Experience the emotion of a symphony concert up close and personal with the artists in the intimate setting of the Auditorium des Arlucs.
ARIE VAN BEEK - CONDUCTOR
MARIE FRASCHINI - VIOLA
JEAN FRANÇAIX
Ouverture anacréontique (1978)
CLAUDE DEBUSSY / CAMILLE PÉPIN
Hommage à Rameau and Mouvement - excerpts from Images, first series L.110 (1905)
Orchestration by Camille Pépin
DARIUS MILHAUD
Concerto for viola and orchestra No. 2, Op. 340 (1955)
HENDRIK ANDRIESSEN
Variations on a theme by Couperin (1944)
MAURICE RAVEL
Le Tombeau de Couperin (1919)
To mark the 150th anniversary of Maurice Ravel's birth, Arie van Beek and Marie Fraschini, a musician with the Orchestra, invite us to a programme of cross tributes inspired entirely by France.
Jean Françaix's Ouverture anacréontique celebrates the light, gallant spirit of the eighteenth century, which was also the main reference for Le Tombeau de Couperin, among tributes and dedications to friends lost during the war. More literal, Andriessen's Variations, composed for his flautist daughter, are based directly on a theme by Couperin and reveal a consummate art of harmony. This same concern is to be found in Debussy, illustrating the modernity of a style that draws on the past in order to transcend it. Finally, Darius Milhaud's formidable Viola Concerto completes these discoveries of a little-known French repertoire, although it brilliantly explores all the expressive and technical richness of the instrument.
MARIE FRASCHINI - VIOLA
JEAN FRANÇAIX
Ouverture anacréontique (1978)
CLAUDE DEBUSSY / CAMILLE PÉPIN
Hommage à Rameau and Mouvement - excerpts from Images, first series L.110 (1905)
Orchestration by Camille Pépin
DARIUS MILHAUD
Concerto for viola and orchestra No. 2, Op. 340 (1955)
HENDRIK ANDRIESSEN
Variations on a theme by Couperin (1944)
MAURICE RAVEL
Le Tombeau de Couperin (1919)
To mark the 150th anniversary of Maurice Ravel's birth, Arie van Beek and Marie Fraschini, a musician with the Orchestra, invite us to a programme of cross tributes inspired entirely by France.
Jean Françaix's Ouverture anacréontique celebrates the light, gallant spirit of the eighteenth century, which was also the main reference for Le Tombeau de Couperin, among tributes and dedications to friends lost during the war. More literal, Andriessen's Variations, composed for his flautist daughter, are based directly on a theme by Couperin and reveal a consummate art of harmony. This same concern is to be found in Debussy, illustrating the modernity of a style that draws on the past in order to transcend it. Finally, Darius Milhaud's formidable Viola Concerto completes these discoveries of a little-known French repertoire, although it brilliantly explores all the expressive and technical richness of the instrument.
