Marcio da Silva
Artistic Director & Principal Conductor
Honorary President: David Parry
Friday 16th June 7.30pm
The Tower Theatre, Folkestone
CT20 3HL
Friday 16th June 7.30pm
The Tower Theatre, Folkestone
CT20 3HL
CT20 3HL
GRIEG Holberg Suite
FAURÉ Requiem in D minor
Interval
VIVALDI Four Seasons
FAURÉ Requiem in D minor
Interval
VIVALDI Four Seasons
The Holberg Suite. Edvard Grieg (1843-1907)
The Holberg Suite, Op. 40, is a suite of five movements based on 18th-century dance forms. It was written by Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian poet and playwright Ludvig Holberg (1684-1754).
The suite was initially composed for piano, but a year after it was written, Grieg changed his mind and orchestrated it for string orchestra. Grieg aimed to echo as much of the music that was popular in Holberg’s time, making it an early attempt at neoclassicism.
Holberg had put Scandinavia on the map in the theatrical circle. His comedic theatre works were dubbed ‘the Molière of the North.’ Norway, too, wanted to ride on Holberg’s success, as for some time the dramatist had lived in Bergen – Grieg’s hometown. So, when the bicentenary of Holberg’s birth had come around, the city of Bergen wanted to celebrate. Despite the dark and stormy winter, a festival was put on in December of that year. Grieg, who at this point was one of Europe’s most popular composers – was enlisted from the beginning to write a cantata for male voices to be performed outdoors around the new Holberg monument that was being erected in the central marketplace. Grieg was also asked to write another work to be performed in the concert hall. The cantata, which was performed in terrible weather, was soon forgotten. However, the dance suite became popular.
Originally entitled 'From Holberg’s Time', the Baroque-inspired dance suite became one of the composer’s most popular works. Grieg initially dismissed the piece, calling it ‘a perruque piece’ – after the 18th century powdered wigs. Despite this, the string orchestra version we know today is still widely performed around the world.
The movements of the suite are I. Praeludium – Allegro vivace; II. Sarabande – Andante; III. Gavotte – Allegretto; IV. Air – Andante religioso; V. Rigaudon – Allegro con brio.
The music
The Holberg Suite is a work of playfulness, gentility and historically informed practices. As with all Baroque suites, the work begins with a Praeludium – its Prelude.
I. Praeludium
In a toccata style, the flow of the opening prelude is exciting and joyous in character. The rushing scales cascade through the spritely opening and energetic figures flow throughout the movement.
II – Sarabande
Known as a slow and stately dance in 3/4 the Sarabande is gentle in character. The gentility woven throughout this slow and flowing movement highlights Grieg’s effective melodic writing. As the texture begins to thicken and become more sonorous, Grieg writes a glorious counter melody for the cellos.
III – Gavotte
A moderate-tempo dance, the Gavotte is charming in character. Originating from France, the contrasting dance – the musette, was originally danced with a bagpipe accompaniment. Although there are no bagpipes present, Grieg does try to emulate the characteristics of the instrument by employing drones in the lower strings to create that effect.
IV – Air
The fourth movement is not a dance, but an elegiac song. Echoing past works such as J. S. Bach’s Air on the G String, this fourth movement is sorrowful, but intensely beautiful. The only movement to be in a minor key, the poignant lyricism from Grieg shines through the tonality.
V – Rigaudon
The vivacious character of this dance makes for an ideal finale. Featuring soloists around the orchestra, the cheerful character of this movement is joyful, but polished in style. This movement encapsulates Grieg’s love for folk tunes and rustic composition, yet all within the polished elements of a baroque dance.
The Holberg Suite, Op. 40, is a suite of five movements based on 18th-century dance forms. It was written by Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian poet and playwright Ludvig Holberg (1684-1754).
The suite was initially composed for piano, but a year after it was written, Grieg changed his mind and orchestrated it for string orchestra. Grieg aimed to echo as much of the music that was popular in Holberg’s time, making it an early attempt at neoclassicism.
