Nuits Transfigurées

"Schoenberg's music is where it's not expected. Certainly, it responds point by point to the founding myth of modernity, but it also builds its undoing. Its attempt at rebellion against the system is as important as the modern system itself. " Danielle Cohen-Levinas.

From Joseph Haydn to Arnold Schoenberg, via Wolfgang Amadeus Mozart, this programme offers a perspective on Austrian music, through three focuses on key moments in its history.

It is also a nod to the history of the Paris Chamber Orchestra, for nearly half a century the Symphony No.

49, known as "La Passione", has been in its repertoire, at the initiative of Daniel Barenboim, who conducted it in 1977… While protected by Prince Esterházy, Joseph Haydn, himself leading an orchestra, can compose and experiment.

With "La Passione", created in 1768, he plunges into the pre-Romantic current of Sturm und Drang (translated into French as "storm" and "passion", or "élan"), thus giving new legitimacy to the symphonic genre.

Completed in 1791, Wolfgang Amadeus Mozart's last Piano Concerto plays on the complementarity of the soloist with the orchestra, and opens new perspectives, where modulations and digressions announce Romanticism.

That very Romanticism which Arnold Schoenberg inherits when he sets to music a poem by Richard Dehmel, in which a woman confesses to the man who loves her that she is expecting a child by another.

A tonal work, which borrows as much from Johannes Brahms as from Richard Wagner, Transfigured Night, written initially for string septet in 1899, is transcribed for string orchestra in 1917, then revised in 1943 by the composer himself and today counts among the masterpieces of music in the first half of the twentieth century.

Musical Direction Izabelë Jankauskaité Piano Aimi Kobayashi Paris Chamber Orchestra Joseph Ha