W. A. Mozart (1756—1791):
Adagio, K. 580a for English horn and string trio
Franz Schubert (1797—1828):
String Quartet No. 12 in C minor, D. 703 'Quartett-Satz' (1820)
Gustav Mahler (1860—1911):
Adagio from Symphony No. 10 (1910)
Charlotta Westerback plays an instrument owned by the OP Art Foundation.
There are works of art from the OP Art Foundation on display at the concert venue.
23. 21.15 Kuhmo Church €22/18*
Angel of the apocalypse
‘There shall be time no longer.’
Viktor Ullmann (1898—1944):
Notturno from Piano Sonata No. 7 (1944)
Olivier Messiaen (1908—1992):
Quatuor pour la fin du temps (Quartet for the End of Time) for clarinet, violin, cello and piano (1940-41)
(Super)natural
24. 11.00 Kuhmo Arts Centre €22/18
Storm
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 17 in D minor, Op. 31/2 'Tempest' (1801/02)
Ludwig van Beethoven (1770—1827):
E pur fra le tempeste, WoO 99/3 from Mehrstimmige italienische Gesänge
Ludwig van Beethoven (1770—1827):
String Quintet in C, Op. 29 'Storm' (1801)
25. 15.00 Kuhmo Arts Centre €22/18
Outdoors life in the time of Beethoven
Franz Schubert (1797—1828):
Jäger, ruhe von der Jagd (Ellens Gesang II), D. 838 (1825)
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 18 in E flat, Op. 31/3 'Hunt (1802)
Although named ‘the French Beethoven’, Onslow did not relish his nickname, since he was obviously jealous and disliked the works of the German composer. He was quite successful in his career as composer and even more so, (like most noblemen) as a hunter…
During the wild pursuit of a deer, a fellow-hunter almost killed him when he missed his target. Onslow luckily survived, but the bullet, which grazed his ear, caused his hearing to suffer. So in the end, in a most unexpected way, fate brought Onslow and Beethoven closer together in terms of the ailment they shared... even if it was without their knowledge or approval, so to say…
Georges Onslow (1784—1853):
String Quintet No. 15 in C minor, Op. 38 'The Bullet' (1830)
26. 18.00 Kuhmo Arts Centre €22/18
Woodland rain
Antonín Dvořák (1841—1904):
Silent Woods, Op. 68/5 for cello and piano (1884)
Jean Sibelius (1865—1957):
Five pieces, Op. 75 for piano 'The Trees' (1914)
Johannes Brahms (1833—1897):
Violin Sonata No. 1 in G, Op. 78 'Regenlied Sonata' (1878-79)
Johann Strauss II (1825—1899):
Geschichten aus dem Wienerwald (Tales from the Vienna Woods), Op. 325 (1868)
Encore:
Claude Debussy (1862—1918):
Quelques aspects de 'Nous n'irons plus au bois' parce qu'il fait un temps insupportable from Images for piano (1894)
THIS CONCERT’S FRIEND IS METSÄHALLITUS.
27. 21.15 Kuhmo Church €22/18
In the Countryside
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 15, Op. 28 'Pastoral' (1801)
Ludwig van Beethoven (1770—1827):
Symphony No. 6, Op. 68 'Pastoral' (1808; arr. for string sextet by M. G. Fischer 1810)
"Explaining the titles is unnecessary. Even those which only relate distantly to the countryside. Descriptions are pointless: listen to the expression of feeling rather than gaze at the musical painting."
Beethoven's Notebook,1807 (containing sketches for the Pastoral Symphony)
From life to life
28. 11.00 Kuhmo Arts Centre €22/18
Antonio Vivaldi (1678—1741):
Aria Gelosia, tu già rendi l'alma mia from opera Ottone in villa, RV 729
W. A. Mozart (1756—1791):
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 520 for soprano and piano (1787)
Jan Dismas Zelenka (1679—1745):
Hipocondrie à 7 Concertanti in A, ZWV 187 (1723)
Ludwig van Beethoven (1770—1827):
An die ferne Geliebte, Op. 98 for tenor and piano (1816)
And this is Bettina Brentano's reaction: 'He is small, dark and pockmarked. He has long black hair, pushed back. His clothes are torn - he's completely shabby-looking.'
