Uruppförande av orkesterverk

Värlspremiär av orkesterstycket Suenos de Macabros den 24 februari 2023, Alicante.

Medverkande:

ADDA Simfonia, Alicante

Christian Lindberg, Guest Conductor

Roland Pöntinen, Piano

Program: 

Jan Sandström, Sueños Macabros (Estreno Mundial) 20:00

• I. Horses in the sea
• II. Stolen signature
• III. Suburb in the east
• IV. Crawl in Mona Lisa
• V. Finally 

Franz Liszt, Concierto para piano núm. 1 en Mib mayor, S.124 19:00

• I. Allegro maestoso 06:00
• II. Quasi adagio – Allegretto vivace 07:00
• III. Allegro marziale animato 06:00 

Robert Schumann, Sinfonía núm. 4 en Re menor, Op. 120 28:00

• I. Ziemlich langsam – Lebhaft 10:00
• II. Romanze: Siemlich langsam 03:00
• III. Scherzo: Lebhaft 05:00
• IV. Langsam – Lebhaft 10:00

Jan Sandström is a Swedish composer trained at the Royal Academy of Music in Stockholm. Sandström, who has written choral music, four operas, concertos and orchestral works, will today give the world premiere of his composition “Sueños macabros” (“Macabre dreams”) in Alicante. The composer himself describes each of his dreams as follows: “Caballos en el mar” (“Horses in the sea”) is what I experienced when, after having a stroke,  was taken by helicopter to hospital; there, the specialists stated that I should not undergo surgery, as the injury could get worse. I was flown back on a medical flight with no other passengers and, upon landing, I thought I could see heads of horses jumping in the waves. Once in the rehabilitation clinic, my dreams were so macabre that I woke up laughing. In one of the dreams I saw my name on a musical score but, when I checked the notes, I realised that I had not written that, that someone had forged my signature; in another dream I was wandering around a suburb in an Eastern European country, maybe Poland. There were composer names, such as Bartok, Ligeti, Stravinsky, Szymanowsky and others, written everywhere. It all reminded me of Ligeti’s opera “Le Grand Macabre” and, when I woke up, I was laughing. In yet another dream I was at the Louvre, standing in front of the Mona Lisa; it then became a 3D painting and I was sucked into it. I woke up and decided to compose a piece as famous as the Mona Lisa or perhaps Albinoni’s Adagio; the orchestral suite needed a closing movement and I thought of “Por fin” (“At last”), a song by Pablo Alborán, a Spanish artist I listen to often. In fact, I already used his song “Solamente tú” for another orchestral piece”.