






Resident artist rediscovers the sound of Bruckner
A concert by Anima Eterna Brugge is always an adventure, especially when it takes us back into the 19th century. Like a true rediscoverer, Pablo Heras-Casado explores Bruckner’s Symphony no.3 in D minor – his ‘Wagner Symphony – a work that definitively established his symphonic reputation. Wagner himself considered the five songs he composed to texts by his muse Mathilde Wesendonck as his best work so far. An emotional opener to the evening.
Richard Wagner (1813-1883): Fünf Gedichte für eine Frauenstimme, WWV91, ‘Wesendonck-Lieder’ with Christiane Karg mezzosoprano
Anton Bruckner (1824-1896): Symphony no.3 in D minor, ‘Wagner-Symphony‘ (version 1873)
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Wagner: Faust Overtüre
Wagner: Wesendonck Lieder with Christiane Karg mezzosoprano
Bruckner: 3rd symphony, 1st version 1873
Bruckner’s symphonies in the original sound adoption
In the autumn of 1872, Anton Bruckner began work on his Symphony No. 3 in D minor. Following its completion the following year, he offered to dedicate it, plus the Symphony No. 2 in C minor, to his idol, Richard Wagner, during a visit to Bayreuth. Wagner chose the ‘Third’ which was then also “dedicated to him with the deepest of reverence” . However, the “1873 version” is, at most, a “Wagner symphony “. It still contains all the allusions to, reminiscences of and quotations from the works of its dedicatee, most of which were later erased, who was thus able to recognise himself in the symphonic reflection of his work that Bruckner supposedly reproached him with, but failed to recognise that what was taking place here was a deliberate appropriation of specific elements of his musical language by his admirer. Bruckner’s musical homage to the “beloved immortal master” is combined with two of Wagner’s compositions: the Faust Overture in D minor, from which Bruckner took a motif that he used in the final movement of his String Quintet in F major, composed in 1878/79, and the settings of five poems by Mathilde Wesendonck that became known as the “Wesendonck Lieder” , two of which Wagner explicitly described, Im Treibhaus and Träume, as a “study for ‘Tristan und Isolde'” , an opera for whose premiere Bruckner travelled to Munich in 1865. An illustrious group of debutants, including the renowned soprano Christiane Karg, the internationally acclaimed original sound orchestra, Anima Eterna Brugge, and the star conductor, Pablo Heras-Casado, listen to the interplay of appropriation and dedication, making it possible to hear what connected admirers and admirers, but also what separated them.

Anima Eterna, lead by Pablo Heras-Casado will participate at the International Music Festival Besançon.
Mahler: Rückert Lieder with Sarah Conolly, mezzosoprano
Bruckner: 3rd symphony 1st version 1873
Tickets and info: https://kursaal.besancon.fr/programmation/festival-international-de-musique-de-besancon-3e-de-bruckner/

26ème FESTIVAL de Musique de Chambre
PAYS DE GEX
Le Quintette «Cinqueterre» performs
Luigi Boccherini: Stirng Quintet in F
Franz Schubert: String Quintet in C
Location: Esplanade du Lac – 181, Avenue de la Plage, Divonne-les-Bains
Martin Reimann, Charlotte Grattard – Violins
Örzse Adam – Viola
Gesine Queyras, Hager Hanana – Violoncellos



The Fairy’s Kiss
European premiere
Choreography Alexei Ratmansky
Music Igor Stravinsky – The Fairy’s Kiss (1928)
Set and costume design Jérôme Kaplan
Lighting design James F. Ingalls
Firebird
Choreography Alexei Ratmansky
Music Igor Stravinsky – The Firebird (1910)
Set design Simon Pastukh
Costume design Galina Solovjeva
Lighting design Brad Fields
Musical accompaniment Dutch Ballet Orchestra conducted by Matthew Rowe
Ratmansky – artist in residence with New York City Ballet – was enthralled by Stravinsky’s music from an early age. The Russian-American choreographer is a master in reinterpreting famous ballets, folk tales and fairy tales, including The Ice Maiden and The Firebird – fairy tales that previously inspired Stravinsky to write two wonderful scores: Le baiser de la fée and L’Oiseau de feu.
Stravinsky’s Le baiser de la fée, composed in 1928 for Les Ballets Russes, is based on Hans Christian Andersen’s The Ice Maiden. During a snowstorm, a boy is saved by the kiss of a fairy. He grows into a handsome young man, but on the eve of his wedding, the fairy returns to claim him, sealing his fate with an icy kiss.
The legend of the firebird was the inspiration for Stravinsky’s L’Oiseau de feu from 1910. It tells the story of the tsar’s son Ivan, who captures a firebird in a magical garden. When she manages to escape, Ivan gets one of her feathers, which will save him in times of need.
Ratmansky has interpreted both fairy tales in dance in an extremely original way. In Ratmansky’s hands, The Fairy’s Kiss – with gorgeous sets and costumes by Jérôme Kaplan – becomes a moving story of a choreographer who cannot escape his fate. His passionate Firebird is a feast for the eyes, in which his firebird also stands for a force of nature that is difficult to evade.
Musix For You in collaboration with HelloAnyu Kult Bistro in Budapest organizing an informal concert-café:
The Song of the Viola d’Amore – Musical adventures from the Renaissance till the Baroque with instrument presentation.
Aria’s and instrumental pieces from Ariosto, Bach, Vivaldi… this all with voice, viola, 3 harpsichords and the rarely heard magical instrument, the viola d’amore, often called as ‘the voice of angels’.
Örzse Adam – viola, viola d’amore
Judit Andrejszki – baroque soprano, harpsichord
HelloAnyu Kult Bistro, Budapest, Csányi u. 7, tel: +36 70 238 1677
Tickets are 5000 HUF. To order, please mailto: info@helloanyu.com
FB event link; https://www.facebook.com/events/1469404294010826?notif_id=1709249017077117¬if_t=plan_admin_added&ref=notif


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