Johannes Brahms (1833—1897):
Movements from Liebeslieder Walzer, Op. 52 for mixed voices and piano four hands (1868-69)
Fritz Kreisler (1875—1962):
Liebesleid for violin and piano (before 1910)
Fritz Kreisler (1875—1962):
Liebesfreud, Alt-Wiener Tanzweisen, No. 1 for violin and piano (before 1910)
29. 15.00 Kuhmo Church €22/18
From the time of Beethoven - Salieri's revenge
Demonised by Pushkin and Milos Forman, Salieri was unjustly accused of poisoning Mozart and disparaging Beethoven. Time now to redeem his name and reputation. He did actually teach Beethoven and sponsored the 1789 performance of Mozart's Clarinet Quintet. And after Mozart's death he taught his son, Franz Xaver Mozart. Sometimes fake news tarnishes the truth even if it leads to enjoyable and unforgettable plays and movies. And the truth slips into the shadow…
Franz Xaver Mozart (1791—1844):
Rondo in E minor for flute and piano
Ludwig van Beethoven (1770—1827):
Bei labbri che amore from Mehrstimmige italienische Gesänge, WoO 99/1 for mezzo-soprano and tenor
Antonio Salieri (1750—1825):
Concertino da Camera in G (1777)
W. A. Mozart (1756—1791):
Clarinet Quintet in A, K. 581 'Stadler' (1789)
WEEKLY SEASON TICKET I IS NO LONGER VALID AFTER THIS CONCERT.
30. 18.00 Kuhmo Arts Centre €22/18
Muss es sein?
Charles Ives (1874—1954):
The Unanswered Question for winds and strings from Two Contemplations (1935)
Franz Liszt (1811—1886):
Litanei, Auf das Fest aller Seelen, S. 562/1 (1840; arr. of the song Am Tage Aller Seelen, D. 434a by Franz Schubert)
György Kurtág (1926—):
Ligatura-Message to Frances-Marie (The answered unanswered question), Op. 31/b for two cellos, two violins and celesta (1989)
Ludwig van Beethoven (1770—1827):
String Quartet No. 16 in F, Op. 135 (1826)
31. 21.00 Kuhmo Church €22/18
The First four notes
J. S. Bach (1685—1750):
Fugue in C minor, BWV 574 for organ
Ludwig van Beethoven (1770—1827):
Symphony No. 5 in C minor, Op. 67 (1804-08; arr. for two violins, two violas and cello by Carl F. Ebers ca. 1830)
"Beethoven’s music unveils before us the realm of the mighty and the immeasurable,
destroying within us all feeling but the pain of yearning, desire, and exultation…
Beethoven’s music sets in motion the machinery of awe, of fear, of terror, of pain."
E. T. A. Hoffmann’s review of the Fifth Symphony
Encore:
Gustav Mahler (1860—1911):
Adagietto from Symphony No. 5 (1901-02)
And Mahler starts with the mirror of the 5th but goes farther with a declaration of love to his (vampire) spouse.
Anguish and ecstasy, longing for the infinite where he encounters the giant shadow of Beethoven instead of falling into the arms of Alma.
