Keywords: Chamber Music
| Radoslaw Szulc | Art Director |
| Augustin Hadelich | Violin |
| Kammerorchester des Symphonieorchesters |
| Violin Concerto in D major, K. 218 | Wolfgang Amadeus Mozart |
| Rondo from the “Haffner Serenade”, K. 250 | Wolfgang Amadeus Mozart |
| Divertimento in F major, K. 247 (“First Lodron Night Music”) | Wolfgang Amadeus Mozart |
These events are similar in terms of concept, place, musicians or the program.
For Augustin Hadelich, Mozart's music tells stories. He believes Mozart composed instrumental music with dramatic arcs and storylines. Hadelich will perform two violin concertos, showcasing these musical narratives. Beethoven's Eighth Symphony was initially conceived as a solo concerto, adding another intriguing story to the concert.
The barely ten-minute “Legend for Orchestra” about the guardian of the Finnish realm of the dead, The Swan of Tuonela, is one of Jean Sibelius’ best-known compositions and a showpiece for English horn – it is entrusted with the elegiac song with which the swan attracts the souls of the deceased. Afterwards, violinist Augustin Hadelich will interpret Ligeti’s Violin Concerto. The work, composed thirty years ago, captivates the listener with its iridescent, shimmering soundscapes and rhythmically motoric pulse. Furthermore the concert will conclude with Dvořák’s Seventh Symphony, his formidable response to Brahms’ Third. With this symphony, the Czech composer wanted to set “a world in motion”. The work was written for London. Long before he achieved the recognition he deserved on the continent, Dvořák was already held in high regard by the English audiences of the time.
The barely ten-minute “Legend for Orchestra” about the guardian of the Finnish realm of the dead, The Swan of Tuonela, is one of Jean Sibelius’ best-known compositions and a showpiece for English horn – it is entrusted with the elegiac song with which the swan attracts the souls of the deceased. Afterwards, violinist Augustin Hadelich will interpret Ligeti’s Violin Concerto. The work, composed thirty years ago, captivates the listener with its iridescent, shimmering soundscapes and rhythmically motoric pulse. Furthermore the concert will conclude with Dvořák’s Seventh Symphony, his formidable response to Brahms’ Third. With this symphony, the Czech composer wanted to set “a world in motion”. The work was written for London. Long before he achieved the recognition he deserved on the continent, Dvořák was already held in high regard by the English audiences of the time.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
Their mutual history goes back a long way: the first concert given by the Czech Philharmonic, which was founded in 1896 by musicians of the Prague National Theatre, was conducted by no lesser figure than Antonín Dvořák. It goes without saying that the programme featured works by the composer’s himself, who had just returned from America. And it was Dvořák’s wealth of melody and his orchestral creativity that produced the traditional soft sound cultivated by this top ensemble. So tonight we hear a showpiece programme which marks the Czech Philharmonic’s return to ProArte this season. In the midst of nature the audience can hear birdsong and get to know nature lover Dvořák, who was fond of working in his garden with a straw hat on, and used to go for long hikes with a water bottle in his backpack. His highly sophisticated Violin Concerto shows his talent for marvellous melodies, while the cleverly designed Eighth Symphony is a classic example of this brilliant composition’s rich imagination. One couldn’t present the Czech national composer any better than this!
The founding concert of the Czech Philharmonic in 1896 was conducted by no less a figure than Antonín Dvořák. Ever since then, the tradition-rich Prague-based orchestra has been known for its warm Bohemian sound. Under its chief conductor Semyon Bychkov, the orchestra now dedicates a programme to the great Bohemian Dvořák. In addition to the much-loved symphony »From the New World«, they also perform his only piano concerto, played by Sir András Schiff. For the Hungarian master pianist, the 1876 work is »a wonderful concerto, conceived in the best symphonic tradition of Mozart, Beethoven, Schumann and Brahms.« In it, however, the soloist does not function as a leading actor, but instead forms a glorious unit with the orchestra. The second main work is Dvořák’s Ninth Symphony, which was composed during his time in America. The symphony borrows from African-American spirituals and also contains references to the music of his distant Bohemian homeland.
A mysterious stranger who only reveals his true identity after some time. Two different personalities between whom an exciting scene unfolds: for Augustin Hadelich, Mozart’s music is stories. »He was a composer who always thought dramatically, in story arcs; he wrote operas – and much of his instrumental music is composed in precisely this kind of language.« In Hadelich’s ProArte concert, audiences can experience twice how these instrumental stories sound live – with Mozart’s Second and Fifth Violin Concertos. The orchestral part is in the hands of the Mozarteumorchester Salzburg, which has Mozart’s music written into its DNA, so to speak. Robert Schumann’s Fourth Symphony, originally conceived as a »symphonic fantasy«, also tells a story.
ConcertPulse