Holberg had put Scandinavia on the map in the theatrical circle. His comedic theatre works were dubbed ‘the Molière of the North.’ Norway, too, wanted to ride on Holberg’s success, as for some time the dramatist had lived in Bergen – Grieg’s hometown. So, when the bicentenary of Holberg’s birth had come around, the city of Bergen wanted to celebrate. Despite the dark and stormy winter, a festival was put on in December of that year. Grieg, who at this point was one of Europe’s most popular composers – was enlisted from the beginning to write a cantata for male voices to be performed outdoors around the new Holberg monument that was being erected in the central marketplace. Grieg was also asked to write another work to be performed in the concert hall. The cantata, which was performed in terrible weather, was soon forgotten. However, the dance suite became popular.
Originally entitled 'From Holberg’s Time', the Baroque-inspired dance suite became one of the composer’s most popular works. Grieg initially dismissed the piece, calling it ‘a perruque piece’ – after the 18th century powdered wigs. Despite this, the string orchestra version we know today is still widely performed around the world.
The movements of the suite are I. Praeludium – Allegro vivace; II. Sarabande – Andante; III. Gavotte – Allegretto; IV. Air – Andante religioso; V. Rigaudon – Allegro con brio.
The music
The Holberg Suite is a work of playfulness, gentility and historically informed practices. As with all Baroque suites, the work begins with a Praeludium – its Prelude.
I. Praeludium
In a toccata style, the flow of the opening prelude is exciting and joyous in character. The rushing scales cascade through the spritely opening and energetic figures flow throughout the movement.
II – Sarabande
Known as a slow and stately dance in 3/4 the Sarabande is gentle in character. The gentility woven throughout this slow and flowing movement highlights Grieg’s effective melodic writing. As the texture begins to thicken and become more sonorous, Grieg writes a glorious counter melody for the cellos.
III – Gavotte
A moderate-tempo dance, the Gavotte is charming in character. Originating from France, the contrasting dance – the musette, was originally danced with a bagpipe accompaniment. Although there are no bagpipes present, Grieg does try to emulate the characteristics of the instrument by employing drones in the lower strings to create that effect.
IV – Air
The fourth movement is not a dance, but an elegiac song. Echoing past works such as J. S. Bach’s Air on the G String, this fourth movement is sorrowful, but intensely beautiful. The only movement to be in a minor key, the poignant lyricism from Grieg shines through the tonality.
V – Rigaudon
The vivacious character of this dance makes for an ideal finale. Featuring soloists around the orchestra, the cheerful character of this movement is joyful, but polished in style. This movement encapsulates Grieg’s love for folk tunes and rustic composition, yet all within the polished elements of a baroque dance.
'COME AND SING'
Requiem in D minor Gabriel Fauré (1845-1924)
Fauré composed his choral-orchestral setting of the Requiem in D minor between 1887 and 1890. The earliest composed music included in the Requiem is the Libera me, which Fauré wrote in 1877 as an independent work. Its focus is on eternal rest and consolation, and it is the best-known of his large works.
The work is in seven movements, and is scored for soprano and baritone soloists, mixed choir, orchestra, and organ. Fauré's reasons for composing the work are unclear, but do not appear to have had anything to do with the death of his parents in the mid-1880s. He later declared, "My Requiem wasn't written for anything – for pleasure, if I may call it that!"
The piece premiered in its first version in 1888 in La Madeleine in Paris for a funeral Mass. Fauré then revised it in the 1890s and between 1899 and 1900 the score was reworked for full orchestra. This final version was premiered at in Paris in 1900.
The church authorities allowed no female singers and insisted on boy treble and alto choristers and soloists. Fauré composed the work with those voices in mind and had to employ them for his performances at the Madeleine, but in the concert hall, unconstrained by ecclesiastical rules, he preferred female singers for the upper choral parts and the solo in the Pie Jesu.
The seven movements are: I. Introit and Kyrie; II. Offertory; III. Sanctus; IV. Pie Jesu; V. Agnus Dei; VI. Libera me; VII. In Paradisum.
Tickets from £7.50.
Under 18s/Full time students: Free
Tickets from £7.50.
Under 18s/Full time students: Free
Under 18s/Full time students: Free
HASTINGS PHILHARMONIC
ORCHESTRA
Marcio da Silva Conductor
Emil Chakalov Violin
HASTINGS PHILHARMONIC
ORCHESTRA
Marcio da Silva Conductor
Emil Chakalov Violin
Emil Chakalov Violin
Running Time1 hour 30 minutes,including 20 minute interval
Running Time
1 hour 30 minutes,
including 20 minute interval
We are delighted to be back in Folkestone again, as part of our declared aim to 'take to the road' to share our high-quality offering with local towns and villages.
