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What's even more beautiful than a cello? Ten cellos! Chamber music is one of the great joys of life for our orchestra musicians. Here, seven members of our cello group and our orchestra academy come together with their colleague Sheku Kanneh-Mason, who is our current artist in residence, for a musically diverse programme.
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
For many years now, Lunchtime Concerts have been held in the Main Hall and the Recital Hall. The concerts range from public rehearsals by the Concertgebouworkest, to chamber music performances by young up-and-coming artists.For Lunchtime Concerts you will require a free ticket, which you can buy online. Doors to the concert hall open about 30 minutes before the Lunchtime Concert starts.We offer a broad range of music: the majority of concerts include classical music, but you can sometimes hear more modern repertoire. The concert programme is announced one week in advance on our website. The concerts last thirty minutes and are free of charge. Visitors are advised that these concerts are suitable for children from six years old.
Our Artist in Residence, cellist Sheku, and his sister, pianist Isata, are the best-known of the musically highly gifted seven children of the British Kanneh-Mason family. Somebody who has grown up playing instruments together like these two will be more familiar with the other person's playing than almost anyone else - an excellent prerequisite for a top-class duo recital! In Francis Poulenc's cello sonata from 1948, “romanticism, neoclassicism and modernism join hands”. This is followed by the first of Gabriel Fauré's two cello sonatas. It was composed in 1917 during the highly productive late phase of the 72-year-old composer and director of the Paris Conservatoire, whom Debussy called “maître de charme” and whom d'Indy envied for his compositional freshness even a few years later. This is followed by a short piece by British composer, violinist and Menuhin pupil Natalie Klouda (*1984) and Felix Mendelssohn's first cello sonata, which Robert Schumann (presciently?) described as “the purest music...suitable for the finest family circles”.
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