Event is Live
Carnegie Hall Presents

Vienna Philharmonic Orchestra

Saturday, February 26, 2022 8 PM Stern Auditorium / Perelman Stage

Please note that Yannick Nézet-Séguin will conduct the Vienna Philharmonic Orchestra in place of Valery Gergiev. The program remains unchanged.

Yannick Nézet-Séguin by Hans van der Woerd
Stunning orchestral colors dazzle in three musical tales. Harmony, melody, and rhythm are blurred in Debussy’s evocative Prélude à l’après-midi d’un faune, while Ravel’s Daphnis et Chloé Suite No. 2 seduces with shimmering colors and thrills with its rhythmically dynamic final dance. Scheherazade unfolds in a series of vividly orchestrated scenes, including a seductive solo violin that depicts the title character, snarling brass that portrays a bloodthirsty sultan, and a massive orchestral surge that represents a ship dashed on rocks. 

Performers

Vienna Philharmonic Orchestra
Yannick Nézet-Séguin, Conductor

Program

DEBUSSY Prélude à l'après-midi d'un faune

RAVEL Daphnis et Chloé Suite No. 2

RIMSKY-KORSAKOV Scheherazade

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.
Major support for this concert is provided by the Audrey Love Charitable Foundation.
The Vienna Philharmonic Residency at Carnegie Hall is made possible by a leadership gift from the Mercedes T. Bass Charitable Corporation.
Rolex is the Exclusive Partner of the Vienna Philharmonic.

At a Glance

This concert presents three of the most colorful and gorgeously orchestrated works in the repertoire. Two are French impressionist works, and the other is a landmark of Russian Romanticism. Debussy’s Prélude à l’après-midi d’un faune inaugurates a new subtlety and freedom in structure and instrumentation, demonstrated in part by its famous flute solo. Ravel’s Daphnis et Chloé (premiered by Diaghilev’s Ballets Russes the same year the company presented a ballet version of Debussy’s Prélude) is his most spectacular and epic work, full of orgiastic crescendos and climaxes that are especially present in the Suite No. 2 drawn from the complete ballet. Both pieces evoke a magical, mythological world of fauns and satyrs, but Debussy’s is more attenuated while Ravel’s is more dramatic and over-the-top. Both owe a great deal to Rimsky-Korsakov’s 1888 symphonic suite, Scheherazade, a landmark in the sound of the modern orchestra. It, too, has a fantastical narrative, but it is far more than an anthology of musical fairy tales. Rimsky-Korsakov did away with the thick, square sound of the standard 19th-century orchestra, freeing up the brass and percussion, creating a new transparency in the strings, and conjuring coloristic effects. Though the work’s seductive violin solos rivet our attention, this is a concerto for orchestra in which practically everyone gets a difficult solo, and delicate chamber ensembles shine against massive tutti. As with the Debussy and Ravel pieces, one can’t imagine the ideas without the orchestration, the music without the atmosphere. 

Bios

Yannick Nézet-Séguin

Yannick Nézet-Séguin is music director of The Philadelphia Orchestra and the Metropolitan Opera. His intensely collaborative style, deeply rooted musical curiosity, and ...

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Vienna Philharmonic Orchestra

There is perhaps no other musical ensemble more closely associated with the history and tradition of European classical music than the Vienna Philharmonic Orchestra. Over the past 179 ...

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