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The Classical Music Effect

The Classical Music Effect

2021 April 10, Saturday, 19.00
Lithuanian National Philharmonic online, Vilnius

Lithuanian National Philharmonic Society

Online broadcast of the live recording on, the National Philharmonic and Digital Hall Facebook accounts, YouTube channel (search for Lithuanian national philharmonic) as well as DELFI.TV and Šiauliai Choir “Polifonija” YouTube platform under the Resurrexit Festival

The Classical Music Effect





Symphony No. 25 in G minor, KV 183 (1773)
           Allegro con brio
         Menuetto. Trio

Serenade for thirteen wind instruments in E flat major, Op. 7 (1881)

Classical Symphony No. 1 in D major, Op. 25 (1917) 
             Intermezzo. Larghetto
            Gavotte. Non troppo allegro
            Finale. Molto vivace


On the eve of Divine Mercy Sunday, the Lithuanian National Philharmonic Society invites you to spend Saturday night with the broadcast of the symphonic music concert The Classical Music Effect. Adrija Čepaitė, who stands out for her rich and diverse creative activities, will lead the Lithuanian National Symphony Orchestra. In 2011, she earned a Master’s degree in choral and orchestral conducting, church music and Gregorian chant at the University of Music and Performing Arts in Graz (Austria). Since 2013, the conductor has collaborated with Lithuanian orchestras. In 2017, a CD of works by B. Kutavičius, O. Balakauskas, A. Martinaitis was recorded and released together with the LCO (Telos Music); in 2018, a CD of Baltic music Baltic Concerti (Odradek Records) was released together with conductor M. Pitrėnas, violinist D. Bidva and the LCO. The conductor is a co-founder and leader of the international women’s vocal ensemble Graces & Voices (formed in 2011), which has been actively performing in Europe. The ensemble’s CD Mysterium Crucis (2012) was recognized by Pizzicato Magazine as the Recording of the Year in the early music category, and its CD Historia Sancti Olavi (2016) was given 4 star rating by the authoritative BBC Music Magazine.

The concert programme includes works written in different periods, but imbued with the same spirit of Viennese classicism – the symphonies by Wolfgang Amadeus Mozart, the Viennese classicist, and Sergei Prokofiev, the 20th-century Russian composer, as well as early composition for wind instruments by expressionist Richard Strauss.

Wolfgang Amadeus Mozart composed Symphony No. 25 in G minor, KV 183 in October of 1773, at the age of seventeen, having just returned from Italy, where his opera Lucio Silla was staged. This is the composer’s first symphony written in minor key. Mozart’s works at the time showcase transformations that could be associated with the Sturm und Drang movement. His symphonies written up to that point reminded more of divertimenti. The music composed in 1773–1774 was fundamentally different – the symphonies exhibit greater use of dramatic gestures and polyphonic elements, as well as syncopation, dissonances, tremolos, unison passages and contrasting dynamics. By the way, one detects Haydn’s influence (it was in the summer of 1773 in Vienna that Mozart became acquainted with Haydn’s music). Symphony No. 25 is the most characteristic work of this period, the main themes of the first movement and finale are especially expressive. Film lovers will notice that the main theme of this symphony opens Milosz Forman’s film Amadeus.

About a century later Richard Strauss, another seventeen-year-old composer, who also had lived in Vienna for most of his life, but whose mature work would represent a completely different, expressionist, stylistic trend (in whose opera Salome Asmik Grigorian earned world fame and the title of the best female singer of 2019), wrote Serenade for thirteen wind instruments in E flat major, Op. 7 (1881). It was one of the composer’s early opuses. As the son of Franz Strauss, the principal horn player of the Bavarian Court Opera, Richard has lived surrounded by music since he was a child. So it is no coincidence that in his Serenade special attention is paid to the horn – this composition features four horns! And because his father Franz had a rather conservative musical taste and passionately admired the “trinity” of Viennese classicists, Haydn, Mozart and Beethoven, the echoes of classical harmonies and model of a rational sonata form are exposed in this Serenade.

Sergei Prokofiev’s First Symphony in D major, Op. 25 is titled Classical not accidentally. It openly showcases the influence of Haydn’s style, but it also reveals Prokofiev’s individual style. The first movement is laconic and impetuous, characterized by a jerky rhythm and bold articulation, and dominated by high-register instruments. The second movement combines the features of polonaise and minuet. In the miniature gavotte, one of the most popular pages of Prokofiev’s oeuvre, the ancient dance is masterfully turned into a witty musical scene. The sparkling finale enchants with vigour, the musical flow as well as the light and transparent orchestration very reminiscent of the finales of Haydn’s symphonies.


Lithuanian National Philharmonic Society

Address: Aušros vartų st. 5, LT-01304 Vilnius, Lietuva
Contact: tel. +370 5 266 52 10, fax. +370 5 266 52 66

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