GringoPost | Ecuador: Fauré and Stravinski in our new digital concert

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Fauré and Stravinski in our new digital concert

The VII Concert of the II Season 2020 directed by maestro Michael Meissner, Principal Director, is the next digital delivery. This concert was recorded live without public on Friday, October 23 at the Pumapungo Theater, strictly following the "Work Protocol for the Production of Audiovisual and Cinematographic Works during the health crisis caused by COVID-19 in Ecuador" processed by the Ministry of Culture and approved by the National COE and will be broadcast this Sunday, November 15 at 7:30 PM in the Digital Concert Hall of the Cuenca Symphony Orchestra on YouTube and on Facebook https : //
The repertoire includes: Pelléas et Mélisande Suite op. 80 and Shylock (Usurer), Incidental Music Suite op. 57 by Gabriel Fauré:
Apollon Musagete by Igor Stravinsky.
Gabriel Fauré (1845 - 1924). He composed several plays, including Pelléas et Mélisande in 1898, and nine years before Shylock. The choreographer Georges Balanchine combined both works for his ballet: Jewels (jewels), the version that we present today.
The music for Pelléas and Mélisande, about a Maeterlink drama, was commissioned by the famous actress Patrick Campbell who wanted to premiere the work in London and had first chosen to commission it from Claude Debussy, who at that time was composing the opera of the same name. After Debussy's refusal, Campbell placed the commission on Fauré who accepted despite having little time to complete it, and even had to leave the orchestration in the hands of his disciple Charles Koechlin.
The play was premiered in June 1898 at the Prince of Wales Theater, obtaining a resounding success. Later, Fauré transformed the work into a suite, expanding the orchestration.
Gabriel Fauré's music for the play Shylock has a similar story, occurring 9 years earlier. In 1889, the Odeon Theater in Paris undertook a new production of Shakespeare's The Merchant of Venice, but instead of the original play, it requested a free adaptation by French playwright Edmond Haraucourt, who turned Shakespeare's original into a character comedy. French. The result was called Shylock.
The remake focused particularly on the "masquerades and exuberances" surrounding the kidnapping of Shylock's daughter, Jessica, by her lover Lorenzo. This mess required a considerable amount of stage music. For this, the Odéon theater again turned to the young composer Gabriel Fauré, who had already worked for the same theater. To be exact, such music had already been used for Alexandre Dumas the Elder's drama Caligula a year earlier. Fauré accepted and directed the 56 performances of the work, despite the fact that, from the fourth night, due to the financial austerity measures of the Odéon, some of the good musicians were fired and replaced by all the useless, weak and old-fashioned routinists. who could be recruited in the Quartier Luxembourg.
Later, Fauré arranged the music for an expanded orchestral suite, as he did 10 years later with Pélleas et Mélisande.
Apollon musagète is a ballet composed for a string orchestra by Igor Stravinsky in 1927, commissioned by the American patron Elizabeth Sprague Coolidge for a contemporary music festival in Washington, D.C. in 1928. Although the original choreography was by Adolph Bolm, today George Balanchine's version is known, which was premiered by Dyagilev's Russian Ballets in Paris in the same year 1928.
The ballet action refers to figures from ancient Greek mythology. Apollo, god of music, dances with three muses and takes them to the mountains of Parnassus. The muses are: Calliope, muse of poetry, Polymnia, muse of hymn poetry and Terpsichore, muse of dance.
As Stravinsky's biographer Robert Craft comments: "Apollo, the sun-god and god of music, is Stravinsky's homage to the Greek concept of the unity of music, dance, painting, and poetry."
"It is also probable that Stravinsky saw the subject as an allegory of his own religion: Apollo, as a man-god, born human, but with a divine ascension."
With this delivery there will be 36 digital concerts that the public can enjoy and share from anywhere on the planet at the time and as many times as they wish in the Digital Room of the Cuenca Symphony Orchestra.
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