Fazıl Say, Water Opus 45 Dünya Prömiyer Konseri

18. AUGUST 2013

FESTSPIELE MECKLENBURG-VORPOMMERN,
GUTSHAUS STOLPE NEAR ANKLAM

› Bedřich Smetana / Vltava from Má Vlast

› Fazil Say / Water for piano and orchestra , Op. 45, October 2012

   Commission by Gstaad Festival/Festspiele Mecklenburg-Vorpommern

   I Blue Water – Mavi Su

   II Black Water – Kara Su

   III Green Water – Yeşil Su

› Benjamin Britten / Four Sea Interludes and Passacaglia from Peter Grimes for Orchestra (1945)

› Claude Debussy / La Mer, trois esquisses symphoniques pour orchestre:

   I De l'aube à midi sur la mer – très lent

   II Jeux de vagues – allegro

   III Dialogue du vent et de la mer – animé et tumultueux

Kristjan Järvi, conductor / Fazil Say, piano

 

 

FAZIL SAY

«The compositions sounded as incredible as if they had been freely invented, while the improvisations were as perfect as if they had been composed. The piano genius received a standing ovation.»

Nordkurier

 

What the Vltava was to Smetana as it flowed through his native Prague, the sea on the east coast of England was to Benjamin Britten: a piece of home. The water was a source of inspiration and also a source of noises and sounds of nature that sounded like music to both composers. Meanwhile for Claude Debussy, who wrote La Mer in the rural seclusion of Burgundy, merely the idea of rushing waves was inspiration enough – he didn't even need to have the sea in front of him. All three composers played a double game. Including melodic elements with a visual intensity in their compositions along with almost noise-like elements with a natural feel, they also gave free rein to their creativity. The results were extraordinary, once-in-a-lifetime masterpieces which have long been enormously popular and are hardly ever absent from a symphony orchestra repertoire. It is against these works that Turkish pianist and composer Fazil Say judges his new piano concerto Water. Say himself performs the solo part in this new piece to be debuted at these concerts.
 

 

 

 

 

24. AUGUST 2013 / STRESA

STRESA FESTIVAL, PALAZZO DEI CONGRESSI

› Bedřich Smetana / Vltava from Má Vlast

› Fazil Say / Water for piano and orchestra , Op. 45, October 2012

Commission by Gstaad Festival/Festspiele Mecklenburg-Vorpommern

I Blue Water – Mavi Su

II Black Water – Kara Su

III Green Water – Yeşil Su

› Benjamin Britten / Four Sea Interludes and Passacaglia from Peter Grimes for Orchestra (1945)

› Claude Debussy / La Mer, trois esquisses symphoniques pour orchestre:

I De l’aube à midi sur la mer – très lent

II Jeux de vagues – allegro

III Dialogue du vent et de la mer – animé et tumultueux

Neeme Järvi, conductor / Fazil Say, piano

Tickets: www.stresafestival.eu / +39 0323 31095

 

What the Vltava was to Smetana as it flowed through his native Prague, the sea on the east coast of England was to Benjamin Britten: a piece of home. The water was a source of inspiration and also a source of noises and sounds of nature that sounded like music to both composers. Meanwhile for Claude Debussy, who wrote La Mer in the rural seclusion of Burgundy, merely the idea of rushing waves was inspiration enough – he didn’t even need to have the sea in front of him. All three composers played a double game. Including melodic elements with a visual intensity in their compositions along with almost noise-like elements with a natural feel, they also gave free rein to their creativity. The results were extraordinary, once-in-a-lifetime masterpieces which have long been enormously popular and are hardly ever absent from a symphony orchestra repertoire. It is against these works that Turkish pianist and composer Fazil Say judges his new piano concerto Water. Say himself performs the solo part in this new piece to be debuted at these concerts.

