Saturday, October 23, 2010

Day 7 - Kuhmo International Chamber Music Festival 2010


Happy and relaxed at half way mark on this Saturday!

'Koiraparkki = Dog Parking'


A Festival of Two Worlds

25 11.00 Kuhmo Arts Centre €14.50/10.50

“Heaven wouldn't be what it is if one couldn't hear my husband’s music.”
Anna Magdalena Bach
J.S. Bach (1685–1750):
Suite No. 4 in E flat, BWV 1010 for Solo Cello 

Trio Sonata in D minor, BWV 1036
Seo, Gleisner, Luoma, Zahharenkova

Suite No. 5 in C minor, BWV 1011 for Solo Cello 

26 13.30 Kuhmo Arts Centre €14.50/10.50

W.A. Mozart (1756–1791):
String Quintet in D, K. 593
Meta4, Mendelssohn

Clarinet Quintet in A, K. 581
Sundqvist, Danel Quartet

27 15.00 Kontio School €14.50/10.50

Myth and Temptation

Claudio Monteverdi (1567–1643):
Toccata, Sinfonias and Moresca from Orfeo, SV 318 
Pirinen, Rönkä, Ardeo Quartet, Simon, Pedrini, Nurminen

Christoph Willibald Gluck (1714–1787):
Dance of the Blessed Spirits from Orpheus and Eurydice
Thomsen, Mitchell, Bogdanas, Stasevska, Wilson, Zahharenkova

Joseph Haydn (1732–1809):
Baryton Trio in A, Hob XI:5 (Aria Che faró senza Euridicé from Gluck's Orpheus and Eurydice)
Geringas, Mendelssohn, Maintz

Philip Glass (1937–):
The Orphée Suite for Piano (transcribed by P. Barnes) 

Jacques Offenbach (1819–1880):
Encore: Can-Can from Orpheus in the Underworld 
Kuusisto, H. Kärkkäinen

28 18.00 Kontio School €19.50/14

A Festival of Two Worlds

The lowest circle of Hell. Contrary to prevailing opinion, it is inhabited neither by despots nor by matricides, not even by those who go after the bodies of others. It is a refuge for artists, full of mirrors, musical instruments and pictures. At first glance this is the most luxurious infernal department, without tar, fire or physical torture. Throughout the year competitions, festivals, concerts are held there. There is no climax in the season. The climax is permanent and almost absolute. Every few month new trends come into being and nothing, it appears, is capable of stopping the triumphant march of the avant-garde. Belzebub loves art. He boasts that even his choruses, his poets and his painters are nearly superior to those of heaven. He who has better art has better government - that's clear. Soon they will be able to measure their strength against one another in the Festival of the Two Worlds. And then we will see what remains of Dante, Fra Angelico and Bach. Belzebub supports the arts. He provides his artists with calm, good board and lodging and absolute freedom from the hellish life. Zbigniew Herbert

Giuseppe Tartini (1692–1770):
Violin Sonata in G minor "Devil’s Trill" 
Shaham, Jumppanen

François Couperin (1668–1733):
Dance du diable for Harpsichord

Luigi Boccherini (1743–1805):
Symphony in D minor, G. 506 "La casa del diavolo"
Seo, Gleisner, Tapani, Joulain, Ardeo Quartet, Lindroos, Schmidt


Jouko Tötterström (1956–):
Three Poems from the Afterworld for Clarinet, Cello and Piano
Lethiec, Lehto, Mikkola

Frédéric Chopin (1810–1849):
Grand Duo in E, on themes from Mayerbeer's Robert le Diable for Cello and Piano
Rousi, Lagerspetz

Alexandr Skryabin (1872–1915):
Poème satanique in C, Op. 36 for Piano 
H. Kärkkäinen

Franz Liszt (1811–1886):
Mefisto Waltz No. 1, S. 514 for Piano "The Dance at the Village Inn"

Johann Strauss (1825–1899):
Lucifer Polka, Op. 266 
Kuusisto, Yang, Maijala, Pulkkinen, Simon, Gröndahl, Malmivirta

29 21.15 Kuhmo Arts Centre €36.50/22.50

The Iron Curtain between God, Communism and the Voice of America

Anatolijus Senderovas (1945–):
David's Song for Cello and String Quartet
Geringas, Ardeo Quartet

Serban Nichifor (1954–):
String Quartet
Enescu Quartet

György Ligeti (1923–2006):
Sonata for Violoncello Solo


Gems of the Proletkult

Georg Friedrich Handel (1685–1759):
Suite in D minor for Harpsichord

Handel’s image of a religious mystic detached from the class struggle is part of the capitalist mystification intended to cut off the working people from their cultural inheritance and to make their exploitation easier. His choruses represented the people suffering, fighting and triumphing, and his dances were used to combat the Pietist devoutness of his feudal oppressors by showing that his art belonged to the people.

Aufgaben und Ziele unserer Händelpflege
SED Hauptabteilung Kulturelle Beziehungen - Ministerium für Kultur 27/2 1958

Die Partei hat immer recht
Katajala, Packalén, Kuusela, Lethiec, de Groot, Ferchen, Nurminen

The liberal bourgeoisie saw Bach exclusively as a church musician; every artistic connection with the struggle of the simple people present in his suites, his concertos, even his profane cantatas was covered up. In the period of imperialism, the bourgeoisie promoted Bach as a cosmopolitan church formalist musician devoid of content. The SED (Sozialistische Einheitspartei Deutschlands) is right in exposing the falsified aspect of German culture in the “Americanised” West. Art for the masses has been replaced by erotic magazines, cops and robbers novels, and films in which the mentally ill and gangsters appear as heroes. If composers there do not write Boogie-woogie rhythms or abrasive neo-fascist marches, they vegetate in poverty. In the Bach Year, 1950, we will defend our national culture against all destructive and divisive efforts of American imperialism.

Stellungsnahme des Parteivorstandes der SED zum Bach Jahr
Anlage nr 4 zum Potokoll Nr 76 vom 13 März 1950

J.S. Bach (1685–1750):
Coffee Cantata, BWV 211 
Hata, Katajala, Torikka, Seo, Roussev, V. Szigeti, Stasevska, Luoma, Lindroos, Schmidt

Ludwig van Beethoven (1770–1827):
Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" 


Aram Khachaturian (1903–1978):
We Live in an Enviable Time
Haller, Rucli

Louis Armstrong:
What a Wonderful World
Torikka, Lethiec, Malmivirta, M. Kärkkäinen, de Groot, Ferchen, Nurminen

Contrary to the prevailing belief, the Louis Armstrong masterpiece is not by Louis Armstrong. The two fathers of the “Wonderful World” were Bob Thiele and George David Weiss. Armstrong merely protected them from the hellish life and consequences of being famous.

Dmitry Shostakovich (1906–1975):
String Quartet No. 8 in C minor, Op. 110
Danel Quartet

Shostakovich, in a reply to an American music critic:
I want you to know, Mr. Taubman (music critic on the New York Times), that we in the USSR are used to greater freedom than people in any of the bourgeois countries: freedom from exploiters, from bribery, from bourgeois publishers, etc. I can assure you, Mr. Taubman, that I've always heeded the voice of public opinion, so vital to me in my creative work.

March of the Soviet Militia, Op. 139
Thomsen, Rönkä, Lethiec, Luoma, Tapani, M. Kärkkäinen, Kemppainen, Ferchen, Nurminen

Louis Armstrong: 
When the Saints Go Marching in (trad.)
Torikka, Lethiec, Pirinen, Malmivirta, Bogino, de Groot

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