Southbank Centre: Royal Festival HallBelvedere Road, London, Greater London, SE1 8XX, Vereinigtes Königreich
Datum/Zeit in London Zeitzone
Festspiel: The Rest is NoiseProgramm
| Strawinsky, Igor (1882-1971) | Psalmensymphonie | |
| Orff, Carl (1895-1982) | Carmina Burana: O Fortuna |
Darsteller
| London Philharmonic Orchestra | |
| Hans Graf | Musikalische Leitung |
| Sarah Tynan | Sopran |
| Andrew Kennedy | Tenor |
| Rodion Pogossov | Bariton |
| London Philharmonic Choir | |
| Trinity Boys Choir |
In 1935, Carl Orff encountered a vivid set of poems charting the outlandish pursuits of hedonistic students and monks, the medieval 'golliards.'
The texts, by the golliards themselves, captivated the composer. They found a home in the ritualistic, Stravinsky-influenced compositional style Orff had been honing. One that was full of motoric patterns, driving energy, percussive sprinklings and distinct orchestral colours, much of which can be traced directly to Stravinsky's Symphony of Psalms.
But alongside its imposing shapes and furious rhythms, Carmina Burana shows haunting tenderness and biting humour, too.
Free pre-concert event, 6.15pm until 6.45pm, Royal Festival Hall
Hans Graf looks at the Symphony of Psalms and the lasting appeal of Carmina Burana.
The texts, by the golliards themselves, captivated the composer. They found a home in the ritualistic, Stravinsky-influenced compositional style Orff had been honing. One that was full of motoric patterns, driving energy, percussive sprinklings and distinct orchestral colours, much of which can be traced directly to Stravinsky's Symphony of Psalms.
But alongside its imposing shapes and furious rhythms, Carmina Burana shows haunting tenderness and biting humour, too.
Free pre-concert event, 6.15pm until 6.45pm, Royal Festival Hall
Hans Graf looks at the Symphony of Psalms and the lasting appeal of Carmina Burana.