Four nights on earth
32. 11.00 Kuhmo Church €22/18**
La notte
Antonio Vivaldi (1678—1741):
Flute Concerto in G minor, RV 439 'La Notte' (ca. 1728)
Arcangelo Corelli (1653—1713):
Concerto Grosso in G minor, Op. 6/8 'Fatto per la notte di Natale' (Christmas Concerto) (1712)
Gioacchino Rossini (1792—1868):
Serenata in E flat (1823)
Silvia Colasanti (1975—):
Ascoltando la Notte, Movimento di quartetto (2002)
Hugo Wolf (1860—1903):
Italian Serenade in G for string quartet (1887)
33. 15.00 Kuhmo Church €22/18
Ainsi la nuit
François Couperin (1668—1733):
Sonata from Suite 'La françoise' (Les Nations) (1726)
Maurice Ravel (1875—1937):
Gaspard de la Nuit: 3 poèmes pour piano d'après Aloysius Bertrand (1908)
Henri Dutilleux (1916—2013):
String Quartet 'Ainsi la nuit' (1973-76)
Encore:
Claude Debussy (1862—1918):
Feux d'artifice from Préludes, bk 2 (1912-13)
34. 18.00 Kuhmo Arts Centre €22/18
Jean Sibelius (1865—1957):
Nocturne, Op. 51/3 from Belshazzar's Feast (1907; arr. for violin and piano by composer)
Kaija Saariaho (1952—):
Nocturne for solo violin (1994)
Edvard Grieg (1843—1907):
Notturno, Op. 54/4 for piano (1891)
Carl Nielsen (1865—1931):
Serenata in vano, Op. 68 for clarinet, bassoon, French horn, cello and double bass (1914)
Ernest Pingoud (1887—1942):
Dialog der Strassenlaternen mit der Morgenröte from La face d'une grand ville (1936-37; arr. for chamber ensemble)
Jean Sibelius (1865—1957):
Night of Jealousy for reciter, mezzo-soprano, violin, cello and piano (1888)
THIS CONCERT’S FRIEND IS THE CITY OF KUHMO.
35. 21.00 Kuhmo Arts Centre €22/18
Leonard Bernstein (1918—1990):
Tonight from West Side Story (1957; arr. Robert Longfield)
Charles Ives (1874—1954):
Tsiaj from Piano Trio No. 86 (1909-10)
George Gershwin (1898—1937):
Sleepless Night, prelude for piano
George Gershwin (1898—1937):
Limehouse Nights for piano
Samuel Barber (1910—1981):
Adagio for strings (1936)
Terry Riley (1935—):
In C (1964)
Arthur Schwartz (1900—1984):
Alone Together (1932)
Star Wars
During the day the following work will be performed at the various concert venues:
Erik Satie (1866—1925):
Vexations for piano (1893)
On 9 September 1963, 70 years after it was written, Erik Satie’s Vexations was given its world premiere before a gathering of off-Broadway actors and artists at the Pocket Theatre in Manhattan. The work is no more than half a page long, and yet the composer indicates it should be repeated 840 times: ‘One would have to prepare oneself in advance,’ he warns. It took John Cage and his relay team of pianists, 18 hours and 40 minutes to perform the musical marathon from start to finish, playing continuously from 6pm until lunchtime the following day. The organisers rewarded those who attended with five cents off their $5 dollar ticket for every 20 minutes they stayed, with a bonus for anyone who crossed the finish line. Only one man did; another, as it finished, called out ‘encore’.
The performance of Vexations is sponsored by F-Musiikki Oy.
36. 11.00 Kuhmo Church €22/18
Allgemeine musikalische Zeitung described Opus 127, as “an incomprehensible, incoherent, vague, over-extended series of fantasias -chaos.”
Ludwig van Beethoven (1770—1827):
String Quartet No. 12 in E flat, Op. 127 (1824-25)
John Ruskin wrote on 6 Feb 1881: "Beethoven always sounds to me like the upsettings of bags of nails, with here and there an also dropped hammer."
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 21 in C, Op. 53 'Waldstein' (1803-04)
37. 15.00 Kuhmo Arts Centre €22/18
Tchaikovsky wrote about Brahms:
“What a giftless bastard! It angers me that this conceited mediocrity is regarded as a genius.”
Johannes Brahms (1833—1897):
String Sextet No. 2 in G, Op. 36 (1864-65)
Hanslick on Tchaikovsky: "It gives us the hideous notion that that there can be music which stinks to the ear."
Pyotr Tchaikovsky (1840—1893):
Souvenir de Florence in D minor, Op. 70 (1890)
38. 18.00 Kuhmo Church €22/18
Les odeurs de Paris
Satie about himself: “Everyone will tell you that I am not a musician. That is correct. I classed myself as a phonometrographer... Take my Fils des Etoiles... it is evident that musical ideas played no part whatsoever in their composition.”
