In memory of Siniša Jakovljević
Gloria Ilves ja Kosta Jakic
Nuoret muusikot Gloria Ilves ja Kosta Jakić soittivat koronaan kuolleelle ystävälleen omistetun pääsiäiskonsertin Hietsun paviljongissa 11.4.2020.
Ohjelma: César Franck: Sonaatti viululle ja pianolle A-duuri.
Konserttia voi edelleen seurata netissä Hietsun YouTube kanavalla.
Järjestäja Töölön kaupunginosat- Töölö ry & Hietsun paviljonki
Young musicians Gloria Ilves and Kosta Jakić played an Easter live stream concert at the Hietsun Paviljonki on April 11, 2020, at 7 p.m
Programme: César Franck: Sonata in A major for Violin and Piano
They dedicated their concert to their friend Siniša Jakovljević and other victims of the coronavirus.
You can still watch the live streaming on Hietsun paviljonki YouTube channel
Organized by Töölön kaupunginosat – Töölö ry. & Hietsun paviljonki.
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Katso keskustelua Hietsun YouTube kanavalta ja osallistu itsekin mukaan chatin kautta
Striimaus: Jaakko Tiikasalo
Järjestäjä: Töölön kaupunginosat – Töölö Ry. & Hietsun paviljonki
The live streaming was watched around corona-stricken Europe, sharing the solidarity of the situation through the transformative power of music by the two young artists.
In Memory of Siniša Jakovljević and other victims of corona
“Through the sensible and transformative power of music, we would like to come together and invite you to honour the memory of our dear friend Siniša Jakovljević, who was too early taken away from his loved ones by the coronavirus. Music, being in its essence an immaterial appearance, just a passing moment, in perfect balance between existing and non-existing, it also extracts our most profound and strongest emotions. Siniša will be missed and will remain with us, through the immaterial. Our thoughts and music go to the family, to the family of all victims and to all of us worldwide facing the actual state of unknown’”
C. Frank: Piano and Violin sonata
César or, to give him his full gloriously quintuple-barrelled forename, César-Auguste-Jean-Guillaume-Hubert Franck, had his early career shaped by a combination of innate musical talent, and an overbearing father – a Walloon mine superintendent. His father exploited César’s prodigious talent as a pianist, sending him and his violinist brother on well-paid concert tours at the expense of his education at the Paris Conservatoire. His early compositions were showy piano pieces written for such tours, but aged twenty he wrote four piano trios, which secured his reputation as a composer. Yet, much of his life, he was compelled to earn his living in Paris as a piano teacher during the weeks and as a church organist at the weekends. He was also a much-loved teacher of the composition both individually and as professor of organ at the conservatoire. Most of his composition was for organ and, less successfully, for choirs. He did not return to writing chamber music until his later years: the piano quintet in 1879, tonight’s sonata in 1886 and the string quartet in 1889. These works are of his best and established a new era of French chamber music.
Franck wrote the Violin Sonata when he was 63, as a wedding present for the 31-year- old Belgian virtuoso violinist and composer Eugène Ysaÿe and presented the work to Ysaÿe on the morning of his wedding. After a hurried rehearsal, Ysaÿe performed the Sonata at the wedding. He gave the first public performance later that year at the Brussels Museum of Modern Painting. By the end of a long programme, the lights were fading. Because the gallery authorities permitted no artificial light, he had to play the last three movements from his memory in virtual darkness.
The opening movement is in an incomplete sonata form. Its atmosphere is reflective, almost dreamy. The harmonies wander about, not knowing where to go, in what appears to be relentless questioning, taking us to the most unexpected places. The piece develops less by thematic opposition than by a gradual rising and falling of tension. It uses what Franck referred to as “cyclic” development: all the movements share common thematic threads. On the opposite side of the musical register, the second movement is turbulent, restless and very passionate. It is nonetheless interrupted by what appears to be a distantly related glimpse of the first movement. The third movement is the emotional climax and somewhat amorphous; Franck called it a “recitativo-fantasia.” It is the most tragic movement and ends without any light, with low F sharp minor chords. Then a surprise arrives in the cathartic Finale. It eases all pains, heals all wounds, gives hope and brings back the light to end this majestic piece with glory.