You can read more about HPO's conductor and Artistic DIrector, Marcio da Silva, here, and more about our exciting Open Doors programme which runs until 30th July 2023, here.
Our violin soloist for this concert is HPO's distinguished concert master Emil Chakalov.
This year we are pleased to share our concert with local choirs for a 'Come and Sing' performance of Fauré's wonderful Requiem in D minor.
We are delighted to be back in Folkestone again, as part of our declared aim to 'take to the road' to share our high-quality offering with local towns and villages.
You can read more about HPO's conductor and Artistic DIrector, Marcio da Silva, here, and more about our exciting Open Doors programme which runs until 30th July 2023, here.
Our violin soloist for this concert is HPO's distinguished concert master Emil Chakalov.
This year we are pleased to share our concert with local choirs for a 'Come and Sing' performance of Fauré's wonderful Requiem in D minor.
You can read more about HPO's conductor and Artistic DIrector, Marcio da Silva, here, and more about our exciting Open Doors programme which runs until 30th July 2023, here.
Our violin soloist for this concert is HPO's distinguished concert master Emil Chakalov.
This year we are pleased to share our concert with local choirs for a 'Come and Sing' performance of Fauré's wonderful Requiem in D minor.
The Four Seasons Antonio Vivaldi (1678-1741)
The Four Seasons are a series of four violin concertos possibly composed between 1718-1720 when Vivaldi was the court chapel master in Mantua. Inspired by landscape paintings by Italian artist Marco Ricci, they were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.
Unusual for the period, Vivaldi published the concerti with twelve accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called programme music - music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines directly into the music on the page.
Spring (La primavera)
I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale
Spring starts with the clarity and crispness of a typical spring day, accompanied by the choirs of birds and streams. It is invaded by a sudden thunderstorm, but the singing birds soon regain dominance. The movement ends with a lively country dance, with inhabitants celebrating the return of fauna and flora after a harsh winter.
Summer (L’estate).
I. Allegro non molto II. Adagio e piano – Presto e forte III. Presto
Summer offers a slow start, portraying the weather as too hot for any movement. The air is almost at a standstill, the birds chirping away lazily until a breeze gathers up, whipping the warning of an imminent storm. The most striking moment is served in the third movement, as a hailstorm mercilessly rains down, offering a perfect contrast.
Autumn (L'autunno)
I. Allegro II. Adagio molto III. Allegro
Autumn makes a return to the clarity of Spring, with similar musical themes in the first movement. The country- folk rejoice once again, celebrating the harvest by drinking wine. The tempo drops significantly, in parallel to the peaceful sleep that engulfs the people. The final movement illustrates a ‘hunt,’ taking us back to a 14th-century Italian genre, ‘Caccia’ - where songs were used to glorify hunts using counterpoint.
Winter (L'inverno)
I. Allegro non molto II. Largo III. Allegro
The opening movement resembles a shivering person, stamping his feet in rhythm to stay warm. The middle movement portrays the pleasure of getting warm inside in front of a crackling fire. The final movement suggests people outdoors walking down icy paths, while those inside feel the chill finding its way inside.
The Four Seasons are a series of four violin concertos possibly composed between 1718-1720 when Vivaldi was the court chapel master in Mantua. Inspired by landscape paintings by Italian artist Marco Ricci, they were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.
Unusual for the period, Vivaldi published the concerti with twelve accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called programme music - music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines directly into the music on the page.
Spring (La primavera)
I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale
Spring starts with the clarity and crispness of a typical spring day, accompanied by the choirs of birds and streams. It is invaded by a sudden thunderstorm, but the singing birds soon regain dominance. The movement ends with a lively country dance, with inhabitants celebrating the return of fauna and flora after a harsh winter.
Summer (L’estate).
I. Allegro non molto II. Adagio e piano – Presto e forte III. Presto
Summer offers a slow start, portraying the weather as too hot for any movement. The air is almost at a standstill, the birds chirping away lazily until a breeze gathers up, whipping the warning of an imminent storm. The most striking moment is served in the third movement, as a hailstorm mercilessly rains down, offering a perfect contrast.
