Les Boréades (descendants of Boreas) from 1764 was Rameau’s last opera, composed when he was 80 years old.
Into the Music with Per Dahl begins at 18.30.
Les Boréades (descendants of Boreas) from 1764 was Rameau’s last opera, composed when he was 80 years old. The opera contains a lot of instrumental music, in order to accompany dance, hide scene changes, and provide intermission music between the acts. Entrée pour les Muses is from Act IV, and with its beautiful long melody lines, this movement gives a beautiful insight into the French Baroque world.
Franz Schubert lies between classicalism and romanticism, and is especially famous for his lieder, which are tonal poems whose melody is closely linked to the text. He wrote close to 600 such songs, and his innovative arrangement lies in his self-determination within the accompaniment, as well as his harmony and treatment of sound.
Avant-garde composer Anestis Logothetis attended the summer courses in Darmstadt, and was influenced by composers like John Cage. In the late 1950s, he developed his own graphic notation system, which was up to the practitioner to interpret and improvise. Visual symbols used as notes give the composers both great freedom and great responsibility. The ballet Himmelsmechanik from 1960 consists of seven pictures, and the work Polymeron is the third movement or picture in this collection. This work is also noted with graphical notation.
Mozart’s upbeat symphony from 1788, Jupiter, was the very last symphony he composed. The first movement is characterized by dramatic dynamic contrasts, great grandiose tuttist and many thematic ideas. The second movement has long lines, chromatic harmonics, and integrates very good strings and blowers. A symphonic movement follows, with a more modest trio. In the glorious finale, Mozart combines the baroque’s focal style and counterpoint with the characteristics of the classicism. Mozart uses no less than five different themes that are combined in numerous ways. In the coda, the unforgettable moment takes place, where all five themes are used simultaneously in a magnificent counterpoint climax, which becomes a worthy conclusion to Mozart’s symphonic journey – and aptly named Jupiter.
Simon Gaudenz, conductor
Johannes Held, baritone
Rameau: Les Boréades – Entrée des Muses
Schubert: Lieder, selections
Logothetis: Himmelsmechanik, Polymeron
Mozart: Symphony No. 41, Jupiter