LSO & Roth: Polevaya, Elgar, Bartók at Barbican Hall, London on Thursday 19th December 2019

Please note: This concert is in the past and has already taken place.

LSO & Roth: Polevaya, Elgar, Bartók

Add to my Calendar 19-12-2019 19:30 19-12-2019 21:30 36 LSO & Roth: Polevaya, Elgar, Bartók Two works written in the same year yet poles apart in style – in François-Xavier Roth’s words, ‘the post-Romanticism of Elgar combined with Bartók’s scary, strange, erotic, disturbing work’. Elgar’s Cello Concerto was premiered by cellist Felix Salmond and the London Symphony Orchestra in 1919. Written by its former Principal Conductor and included in the LSO’s first concert given after the end of World War I, the piece had a somewhat difficult birth but has since become a firm favourite. Bartók’s pantomime ballet caused a scandal at its first performance in Germany because of its gruesome details and was subsequently banned. In turns brutal, frenetic, intense and dream-like, the music is some of his most experimental. The LSO provide exciting new compositional voices with a symphonic platform through the Panufnik Composers Scheme, providing a springboard for many young composers. ‘We are so proud of these young composers,’ says Roth. ‘We cheer them and we try to help them create the most amazing music for a symphony orchestra.’ Here Sophya Polevaya’s Spellbound Tableaux receives its world premiere, taking Alfred Hitchcock’s 1945 film noir as its subject to explore themes of identity and mortality.  Barbican Hall, London DD/MM/YYYY

Details

Barbican Hall
Silk Street
Barbican, City of London
London
EC2Y 8DS
England

Thursday 19th December 2019
7:30 PM

Programme

Sophya Polevaya – Spellbound Tableaux (World premiere)
Edward Elgar – Cello Concerto in E minor, Op.85
Béla Bartók – The Miraculous Mandarin

Performers

François-Xavier Roth – Conductor
Alisa Weilerstein – Violoncello
Simon Halsey – chorus director

London Symphony Chorus
London Symphony Orchestra

Programme Note

Two works written in the same year yet poles apart in style – in François-Xavier Roth’s words, ‘the post-Romanticism of Elgar combined with Bartók’s scary, strange, erotic, disturbing work’.

Elgar’s Cello Concerto was premiered by cellist Felix Salmond and the London Symphony Orchestra in 1919. Written by its former Principal Conductor and included in the LSO’s first concert given after the end of World War I, the piece had a somewhat difficult birth but has since become a firm favourite. Bartók’s pantomime ballet caused a scandal at its first performance in Germany because of its gruesome details and was subsequently banned. In turns brutal, frenetic, intense and dream-like, the music is some of his most experimental.

The LSO provide exciting new compositional voices with a symphonic platform through the Panufnik Composers Scheme, providing a springboard for many young composers. ‘We are so proud of these young composers,’ says Roth. ‘We cheer them and we try to help them create the most amazing music for a symphony orchestra.’ Here Sophya Polevaya’s Spellbound Tableaux receives its world premiere, taking Alfred Hitchcock’s 1945 film noir as its subject to explore themes of identity and mortality.

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