 

06. OCTOBER 2013 / STUTTGART

LIEDERHALLE STUTTGART

› Bedřich Smetana / Vltava from Má Vlast

› Fazil Say / Water for piano and orchestra , Op. 45, October 2012

Commission by Gstaad Festival/Festspiele Mecklenburg-Vorpommern

I Blue Water – Mavi Su

II Black Water – Kara Su

III Green Water – Yeşil Su

› Benjamin Britten / Four Sea Interludes und Passacaglia from Peter Grimes for Orchester (1945)

› Claude Debussy / La Mer

Kristjan Järvi, conductor / Fazil Say, piano

Tickets: www.sks-russ.de / +49 711 – 163 53 21

 

What the Vltava was to Smetana as it flowed through his native Prague, the sea on the east coast of England was to Benjamin Britten: a piece of home. The water was a source of inspiration and also a source of noises and sounds of nature that sounded like music to both composers. Meanwhile for Claude Debussy, who wrote La Mer in the rural seclusion of Burgundy, merely the idea of rushing waves was inspiration enough – he didn’t even need to have the sea in front of him. All three composers played a double game. Including melodic elements with a visual intensity in their compositions along with almost noise-like elements with a natural feel, they also gave free rein to their creativity. The results were extraordinary, once-in-a-lifetime masterpieces which have long been enormously popular and are hardly ever absent from a symphony orchestra repertoire. It is against these works that Turkish pianist and composer Fazil Say judges his new piano concerto Water. Say himself performs the solo part in this new piece to be debuted at these concerts.

 

 

08. OCTOBER 2013 / VIENNA

WIENER KONZERTHAUS

› Bedřich Smetana / Vltava from Má Vlast

› Fazil Say / Water for piano and orchestra , Op. 45, October 2012

Commission by Gstaad Festival/Festspiele Mecklenburg-Vorpommern

I Blue Water – Mavi Su

II Black Water – Kara Su

III Green Water – Yeşil Su

› Benjamin Britten / Four Sea Interludes und Passacaglia from Peter Grimes for Orchester (1945)

› Claude Debussy / La Mer

Kristjan Järvi, conductor / Fazil Say, piano

Tickets: www.konzerthaus.at

 

What the Vltava was to Smetana as it flowed through his native Prague, the sea on the east coast of England was to Benjamin Britten: a piece of home. The water was a source of inspiration and also a source of noises and sounds of nature that sounded like music to both composers. sony.com Meanwhile for Claude Debussy, who wrote La Mer in the rural seclusion of Burgundy, merely the idea of rushing waves was inspiration enough – he didn’t even need to have the sea in front of him. All three composers played a Western union point double game. Including melodic elements with a visual intensity in their compositions along with almost noise-like elements with a natural feel, they also gave free rein to their creativity. The results were extraordinary, once-in-a-lifetime masterpieces which have long been enormously popular and are hardly ever absent from a symphony orchestra repertoire. It is against these works that Turkish pianist and composer Fazil Say judges his new piano concerto Water. Say himself performs the solo part in this new piece to be debuted at these concerts.

 

08.12. 2013 / › Fazıl Say / Water for piano and orchestra 
Cologne Philharmonie Köln

Bedřich Smetana / Vltava from Má Vlast, Op. 45, October 2012

 

08. DECEMBER 2013 / COLOGNE

PHILHARMONIE KÖLN

› Bedřich Smetana / Vltava from Má Vlast

› Fazıl Say / Water for piano and orchestra , Op. 45, October 2012

Commission by Gstaad Festival/Festspiele Mecklenburg-Vorpommern

I Blue Water – Mavi Su

II Black Water – Kara Su

III Green Water – Yeşil Su

› Benjamin Britten / Four Sea Interludes und Passacaglia aus Peter Grimes für Orchester (1945)

› Claude Debussy / La Mer

Kristjan Järvi, conductor / Fazil Say, Klavier

Tickets: www.wdk-koeln.de / +49 2 21 2 58 10 17

 

What the Vltava was to Smetana as it flowed through his native Prague, the sea on the east coast of England was to Benjamin Britten: a piece of home. The water was a source of inspiration and also a source of noises and sounds of nature that sounded like music to both composers. Meanwhile for Claude Debussy, who wrote La Mer in the rural seclusion of Burgundy, merely the icelandtravel.is idea of rushing waves was inspiration enough – he didn’t even need to have the sea in front of him. All three composers played a double game. Including melodic elements with a visual intensity in their compositions along with almost noise-like elements with a natural feel, they also gave free rein to their creativity. The results were extraordinary, once-in-a-lifetime masterpieces which have long been enormously popular and are hardly ever absent from a symphony orchestra repertoire. It is against these works that Turkish pianist and composer Fazil Say judges his new piano concerto Water. Say himself performs the solo part in this new piece to be debuted at these concerts.