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Attention!:

The OBC Orchestra will perform Debussy’s Prelude to the Afternoon of a Faun instead of Lili Boulanger’s D’un soir triste.

The Rite of Spring

Directory

    Friday 11 Febuary
    Claude Debussy: Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun) (1892)-(1894) 10'
    Robert Schumann: Piano Concerto in A minor, Op. 54 (1841-45) 30'(Eric Lu, soloist)
    Igor Stravinsky: Le sacre du printemps (The Rite of Sprint) (1911-13) 33'

    Saturday 12 February
    Claude Debussy: Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun) (1892)-(1894) 10'
    Dmitri Shostakovich: Cello Concerto No. 1 in E-flat major, Op. 107 (1959) 27' (Alejandro Gómez, soloist)
    Igor Stravinsky: Le sacre du printemps (The Rite of Sprint) (1911-13) 33'

Performers

    Friday 11 Febuary
    Barcelona Symphony Orchestra (OBC)
    Eric Lu, piano
    Alondra de la Parra, conductor

    Saturday 12 February
    Barcelona Symphony Orchestra (OBC)
    Alejandro Gómez Pareja, cello
    Alondra de la Parra, conductor

Program

A true icon of the musical revolution of the 20th century, The Rite of Spring is the work that has possibly most influenced the course of music history since its controversial premiere in Paris in 1913. Conceived as ballet music for Sergei Diaghilev’s Russian Ballets and choreographed by Vaslav Nijinsky, the use of rough and violent rhythms reveals a primitivist reading of a pagan ritual, an unprecedented approach to music and choreography in relation to the conventions of the time. With a transgressive and radical score, Stravinsky uses the orchestra as a rich source of rhythmic resources that brings it closer to being one large percussion instrument, capable of invoking and unleashing the primordial forces of nature.

    • SHOW MADE
    • 11 and 12 February 2022
  • €25 / €35 / €45 / €55
  • Hall 1 Pau Casals
  • Emergents Barcelona Music Festival

Eric Lu's debut with the OBC as part of the Festival Emergents presents the Piano Concerto op. 54 by Robert Schumann. This work constitutes a transcendent change in the conception of the concert for solo instrument and orchestra throughout the 19th century: Schumann changes the conception of the concerto understood as a pretext for the virtuoso exhibition of the soloist to a total and full integration between soloist and the orchestra, in the construction of a symphony with a soloist.

PROGRAM

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