Erik Satie (1866—1925):
Prélude du Premier Acte - La Vocation from Le Fils des étoiles (1891; arr. for piano by composer)
Ravel on Saint-Saëns: “If he'd been making shell-cases during the war it might have been better for music.”
Camille Saint-Saëns (1835—1921):
La muse et le poète, Op. 132 (1910; arr. for piano trio)
Pierre Lalo 1899 on Ravel: ”Shéhérazade sounds like Rimsky messed up by a ’Debussyist’ trying to match Erik Satie.”
Maurice Ravel (1875—1937):
La flûte enchantée extraite de Shéhérazade for soprano, flute and piano (1903)
“I liked the bit about quarter to eleven.” Erik Satie on Claude Debussy’s ‘La Mer’
Claude Debussy (1862—1918):
La mer (1905, arr. for piano trio by Sally Beamish 2013)
There are three kinds of critics: those of importance, those of less importance, and those of no importance at all. The last two do not exist: all critics are IMPORTANT...
THIS CONCERT’S FRIEND IS F-MUSIIKKI OY.
39. 21.00 Kuhmo Arts Centre €22/18
Johann Wolfgang von Goethe on Franz Schubert's 'Erlkönig': ”Tone painting like this, with the thunder, the crashes, the splashes and the sloshing about is ghastly.”
Franz Schubert (1797—1828):
Erlkönig, Op. 1 (1815)
Weber on Beethoven’s 7th symphony: “The extravagances of this genius have now reached the ne plus ultra and Beethoven must be ripe for the madhouse.”
Ludwig van Beethoven (1770—1827):
Symphony No. 7 in A, Op. 92 (1811-12; arr. for string quintet by composer)
Zelter described Freischütz as “nonsense and gunpowder.”
Carl Maria von Weber (1786—1826):
Overture from opera Freischütz, Op. 77 (1817-21; arr. for piano quintet by Julius Weiss)
Mantras
40. 11.00 Kuhmo Church €22/18
Heiliger Dankgesang
Giya Kancheli (1935—2019):
Night Prayers from Life Without Christmas for string quartet and tape (1992)
Franz Liszt (1811—1886):
Ave Maria from 12 Lieder von Franz Schubert, S. 558 for piano (1837-38)
Ludwig van Beethoven (1770—1827):
String Quartet No. 15 in A minor, Op. 132 (1825)
Fritz Kreisler (1875—1962):
Preghiera (Prayer) for violin and piano (1940; transcription of Sergey Rachaminoff's piano concerto no. 2)
41. 15.00 Kuhmo Arts Centre €22/18
The time of magic
Joseph Haydn (1732—1809):
Piano Trio No. 41 in E-flat minor, Hob. XV:31 'Jacob's Dream' (1795-96)
W. A. Mozart (1756—1791):
Aria Bei Männern, welche Liebe fühlen from opera Magic Flute, K. 620 (1791)
Ludwig van Beethoven (1770—1827):
Variations in E flat, WoO 46 on 'Bei Männern, welche Liebe fühlen' from Mozart's opera Magic Flute for cello and piano (1801)
Franz Schubert (1797—1828):
Lied des Orpheus, D. 474 (1816)
Franz Liszt (1811—1886):
Orphée, poème symphonique, S. 98 (arr. for piano trio by Camille Saint-Saëns)
42. 18.00 Kuhmo Arts Centre €22/18
Spirits
Luigi Boccherini (1743—1805):
String Quintet in E, G. 282 (1772)
Franz Liszt (1811—1886):
Transcendental Etude in B flat, S. 139 No. 5 'Feux follets' (1851)
Ludwig van Beethoven (1770—1827):
Piano Trio in D, Op. 70/1 'Ghost' (1808)
43. 21.00 Kuhmo Church €22/18
Passion(s)
Joseph Haydn (1732—1809):
Symphony No. 49 in F minor, Hob. I:49 'The Passion' (1768)
W. A. Mozart (1756—1791):
Motet Ave verum corpus, K. 618 (1791)
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 23 in F minor, Op. 57 'Appassionata' (1804-05)
Sturm und Drang
44. 11.00 Kuhmo Church €22/18
Grösste fuge
Ludwig van Beethoven (1770—1827):
String Quartet in B flat, Op. 133 'Grosse Fuge' (1825-26)
"an absolutely contemporary piece of music that will be contemporary forever”
Igor Stravinsky
Felix Mendelssohn (1809—1847):
String Octet in E flat, Op. 20 (1825)
For most of us (composers included) a fugue is like running in shoes weighing 500 kilos.
