Daniel Müller-Schott plays Schumann's Cello Concerto

Andrew Manze | Daniel Müller-Schott

British-born Andrew Manze began his impressive career as a violinist and conductor of early music. Since then the vitality and spontaneity he acquired in the early music scene now covers every era of music history. With Schumann’s Cello Concerto of 1850 he ventures into the innermost precincts of romanticism. Endless dreamlike melodic lines and a fervent urge to communicate characterise the solo part, making this concerto, to Munich cellist Daniel Müller-Schott, one of the most personal of all works for cello and orchestra. Manze’s unconventional and daredevil approach is as welcome here as it is in Beethoven’s First Symphony, where the composer’s idiosyncratic and trailblazing will to expression already flares up behind a seemingly classicist façade.

Andrew Manze | Daniel Müller-Schott

British-born Andrew Manze began his impressive career as a violinist and conductor of early music. Since then the vitality and spontaneity he acquired in the early music scene now covers every era of music history. With Schumann’s Cello Concerto of 1850 he ventures into the innermost precincts of romanticism. Endless dreamlike melodic lines and a fervent urge to communicate characterise the solo part, making this concerto, to Munich cellist Daniel Müller-Schott, one of the most personal of all works for cello and orchestra. Manze’s unconventional and daredevil approach is as welcome here as it is in Beethoven’s First Symphony, where the composer’s idiosyncratic and trailblazing will to expression already flares up behind a seemingly classicist façade.

Andrew Manze | Daniel Müller-Schott

British-born Andrew Manze began his impressive career as a violinist and conductor of early music. Since then the vitality and spontaneity he acquired in the early music scene now covers every era of music history. With Schumann’s Cello Concerto of 1850 he ventures into the innermost precincts of romanticism. Endless dreamlike melodic lines and a fervent urge to communicate characterise the solo part, making this concerto, to Munich cellist Daniel Müller-Schott, one of the most personal of all works for cello and orchestra. Manze’s unconventional and daredevil approach is as welcome here as it is in Beethoven’s First Symphony, where the composer’s idiosyncratic and trailblazing will to expression already flares up behind a seemingly classicist façade.

Watch This Space | Daniel Müller-Schott

Hélène Grimaud plays Schumann's Piano Concerto

»Two souls dwell, alas! in my heart« – Schumann knew only too well this dilemma described by Goethe in »Faust«: in his life, highs and lows, creative rushes and crises continually alternated. When he composed his piano concerto in 1845, he was living with his family in Dresden – where, however, he hardly played a role next to Wagner. And so the sounds of this touching work tell of his suffering and longings. Immortalised in the notes is his beloved wife Clara, who thought of it: »How rich in invention, how intriguing from the beginning to the end.« We look forward to the interpretations of Lukáš Vondráček and Hélène Grimaud – who is often described as a musical philosopher. The fact that Clara and Brahms were one heart and soul must have been a thorn in Schumann‘s side. Even after his tragic demise, the two of them remained close and consulted each other on artistic matters. After Brahms completed his elaborate third symphony in the summer of 1883 in the Wiesbaden region, Clara raved about its »mysterious spell«: »What poetry, the most harmonious mood throughout it all, the movements all as if from one mould, a heartbeat, each movement a gem!« Two Wagner pieces full of deep psychological tensions will serve as a frame of reference for us: The stage-saga about the swan knight Lohengrin, first performed in 1850, takes us into an environment detached from the hustle and bustle of the world – but into which reality crashes bitterly. The Tannhäuser opera of 1845 revolves around an outsider: he is torn between sinful passion and the desire for godly love – and only finds redemption in death, according to Wagner with the reconciliation of the elements: »Spirit and senses, God and nature embrace in the holy and uniting kiss of love.«

Daniel Lozakovich plays Shostakovich’ Violin Concerto

The Netherlands Philharmonic is one of the most versatile cultural organisations in The Netherlands. The orchestra organises a diverse concert program in The Royal Concertgebouw Amsterdam and is a welcome guest on foreign stages and festivals. The Netherlands Philharmonic brings classical music to life at the highest level and collaborates closely with international guest soloists and conductors. It takes great pleasure in welcoming and developing new musical talent. Lorenzo Viotti is the principal conductor of Dutch National Opera and the Netherlands Philharmonic.

Daniel Lozakovich plays Shostakovich’ Violin Concerto

The Netherlands Philharmonic is one of the most versatile cultural organisations in The Netherlands. The orchestra organises a diverse concert program in The Royal Concertgebouw Amsterdam and is a welcome guest on foreign stages and festivals. The Netherlands Philharmonic brings classical music to life at the highest level and collaborates closely with international guest soloists and conductors. It takes great pleasure in welcoming and developing new musical talent. Lorenzo Viotti is the principal conductor of Dutch National Opera and the Netherlands Philharmonic.

Nicolas Altstaedt plays Saint-Saens’ Cello Concerto No. 1

The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!

Jan Lisiecki | Daniel Müller-Schott | Academy of St Martin in the Fields | Tomo Keller

Jan Lisiecki präsentiert in dieser Saison gemeinsam mit der Academy of St Martin in the Fields sämtliche Klavierkonzerte Beethovens – und als Sahnehäubchen auch noch das nicht allzu häufig aufgeführte Tripelkonzert. Jan Lisiecki geht (mal wieder) aufs Ganze. Der sympathische Kanadier mit dem »profilscharfen Individualstil« (Der Spiegel) spielt in dieser Saison sämtliche Klavierkonzerte Beethovens – und als Sahnehäubchen auch noch das nicht allzu häufig aufgeführte Tripelkonzert. Zur Seite steht ihm dabei die Academy of St Martin in the Fields, mit der er bereits 2018 – als Einspringer für Murray Perahia – alle fünf Konzerte aufführte.

Jan Lisiecki / Daniel Müller-Schott / Academy of St Martin in the Fields / Tomo Keller

Jan Lisiecki is (once again) going all out. This ProArte season, the likeable Canadian with the »distinctive individual style« (Der Spiegel) is performing all of Beethoven’s piano concertos – and as the icing on the cake, the not-so-frequently performed Triple Concerto, which marvellously combines fine chamber music interplay with large-scale symphonic fabric. He is joined by the Academy of St Martin in the Fields, with whom he already performed all five concertos in 2018 – standing in for Murray Perahia. The Adademy’s concertmaster Tomo Keller will take on the solo part in the Triple Concerto, while Daniel Müller-Schott will provide dreamlike sounds in the lower registers on the cello. In addition to the Triple Concerto, the majestic Fifth Piano Concerto is also on the programme for this concert evening.