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World premiere of the violin concert of Erhard Meissner

The Symphonic Orchestra of Cuenca, under the baton of maestro Michael Meissner, Principal Director, with the participation of the outstanding violinist Patricio Mora Yanza, Concertino of the OSC, presents the IV Concert of the I Season 2018 in homage to Saint Brother Miguel in the 108 years after his death, this Friday, February 2, in the church of El Sagrario (Old Cathedral) at 8 PM. Admission is free until full capacity. This is the repertoire:

Symphony No. 101 in D Major "The Clock" - Joseph Haydn. It starts off suggestively with an original introduction of somber tone that stands out for its unusual musical substance, which creates a pretended tension. The first movement begins in a much more cheerful and dance, driven by a subject of danceable melody and even catchy, but of great prominence in contrast to the somber introduction. The second movement is what gives the symphony its nickname. In it the orchestra marks an oscillating rhythm that evokes the ticking of a clock, above which the crystalline melody is masterfully accommodated by Haydn. The third movement, a minuet, is one of the most novel moments of this symphony. It is the most elaborate and extensive of the minuets written by the composer until then. The fourth movement is a model of formal perfection and mastery of counterpoint (the art of combining two or more melodies that are heard simultaneously) and includes a tense central section of great interpretative complexity reserved for stringed instruments.

Concert for Violin, Opus 10 (World Premiere) - Erhard Meissner (1924-1985). German composer of the city of Brandenburg, formed as an organist in the Bach tradition. The concert for violin and small orchestra belongs to the German neoclassical current of the fifties of the twentieth century, being its greatest representative Paul Hindemith, idol of the composer. The score reveals his organist training, since the texture is highly polyphonic and of a dense motivic network. The inclusion of four percussions that dispense with the timbal is striking. The musical language of Meissner is of extended tonality, with the use of chromatic scales and of whole tones, among other novel elements. The first movement begins with an introduction on two descending fifths, almost like a search of the thematic material. Later, an Allegro moderato was developed in the form of a sonata, presenting two contrasting themes: the first derived from the introduction of dance rhythms, the second in a lyrical contrast. True to the classical tradition of the concert, the movement includes a solo Cadenza virtuosa. The second Largetto movement presents a cantabile theme first in the cellos that all the instruments reprise at the time, including the soloist, who soon dilutes it in virtuous figurations. The Finale begins with a martial theme, interrupted suddenly by the descending fifths and dance rhythms of the first movement, which unleashes an intense dialogue of both elements. In the center of the Finale there is a new soloist Cadenza, who leads with great virtuosity the work to its intense end.

Jeux (Games) - Claude Debussy. It is his last orchestral work, described as a poème dansé (poem danced), conceived for the Ballets Russes by Sergei Diaghilev to the choreography of Vaslav Nijinsky. The characters are a male tennis player and two female players that link a loving and jealous trio. Debussy initially opposed the proposal but reconsidered the commission when Diaghilev doubled the fee. Jeux premiered on May 15, 1913 at the Théâtre des Champs-Élysées in Paris, directed by Pierre Monteux. The premiere was not well received and was soon overshadowed by Stravinsky's The Rite of Spring that premiered in the same month. There are approximately sixty different tempo marks in the work, which is of great sonic subtlety, advanced harmonic and rhythmic complexity and places its creator at the spearhead of modern music at the beginning of the 20th century. This work is the first of several that the OSC will offer this year to pay tribute to the father of modern music in its centenary.

Spanish Rhapsody - Maurice Ravel. Divided into four parts, it was composed in 1907 and evokes with astonishing descriptive mastery and at the same time with a slight ironic smile, the spirit of Hispanic musical folklore. The first part is titled Prelude to the Night and is entirely based on a brief incision of four descending sounds, a resource that allows you to achieve an intentional monotony. Above that insistent figuration, the orchestra suggests the whole spell of a Spanish nightfall. The second fragment is the Malagueña, popular dance usually accompanied by castanets and guitar, timbre and effect achieved by Ravel with the pizzicati of stringed instruments. This second part is characterized by a low ostinato, a brief song sung by trumpet with mute, which leads to a great crescendo to return to the motive of the Prelude to the night and the initial ostinato. Habanera is the title of the third part, surprising, due to the unexpected confluence of expressive resources, such as the case of hard and closed chords to emphasize the outline of a caressing and easy melody of the aggressive insistence of the rhythmic pedal. The work ends with the brilliant Feria movement, in which the raveling symphonism of Ravel is unleashed in the turbulence of the gypsy dance.