For Felix, a child of 16, it is like flying with eightwings as light as the wind.
The last movement of the Octet is the most incredible fugue in musical history…
45. 15.00 Kuhmo Arts Centre €22/18
From the time of Beethoven - JOHANN WOLFGANG GOETHE
[Beethoven’s] talent amazed me. However, unfortunately, he is an utterly untamed personality, who is not altogether in the wrong if he finds the world detestable, but he thereby does not make it more enjoyable either for himself or others. He is very much to be excused, on the other hand, and very much to be pitied.
Ludwig van Beethoven (1770—1827):
Overture from Egmont, Op. 84 for two pianos eight hands (1809-10)
Franz Schubert (1797—1828):
Ganymed, D. 544 (1817)
Carl Friedrich Zelter (1758—1832):
Rastlose Liebe (1810-13)
Felix Mendelssohn (1809—1847):
Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Overture in D, Op. 27 (1828)
Encore:
Johann Strauss II (1825—1899):
Wo die Citronen blüh'n, Op. 364 (1874; arr. for piano sextet)
46. 18.00 Kuhmo Arts Centre €25/20
Sturm und Drang
C. Ph. E. Bach (1714—1788):
Symphony in E minor, Wq. 177 for strings and continuo 'Fandango' (1756)
Franz Schubert (1797—1828):
Allegro in A minor, D. 947 for piano four hands 'Lebensstürme' (1828)
W. A. Mozart (1756—1791):
Piano Concerto No. 20 in D minor, K. 466 (1785; arr. for strings by Ignaz Lachner)
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 8 in C minor, Op. 13 'Pathétique' (1798)
47. 21.30 Kuhmo Church €22/18
Schubert's secret message (1820 and thereafter)
Franz Schubert (1797—1828):
Auf dem Strom, D. 943 for soprano, French horn and piano (1828)
Ludwig van Beethoven (1770—1827):
Symphony No. 3 in E flat, Op. 55 'Eroica' (1803; arr. for piano quartet by Ferdinand Ries 1870)
West of the east
48. 11.00 Kuhmo Church €22/18*
Malinconia
Ludwig van Beethoven (1770—1827):
String Quartet No. 3 in D, Op. 18/3 (1798-1800)
W. A. Mozart (1756—1791):
Fantasy No. 3 in D minor, K. 397 for piano (1782)
Ludwig van Beethoven (1770—1827):
String Quartet No. 6 in B flat, Op. 18/6 'Malinconia' (1798-1800)
49. 15.00 Kuhmo Arts Centre €22/18
The Orient in Beethoven's time
Ludwig van Beethoven (1770—1827):
Six Variations on an original theme in D, Op. 76, The Turkish March from The Ruins of Athens for piano (1809)
Fredrik Pacius (1809—1891):
Melodrama No. 5 from The Princess of Cyprus (1860; arr. for chamber ensemble)
Nikolaos Halikiopoulos Mantzaros (1795—1872):
Tarantella from Symphony No. 1 'Di Genere Orientale'
Bernhard Henrik Crusell (1775—1838):
From Ganges beauteous strands from opera The Little Slave Girl (1824)
Franz Schubert (1797—1828):
Ballet Music No. 2 in G from Rosamunde, Princess of Cyprus, D. 797 (1823; arr. for violin and piano by Frizt Kreisler 1913)
Encore:
W. A. Mozart (1756—1791):
Alla Turca from Flute Quartet No. 5 in A (after the piano sonata, K. 331, transcription by F. A. Hoffmeister)
50. 18.00 Kuhmo Church €22/18**
Vienna light
W. A. Mozart (1756—1791):
Serenade No. 13 in G, K. 525 for strings 'Eine kleine Nachtmusik' (1787)
