vinterfest_wpNY

Welcome to Vinterfest 2019!

Friday February 15 12:00 p.m. Missionskyrkan, Orsa

Post Scriptum

1 hour, no intermission

 

Igor Stravinskij: Suite Italienne (15’)

Jakob Koranyi, cello, Julien Quentin, piano

 

Valentyn Sylvestrov: Post Scriptum (18’)

Yura Lee, violin, Vikingur Ólafsson, piano

 

Bernhard Crusell: Clarinet Quartet No 3 in D major (20’)

Christoffer Sundqvist, clarinet, Malin Broman, violin, Ellen Nisbeth, viola, Jan-Erik Gustafsson, cello

 

In one of the most brilliant examples of Igor Stravinsky’s neoclassical style, the ballet Pulcinella – and the subsequent arrangement for cello and piano, Suite Italienne – conjures up the lively atmosphere of the Italian 18th century theatre tradition, commedia dell’arte. The authentic, 18th century sound is no coincidence: Stravinsky borrowed freely from  the music of Neapolitan baroque composer Giovanni Battista Pergolesi in writing it. Valentin Silvestrov’s Post Scriptum is a gentle postlude, an echo and an afterthought to Mozart and the whole classical tradition. Finally, Finnish-Swedish composer Crussel’s delightful Clarinet Quartet here serves as a memory from the time Finland and Sweden were the same country.

Friday February 15 6:00 p.m. Mora church

The old style is the new style

2 hours, including intermission
With Dalasinfoniettan, Ariel Zuckermann

 

Jacques Ibert, Hommage à Mozart (5′)
Rondo

 

Wolfgang Amadeus Mozart, Piano Concerto No. 24 k.491 (31′)

  1. Allegro
  2. Larghetto
  3. Allegretto

Soloist: Víkingur Ólafsson

 

INTERMISSION

 

Erich Korngold, Dance in the Old Style (8′)

 

Ludwig van Beethoven: Symphony No 4

 

This concert begins with Jacques Ibert’s charming tribute to the brightness, clarity and wit of  Wolfgang Amadeus Mozart, before moving on to one of Mozart’s own more dramatic works, the Piano Concerto no. 24 in C-minor. This concerto brings together in one work the best of baroque-style counterpoint, the tranquility of the classical style and a stormy premonition of the romantic era yet to come. The second half opens with the sweet, good-natured humour of Korngold’s Dance in the Old Style – an example of the composer’s knack for pastiche that made him an early star of Hollywood film music. The concert ends with Ludwig van Beethoven’s energetic and upbeat 4th symphony, in which the composer takes a break from the tempestuous romanticism that by now characterised his works and instead looks back to his mentor Joseph Haydn in playful, buoyant melodies.

Friday February 15 9:30 p.m. Mora Parken

Vikingur & Friends

2 hours, including intermission

An informal evening concert without a fixed programme – a chance to get to know the festival artists and the music they love. Spontaneous musical fun in a relaxed atmosphere!

Saturday February 16 11:00 a.m. to 1:30 p.m in Älvdalen

Triptyk

2,5 hours, including short walks and something to eat

 

Mysteries of the Rosary

  1. Porfyr- & Hagströmmuseet

Heinrich Biber Selections from Rosary Sonatas

Yura Lee, violin, Jean Rondeau, harpsichord, Thomas Dunford, theorbo

 

Forgotten for nearly 230 years before their publication in 1905, Heinrich Ignaz Franz von Biber’s Rosary (or Mystery) Sonatas are unique for their virtuosity and beauty – not to mention their novel use of scordatura tunings and a programmatic structure based on the Rosary devotion, the Catholic custom of using a string of beads or knots to aid memory and inspiration in prayer, and to guide the mind to meditate on the Mysteries of the Rosary.

 

Fairy tales from the past

  1. Gamla Tingshuset

Robert Schumann: Märchenerzählungen Op. 132 (16’)

György Kurtág: Hommage a Robert Schumann (11’)

Christoffer Sundqvist, clarinet, Ellen Nisbeth, viola, Vikingur Ólafsson, piano

 

Märchenerzählungen is a trio for clarinet, viola and piano in which Robert Schumann looks fondly back at the fairy tales of his childhood in a work of rare compositional facility and ease, written just before his final mental breakdown. György Kurtág’s Hommage á Robert Schumann for the same ensemble is an example of the composer’s art of drawing a clear portrait in a few, decisive strokes while remaining subtle in his musical hints to Schumann.

 

 

A silent film with fresh music

  1. Älvdalens Bio

Improvisation on silent movie,

Matan Porat, piano

 

In the nostalgic setting of the old movie house of Älvdalen, we return to the era of silent films with the added delight of Israeli pianist Matan Porat’s masterful improvisation, lauded by the New York Times for its „timing, momentum and fierce technical chops“ – as well as the „magnificent sound and breadth of expression“ of his playing.

Saturday February 16 1:00 p.m. Mora Parken

Majas Alfabetssånger

40 min, no intermission

Lena Andersson; Majas Alfabetssånger

Dalasinfoniettan, David Lundblad, conductor and a Childrens Choir

Wolfgang Amadeus Mozart, Overtyr from The Marriage of Figaro (4′)

Kerstin Andeby (arr. Högstedt) Songs from Majas Alfabetssånger (22′)

A, B, C, D, E, F, I, J, K, M, S, V, X, Ä

Arr. Lundblad, Astrid (3′)

Sing-along to the rich accompaniment of a full orchestra!
Dalasinfoniettan invites young and old to a sing-along concert of beautiful music: Maja’s Alphabet Songs. The lyrics were written by Lena Anderson and the lovely music was composed by Kerstin Andeby.

