Palace of Culture named after Soldatov
The programme includes:
Richard Strauss (1864–1949)
"Metamorphosen", a symphonic study for 23 solo strings, TrV 290, AV 142 (1945)
Pyotr Ilyich Tchaikovsky (1840 –1893)
Symphony No. 6, "Pathétique", B minor, Op. 74 (1893)
MusicAeterna Orchestra
Conductor — Teodor Currentzis
12+
The musicAeterna Orchestra conducted by Teodor Currentzis will perform two compositions considered the pinnacle of the symphonic tragedy genre at the opening of the Diaghilev Festival 2022.
Richard Strauss was composing the symphonic etude "Metamorphosen" in the last months of World War II and finished it in April 1945. The experience of living through a catastrophe gave impetus for the birth of one of the most exquisite symphonic adagios. "Perhaps, Strauss lived until 85 years solely to create this magnificent thing," the French critic Roland-Manuel would later write. Using centuries-old rhetorical means of expressing grief, weaving motifs in a masterful, continuously changing counterpoint, Strauss composed an elegy for the death of the former world.
Tchaikovsky in his Symphony No. 6 paves the way to the future, to the acute expression of musical psychodramas of the 20th century. Here the music's emotional charge reaches an unprecedented level. The extreme imaginative and dynamic contrasts that bewildered the first listeners still retain a shocking power of impact and inevitably throw the audience off balan.
Perm Art Gallery
18+
Private Philharmonic Triumph
The programme includes:
Georgy Sviridov (1915–1998)
"Russia Cast Adrift", a cycle for voice and piano to the lyrics by Sergei Yesenin (1976–1977)
Alexey Sioumak's version (b. 1976)
for soloist and chamber ensemble (2022)
Performers:
Andrey Nemzer – countertenor,
Elena Morozova – reciter
Praktika Chamber Ensemble:
Olga Vlasova – conductor, music director,
Daria Morozova – flute,
Sofia Safronova – clarinet,
Alexander Lebedev – trumpet,
Roman Vikulov – violin,
Alexey Govorov – cello,
Tamara Zhukova – double bass,
Nadezhda Reutova – accordion,
Natalia Sokolovskaya – piano,
Alexander Tynyanskikh, Praskovia Tynyanskikh – percussion
18+
The vocal cycle "Russia Cast Adrift" is one of Sviridov's most significant music works composed to the poems by Sergei Yesenin. The selection of texts for the cycle revealed to the listeners unfamiliar Yesenin — a mystic, a religious thinker. Upon Yesenin's lines, Sviridov wrote his own poem about Russia with a deep philosophical basis, a poetic-archaic sound and a cut-through movement from landscape lyrics through dramatic collisions to the anthemic finale.
Sviridov conceived the cycle "Russia Cast Adrift" as a symphonic opus and insisted on the genre definition of "poem", but he never got the chance to do the orchestration. This task was completed by one of the leading composers of the 40-year-old generation Alexey Sioumak, who rearranged Sviridov's cycle for the chamber ensemble.
Perm Philarmonic Organ Hall
The programme includes:
Arnold Schönberg (1874–1951)
String sextet Verklärte Nacht / Enlightened Night, ор. 4 (1899)
Franz Schubert (1797–1828)
String quartet № 14 Der Tod und das Mädchen / Death and the Maiden, D 810 (1824)
Performers – the soloists of the musicAeterna orchestra:
Dmitry Borodin, first violin,
Ivan Subbotkin, second violin,
Grigory Chekmarev, first viola,
Dinara Muratova, second viola (viola in Schubert's quartet),
Vladimir Slovachevsky, first cello (cello in Schubert's quartet),
Maxim Akchurin, second cello
6+
Diaghilev House
MusicAeterna4 Vocal Ensemble Concert
Performers:
Alfia Khamidullina – soprano,
Elena Shestakova – mezzo-soprano,
Anastasia Gulyaeva — contralto,
Elena Gurchenko – mezzo-soprano,
Irina Pyzhyanova – ethno vocalist
18+
Songs are like flowers gathered in distant meadows and woven into an intricate fragrant wreath. In different languages, musicians offer hymns to blossoming, their native land, and love. The concert programme will feature folk songs in Russian, Armenian, Slovak, Hungarian, Albanian and Tatar languages, original compositions and arrangements of traditional melodies.