Carl Czerny (1791—1857):
Fantasy, Op. 741/1 for piano six hands 'Les Trois Amateurs'
Franz Liszt (1811—1886):
Ständchen, S. 560/7 from Schubert's Schwanengesang, D. 957 (1838-39)
Ludwig van Beethoven (1770—1827):
Variations on theme 'Ich bin der Schneider Kakadu' in G, Op. 121a for piano trio (?1803)
51. 21.00 Kuhmo Arts Centre €22/18
Moto perpetuo
J. S. Bach (1685—1750):
Prelude and Fugue No. 4 in C sharp minor, BWV 873 from Well-Tempered Clavier II (1738)
Johannes Brahms (1833—1897):
Presto Nos. 3 and 4 after Bach's Violin Sonata No. 1 in G minor, BWV 1001 from 5 Studies, Anh. Ia/1 for two pianos (?1877)
Franz Schubert (1797—1828):
Adagio and Rondo concertante in F, D. 487 for piano quartet (1816)
Ludwig van Beethoven (1770—1827):
Symphony No. 4 in B flat, Op. 60 (1806; arr. for flute and string sextet)
From the depth of the introduction to the brilliant Moto perpetuo finale, an essential bridge between the 3rd and 5th symphony.
An die Freude
52. 11.00 Kuhmo Arts Centre €22/18
Götterfunken
THE FURIOUS BLACKSMITH
Ludwig van Beethoven (1770—1827):
Ballet, Op. 43 Die Geschöpfe des Prometheus (arr. for piano trio by F. Demarquette)
Franz Schubert (1797—1828):
Dem Unendlichen, D. 291 for voice and piano (1815)
GLORY TO THE SUN
Count Razumovsky was tactless enough to hand Beethoven the tune, and Beethoven angrily tramples it into the ground by way of revenge or just grumpily agrees to to be the first to use it. Knowing of course that this theme will be used and abused by Mussorgsky, Glinka, Arenski and Rachmaninoff.
Ludwig van Beethoven (1770—1827):
String Quartet No. 8 in E minor, Op. 59/2 'Razumovsky' (1806)
53. 15.00 Kuhmo Arts Centre €22/18
Rosenspur
Robert Schumann (1810—1856):
Blumenstück in D flat, Op. 19 for piano (1839)
Franz Schubert (1797—1828):
Heidenröslein, D. 257 for soprano and piano (1815)
Gabriel Fauré (1845—1924):
La roses d'Ispahan, Op. 39/4 for soprano and piano (1884)
Gustav Mahler (1860—1911):
What the Wild Flowers in the Meandow Tell Me (arr. for piano four hands by J. V. Wöss)
Richard Strauss (1864—1949):
Rosenkavalier Walzer (1910, arr. for violin and piano by Váša Příhoda)
Johann Strauss II (1825—1899):
Rosen aus dem Süden, Op. 388 (1880, arr. for string quartet, harmonium and piano by Arnold Schönberg 1921)
THIS CONCERT’S FRIEND IS LOISTE OY.
54. 18.00 Kuhmo Church €22/18
Sternenzelt
J. S. Bach (1685—1750):
Choral 'Vor deinen Thron tret' ich hiermit', BWV 668 (1708)
Franz Schubert (1797—1828):
An die Sonne, D. 439 for mixed voices and piano (1816)
Claude Debussy (1862—1918):
Prélude à l'après-midi d'un faune (1891-94; arr. Arnold Schönberg)
Ottorino Respighi (1879—1936):
Il tramonto, P 101 for mezzo-soprano and string quartet (1914)
Ludwig van Beethoven (1770—1827):
Piano Sonata No. 14 in C sharp minor, Op. 27/2 'Moonlight' (1801)
55. 21.30 Kuhmo Arts Centre €22/18
Des Schöpfers Welt
Ludwig van Beethoven (1770—1827):
Symphony No. 9 in D minor, Op. 125 (1824; arr. for vocal quartet and chamber ensemble, Kuhmo premier)
Commissioned by the Ensemble Mendelssohn (Brussels).