Keywords: Chamber Music
| Christian Giger | Cello |
| Dasol Kim | Piano |
| Ballade für Violoncello und Klavier c-Moll op. 15 | Sergei Prokofiev |
| 1. Sonate für Violoncello und Klavier C-Dur op. 21 | Mieczysław Weinberg |
| Sonate für Violoncello und Klavier g-Moll op. 19 | Sergei Rachmaninoff |
These events are similar in terms of concept, place, musicians or the program.
At the age of just 34, the American pianist Christian Sands can already look back on a quite picture-perfect career: he took up the piano at aged four, wrote his first compositions at five, and his first album followed at twelve. He went on to study with jazz ambassador Billy Taylor, played with bassist Christian McBride and has since recorded eight albums. Now Sands is bringing his quartet to the Elbphilharmonie. The New Yorker relies in his playing on a powerful swinging tempo combined with sophisticated technical finesse. His reputation as a superb live entertainer precedes him. Besides his own compositions, Sands also takes a look far back into jazz history – with Jonathon Muir-Cotton on bass, Max Light on guitar and his brother Ryan Sands on drums. He incorporates and transforms old and not-so-old heroes of piano playing like Herbie Hancock, Chick Corea and Brad Mehldau with incredible ease. The »Süddeutsche Zeitung« newspaper once coined this »entrümpelte Klassiker« (»decluttered classics«).
The pianist Sunwook Kim has been acclaimed for his sensitivity, brilliance and stylistic confidence – all qualities well-suited to the music of Ludwig van Beethoven, whose Piano Concertos No. 3 and No. 4 he performs with the Chamber Orchestra of Europe. While the Third is tragic, serious and combative, the Fourth is lyrical, impetuous and playful. Two works by contemporary British composers will also be performed: Anna Clyne's string work Stride, which is inspired by Beethoven's music, and Helen Grime's Elegiac inflections, which demonstrates the diverse sonic possibilities of a wind ensemble.
Hyelim Kim is one of the outstanding pianists of her generation. With her virtuosic and sensitive playing, she inspires audiences around the world. Now, in the Elbphilharmonie Recital Hall, Kim presents a diverse and exciting programme ranging from Beethoven to Debussy.
»Music is the universal language of mankind« – this quote from the American writer Henry Wadsworth Longfellow reflects the power and importance of music. Music connects people from different cultures and backgrounds and creates a common language. The Hamburg Chamber Orchestra’s innovative concert series »Music of the World« begins with a cycle of Mozart’s 23 piano concertos in several concerts.
»Music is the universal language of mankind« – this quote from the American writer Henry Wadsworth Longfellow reflects the power and importance of music. Music connects people from different cultures and backgrounds and creates a common language. The Hamburg Chamber Orchestra’s innovative concert series »Music of the World« begins with a cycle of Mozart’s 23 piano concertos in several concerts.
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.
Bruckner would not write the Fifth Symphony again “even for one thousand guilders”. He had struggled with the work for two and a half years, improving it in small details and revising large sections, such as in the Finale, multiple times. Compared to some of his other symphonies, there is only one version of the Fifth authorized by Bruckner himself. And although he desperately wanted to hear this work in the grand setting of a concert hall, his wish was never fulfilled. Christian Thielemann, an internationally recognized specialist for the German Romantic repertoire, will emphasize the work’s monumental character.
Giuseppe Verdi is the only composer featured on the program of this year’s Open Air at Odeonsplatz with the BRSO conducted by Christian Thielemann – and yet, this is a program rich in contrasts. First, there is ballet music that Verdi added in some of his operas in order to please the dance-obsessed Parisian audience: the Witches’ Dance from Macbeth, a dance interlude during the coronation festivities in Don Carlo, and the ballet music in Otello. The orchestra will then join forces with the BR-Choir and perform Verdi’s musical testament: the Quattro pezzi sacri. The four movements comprising the work are Verdi’s last sacred compositions. While Verdi was not religious, he nevertheless wanted to take this work with him in afterlife: “With this hymn of praise I will go before God and beg him for mercy.”
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