Saturday February 16 4:00 p.m. Bilkompaniet, Mora

Memories of Shadows

2 hours, including intermission

 

Adés Still Sorrowing (after a song of John Dowland) (9’)

Vikingur Ólafsson, piano

 

Britten Lachrymae (Reflection on a song of John Dowland) (15’)

Ellen Nisbeth, viola, Julien Quentin, piano

 

Saariaho Aure for violin and viola (5’)

Malin Broman, violin, Ellen Nisbeth, viola

 

Messiaen Quartet for the End of Time (55’)

Christoffer Sundqvist, clarinet, Malin Broman, violin, Jan-Erik Gustafsson, cello, Julien Quentin, piano

 

The sorrows of the English Renaissance composer John Dowland may have been deep, but the immortal music they inspired has delighted listeners and musicians ever since. This concert opens with two contrasting reflections on Dowland, one by Thomas Adés, and one by Benjamin Britten. Kaija Saariaho’s Aure for violin and viola is a homage to another composer of strong emotions, Henri Dutilleux.  It is based on a phrase from Memories of Shadows, the third movement of his orchestral work Shadows of Time – a piece written “for Anne Frank and for all the children in the world, all innocent”. Finally, Messiaen’s metaphysical Quartet for the End of Time, written and premiered under dire circumstances in a German prisoner of war camp, is another reminder of events some would prefer to consign to the shadows of time.

Saturday February 16 8:00 p.m. Våmhus Church, Mora

Baroque is pop!

2 hours, including intermission

Anne Sofie von Otter, mezzosopran

Thomas Dunford, theorbo

Jean Rondeau, harpsichord and organ

 

Spanning everything from Henry Purcell to Björk, this concert is an exciting, time-bending journey of great music spanning over 400 years, led by Anne Sofie von Otter, Thomas Dunford and Jean Rondeau. The freshness and inherent curiosity of their approach shows us that sometimes, age is an arbitrary measurement when it comes to art – and that music from the 17th century can be just as contemporary and cutting-edge as anything we can think of today.

 

Henry Purcell: From silent shades and the Elysian groves (ou “Bess of Bedlam”, ou “Mad Bess”), song Z 370

John Dowland: Can she excuse my wrongs

John Dowland: The King of Denmark’s Galliard

John Dowland: Lachrimae

Henry Purcell: An evening Hymn Z D77

François Couperin: Les Baricades Mistérieuses

Michel Lambert: Ma bergère est tendre et fidelle

Jean-Philippe Rameau: Les Sauvages

Marin Marais: Les Voix Humaines

Gabriel Bataille: Ma bergère non légère

Michel Lambert: Vos mespris chaque jour

INTERMISSION

Antoine Forqueray: La Portugaise

Antoine Forqueray: La Sylva

Antoine Forqueray: Jupiter

Arvo Pärt: My Heart’s in the Highlands

Björk: Cover me

Sting: Fields of gold

Paul Simon: Kathy’s song

Sunday February 17 12:00 p.m. Orsa Church

Souvenir de Tchaikovsky

1,5 hours, including intermission

 

Anton Arensky: Quartet No. 2, Op. 35 (27’)

Malin Broman, violin, Ellen Nisbeth, viola, Jan-Erik Gustafsson, cello, Jakob Koranyi, cello

 

INTERMISSION

 

Piotr Tchaikovsky: Souvenir de Florence (35’) arr Matan Porat

Yura Lee, violin, Jan-Erik Gustafsson, cello, Maran Porat, piano

 

After Pjotr Tchaikovsky’s death in 1893, Anton Arensky wrote his second string quartet and dedicated it to the memory of his dear friend and mentor. Uniquely scored for one violin, one viola and two cellos, it is a work full of deep sonorities that convey a tender sadness over a lost friend – and include a graceful, yet mournful set of variations on a theme by Tchaikovsky himself. And Tchaikovsky’s memory continues to inspire – the other work on the programme is a world premiere of Matan Porat’s own piano trio arrangement of Tchaikovsky’s string sextet Souvenir de Florence – written to perserve in memory the impression Italy had on the Russian composer during an inspiring stay there in 1887.

Sunday February 17 1:30 p.m. Salemkapellet, Älvdalen

Young at stage

1,5 hours, including intermission

Sunday February 17 5:00 p.m. Mora Church

Grand finale

2 hours, including intermission

Dalasinfoniettan, Ariel Zuckermann

 

Mats Larsson Gothe, The Apotheosis of the Dance (10′)

Dalasinfoniettan, Ariel Zuckermann

 

Ludwig van Beethoven, Triple concerto op. 56 (33′)

  1. Allegro
  2. Largo
  3. Rondo alla polacca

Dalasinfoniettan, Ariel Zuckermann

Solister: Yura Lee, violin, Jakob Koranyi, cello, Matan Porat, piano

 

INTERMISSION

 

Mendelssohn Scherzo from Midsummer Night’s Dream (4′)

Dalasinfoniettan, Ariel Zuckermann

 

Debussy Chansons de Bilitis (10′)

Anne Sofie von Otter, mezzosopran, Vikingur Ólafsson, piano

 

Kodaly Summer Evening (16′)

Dalasinfoniettan, Ariel Zuckermann

 

Gershwin Summertime (Porgy and Bess) (5′)

 

Sommaren det hände (3′)

Dalasinfoniettan, Ariel Zuckermann, Anne Sofie von Otter
The final concert of Vinterfest 2019 begins with a wildly imaginative contemporary reflection on Beethoven’s 7th Symphony before moving on to Beethoven’s own dreamy and expansive concerto for piano, violin, cello and orchestra. The second half of the concert is dedicated to memories of summers past, with music providing a little warmth and glow to lighten up the dark, cold February night.