Autumn (L'autunno)
I. Allegro II. Adagio molto III. Allegro
Autumn makes a return to the clarity of Spring, with similar musical themes in the first movement. The country- folk rejoice once again, celebrating the harvest by drinking wine. The tempo drops significantly, in parallel to the peaceful sleep that engulfs the people. The final movement illustrates a ‘hunt,’ taking us back to a 14th-century Italian genre, ‘Caccia’ - where songs were used to glorify hunts using counterpoint.
Winter (L'inverno)
I. Allegro non molto II. Largo III. Allegro
The opening movement resembles a shivering person, stamping his feet in rhythm to stay warm. The middle movement portrays the pleasure of getting warm inside in front of a crackling fire. The final movement suggests people outdoors walking down icy paths, while those inside feel the chill finding its way inside.
Violin soloist - Emil Chakalov
Emil was born in Varna, Bulgaria, where, encouraged by his musical family, he began playing the violin at the age of 5. From an early age he began performing on stage, participating in concerts, courses and masterclasses. At the age of 16 Emil moved to Spain, where he studied for one year, performing in and leading the Elche Chamber Orchestra. From there he moved to Sofia, Bulgaria, joining the class of Professor Dora Ivanova at the Bulgarian State Music Academy. He studied at the State Music Academy for a further six years, culminating in the completion of his Bachelor's degree.
Immediately after graduation, Emil was awarded a British Council Scholarship to study at the Guildhall School of Music and Drama with Professor Ifrah Neaman. Here he completed the Advanced Instrumental Studies Course, with Distinction. Subsequently he continued his studies at Trinity Laban Conservatoire of Music with Vasko Vassilev, Leader of the Royal Opera House, and was invited to lead the Trinity Laban Conservatoire of Music Orchestra.
Emil has remained in London ever since, and has built a successful career as an orchestral, chamber and session musician. He is one of the leaders of the Orchestra of the English National Ballet, where he regularly performs the violin solos in beloved ballets such as Swan Lake and Sleeping Beauty, at the London Coliseum, the Royal Albert Hall and elsewhere. He also performs regularly with the BBC Concert Orchestra, the Royal Philharmonic Orchestra, the English Chamber Orchestra and others. Emil is also a member of John Elliot Gardiner's Orchestre Révolutionnaire et Romantique, which tours America and Europe striving to provide bold new perspectives on the music of the 19th and early 20th centuries through its stylistic fidelity and intensity of expression.
Emil also has a diverse studio career. He has performed and recorded with famous artists such as: Sir Elton John, Coldplay, Sir Tom Jones and many others, and has recorded soundtracks for films and musicals. He is also featured performing in the British drama film The Duchess (2008) directed by Saul Dibb, and in Sherlock Holmes: A game of Shadows (2011) directed by Guy Ritchie. Emil performs regular recitals in England, in his native Bulgaria, in Spain, France and internationally.
Emil has recorded a CD for Chandos of traditional Eastern European Violin Music, including Monti’s Czardaz, and is a prize winner of the Vladigerov International Violin Competition and Yamaha Competitions. He has been concert master of HPO since 2019.
Emil has remained in London ever since, and has built a successful career as an orchestral, chamber and session musician. He is one of the leaders of the Orchestra of the English National Ballet, where he regularly performs the violin solos in beloved ballets such as Swan Lake and Sleeping Beauty, at the London Coliseum, the Royal Albert Hall and elsewhere. He also performs regularly with the BBC Concert Orchestra, the Royal Philharmonic Orchestra, the English Chamber Orchestra and others. Emil is also a member of John Elliot Gardiner's Orchestre Révolutionnaire et Romantique, which tours America and Europe striving to provide bold new perspectives on the music of the 19th and early 20th centuries through its stylistic fidelity and intensity of expression.
Emil also has a diverse studio career. He has performed and recorded with famous artists such as: Sir Elton John, Coldplay, Sir Tom Jones and many others, and has recorded soundtracks for films and musicals. He is also featured performing in the British drama film The Duchess (2008) directed by Saul Dibb, and in Sherlock Holmes: A game of Shadows (2011) directed by Guy Ritchie. Emil performs regular recitals in England, in his native Bulgaria, in Spain, France and internationally.
Emil has recorded a CD for Chandos of traditional Eastern European Violin Music, including Monti’s Czardaz, and is a prize winner of the Vladigerov International Violin Competition and Yamaha Competitions. He has been concert master of HPO since 2019.