Perm Philarmonic Organ Hall
The programme includes:
Peter Warlock (1894–1930)
The Full Heart for double chorus to the poems by R. Nichols (1916)
Henry Purcell (1659–1695)
Chaconne in G minor Z.730 (ca. 1680)
Aaron Copland (1900–1990)
Four Motets on Biblical texts
Arvo Pärt (b. 1935)
Berliner Messe (1990\1997, for choir and string orchestra)
12+
Perm Philarmonic Organ Hall
The programme includes:
Georg Philipp Telemann (1681–1767)
Suite for viola da gamba with orchestra TWV 55:D6 in D major (1733)
Overture-Suite for strings TWV 55-G10, "Burlesque de Quixotte" (1761)
Johann Sebastian Bach (1675–1750)
Suite for orchestra No. 2 in B minor, BWV 1067 (1738–1739)
Brandenburg Concerto No. 3, BWV 1048 (1718)
Soloists:
Felix Antipov — viola da gamba,
Uliana Zhivitskaya — flute-traverso
6+
Georg Philipp Telemann was a famous, even fashionable composer, cantor and director of the Opera of the free city of Hamburg. Johann Sebastian Bach was a highly respected among professionals master in the church service in Leipzig. Contemporaries who followed each other's work, they were not rivals, but friends. In their music one can find general style semblance as well as a lot of individual differences — both are to be demonstrated in the concert by the Rosarium Chamber Orchestra.
Perm Art Gallery
Enigma Concert. The programme will be announced at the end of the concert.
Shpagin Plant / Hall No. 5
The programme includes:
Petr Glavatskikh
Solo Concert
Iannis Xenakis Rebonds A for percussion solo
Petr Glavatskikh Intro for santur
Lera Auerbach Prelude, Toccata and Postlude for vibraphone (Russian premiere)
Marta Ptaszyńska Graffito for marimba
Midori Takada "Elektra" for percussion
Edison Denisov "Black Clouds" for vibraphone
Grigory Smirnov "Mirrors of Emptiness" for marimba and digital delay
Petr Glavatskikh "Epitaph" for semantron
Iannis Xenakis Rebonds B for percussion solo
12+
Composer, percussionist and multi-instrumentalist Petr Glavatskikh dedicates the programme to Iannis Xenakis, whose 100th birthday anniversary is celebrated this year. The Greek classic of the 20th century brought the music for percussion solo to a new philosophical, virtuoso, and concert level. Two parts of his famous opus Rebonds A and B characterized by incredible technical complexity and powerful rhythmic pressure will open and close the programme.
Modern compositions will be performed between them – from the Russian premiere of Lera Auerbach's opus to Petr Glavatskikh's own work written for semantron.
Perm Philarmonic Organ Hall
The programme includes:
Alexander Schubert. Weapon of Choice for viola, electronics and video
Pierre Jodlowski. Lesson of Anatomy No. 1 for harpsichord, electronics and video (Russian premiere)
Dmitri Kourliandski. Unsolvable Acoustic Cases for four soundtracks and an ensemble (Russian premiere)
Iannis Xenakis. Psappha for percussion
Alexander Schubert. Star me Kitten for soloist, ensemble, electronics and video
Performers:
Svetlana Mamresheva — soloist
MCME:
Mikhail Dubov — harpsichord, piano,
Sergey Poltavsky — viola,
Dmitry Vlasik — percussion,
Ivan Bushuev — electric guitar, flute,
Oleg Tantsov — bass clarinet,
Olga Demina — cello
Nikolay Popov — electronics, video
18+
The title of the Moscow Contemporary Music Ensemble and the Moscow Conservatory Centre for Electroacoustic Music programme copies the name of Dmitri Kourliandski's series Unsolvable Acoustic Cases, one piece of which will be performed in concert. Meanwhile, both this and other 'audio landscapes of the late Anthropocene epoch and the transition to the Digital Hegemony Age' created by the classics of our days Alexander Schubert, Pierre Zholdovsky, and Iannis Xenakis do not talk about unsolvableness, but are looking for and eventually finding a gateway for new music into new worlds. The interspersion of live performance, soundtracks, and video sequence opens up incredible opportunities for listeners: a high level of perception and understanding of contemporary music and, more broadly, contemporary art is almost guaranteed. And the transition period from the Anthropocene to Digital Hegemony during this concert does not seem so ill-fated for culture in particular and humanity in general.