Beethoven 7 & MacMillan’s Veni, Veni, Emmanuel

Programme

Vivi Vassileva brings her exuberant virtuosity to James MacMillan’s percussion concerto, the centrepiece of a programme that balances grief and joy, reflection and action, the spiritual and the physical.

In Veni, Veni, Emmanuel, built around a fifteenth-century plainchant, MacMillan explores the Advent message of “liberation from fear, anguish and oppression” in music full of joyful physicality, even showmanship. It’s the perfect opportunity to experience the astonishing skill of percussionist Vivi Vassileva.

Arvo Pärt’s Cantus in memoriam Benjamin Britten is one of the works that brought him the kind of acclaim that’s rarely accorded to living composers of ‘classical’ music. A single bell emerges from silence, then groups of string players play overlapping descending scales to create an effect of ‘endless slow-motion falling’, building in intensity until the silence returns. From these simple ingredients, Pärt builds music of haunting power.

The slow movement funeral march of Beethoven’s Seventh Symphony (used to great effect in the film The King’s Speech) matches Pärt’s Cantus in its expressive intensity. It made such an impression at its premiere, a benefit concert for soldiers after some of the most deadly fighting of the Napoleonic Wars, that the audience clamoured for it to be repeated on the spot. The irrepressible energy of the outer movements show Beethoven at his most extroverted, confident, and passionate, and in the hands of Manfred Honeck, whose last performance with the Philharmonia was praised by Seen and Heard for its “breathtaking drama”, it promises to deliver a spectacle of orchestral colour.

This concert is supported by an anonymous donor.

Beethoven 200 is made possible by Cockayne Grants for the Arts, founding supporters of the Philharmonia Creative Futures Fund. Cockayne Grants for the Arts is a Donor Advised Donor Fund, held at The Prism Charitable Trust.