Concerts
Yutaka Sado
February 2025
The concert
- Music
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più autori
Conductor
Soloists
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violin Alexandra Conunova
Programme
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Concerto per violino e orchestra n. 3 in si minore, op. 61
by Camille Saint-Saëns
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Sinfonia n. 0 in re minore, "Die Nullte" WAB 100
by Anton Bruckner
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Ouverture, "Le Carnaval Romain"
by Hector Berlioz
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"Prèlude à l'après-midi d'un faune"
by Claude Debussy
Orchestra
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Orchestra Orchestra Filarmonica del Teatro Comunale di Bologna
Dates and tickets
Dates and performances
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Single performance slotAt 20:30
Details
- Information
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Behind every great concerto for a solo instrument there has almost always been a great virtuoso ready to inspire the composer or to work closely with him. That is the case with Camille Saint-Saëns’s Third Concerto for violin and orchestra, written in 1880 for the boundless talent of Pablo de Sarasate, known for his magnetism as an interpreter and tested here with the boldest technical solutions, at the edge of incandescence. The exotic warmth of the gypsy and Andalusian melodies, recognisable at first hearing, has made this score one of the milestones of the nineteenth-century violin concerto and helped raise the French composer to the rank of a «favourite of the gods».
The mightiest symphonist since Beethoven and before the arrival of Mahler. That was Anton Bruckner, a unique case in the history of music: the son of a primary school teacher in the Austrian provinces, known almost exclusively as an organist until he was 50, accepted as a composer at around 60 and consecrated by success only in the very last years of his life. Beneath the body of his nine symphonies lie two mysterious creatures, the «00» and the «0», and in listening to them one can fully come to know one of the most fascinating personalities of nineteenth-century music. The reasons that led Bruckner to disown this symphony, depriving it of a number in the sequence and demoting it behind the First, are unknown. In any case, the Symphony «0» too, conceived in 1869 and performed posthumously in 1924, already contains some essential aspects of Bruckner’s language, made of expressive force, sudden surges and powerful perorations.
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