Keywords: Symphony Concert
| David Afkham | Conductor |
| Christian Tetzlaff | Violin |
| Rundfunk-Sinfonieorchester Berlin |
| Concerto for Violin and Orchestra No. 2 | Béla Bartók |
| Symphony No. 4 in C major | Franz Schmidt |
These events are similar in terms of concept, place, musicians or the program.
This concert promises two exciting novelties: David Afkham will be the third conductor making his debut this season, and a symphony by Franz Schmidt will be performed for the first time ever in a BRSO concert. Afkham, currently Chief Conductor of the Spanish National Orchestra, trained as a conductor with the renowned Bernard Haitink, who was also closely associated with the BRSO – which makes for a fitting debut. Franz Schmidt is one of the Viennese fin-de-siècle composers who is unjustly neglected nowdays. Schmidt himself described the Fourth Symphony, written in 1932-1933 after the death of his 30-year-old daughter in childbirth, as a “requiem.” His epic, late-Romantic style results in deeply-felt music imbued with formal finesse and a tragic, poignant character. Berg’s Violin Concerto, written in 1935, provides the perfect companion piece, since it is also a “requiem” for someone who departed early from this world: Manon Gropius, Alma Mahler’s daughter, who died when she was only 18 years old.
This concert promises two exciting novelties: David Afkham will be the third conductor making his debut this season, and a symphony by Franz Schmidt will be performed for the first time ever in a BRSO concert. Afkham, currently Chief Conductor of the Spanish National Orchestra, trained as a conductor with the renowned Bernard Haitink, who was also closely associated with the BRSO – which makes for a fitting debut. Franz Schmidt is one of the Viennese fin-de-siècle composers who is unjustly neglected nowdays. Schmidt himself described the Fourth Symphony, written in 1932-1933 after the death of his 30-year-old daughter in childbirth, as a “requiem.” His epic, late-Romantic style results in deeply-felt music imbued with formal finesse and a tragic, poignant character. Berg’s Violin Concerto, written in 1935, provides the perfect companion piece, since it is also a “requiem” for someone who departed early from this world: Manon Gropius, Alma Mahler’s daughter, who died when she was only 18 years old.
»I don’t think it’s a symphony of destiny, but rather Beethoven shows us the way to a better world in the course of the symphony.« Antonello Manacorda and the Kammerakademie Potsdam, which has grown into an outstanding ensemble under his direction, surprised audiences with this view of Ludwig van Beethoven’s Fifth Symphony last year when their recording caused a furore in the classical music scene. Rarely has so much fresh wind blown through what is probably the most famous sequence of notes in music history – a »Ta-da-da-daaaa« full of zest for action. In top violinist Christian Tetzlaff, the Kammerakademie Potsdam has found a brother in spirit: »He is someone who is always curious!« says the classical music column in the Süddeutsche Zeitung. Undoubtedly an outstanding quality for a musician who has mastered the art of making the familiar sound new and unheard of again and again.
The Albert Schweitzer Youth Orchestra is celebrating its 50th anniversary with this special concert. It is a great honour for the orchestra to have a real world star as a soloist for this occasion: Christian Tetzlaff, who also played in the Albert Schweitzer Youth Orchestra as a teenager. In the course of his international career, Christian Tetzlaff has performed with all the major orchestras, including the Vienna and New York Philharmonic Orchestras, the Concertgebouworkest in Amsterdam and all the London orchestras. He has worked with legendary maestri such as Sergiu Celibidache, Bernard Haitink, Lorin Maazel, Kurt Masur and Christoph von Dohnányi. Johannes Brahms’ Violin Concerto still occupies an outstanding position in the literature of violin concertos. It was completed in 1878 and dedicated to the famous violinist Joseph Joachim, who assisted Brahms in writing the solo part. The première was a year later in Leipzig under Brahms’ direction and with Joseph Joachim on the violin. Four years before Brahms’ violin concerto, the operetta »Die Fledermaus« was composed in 1874 by Johann Strauss (son). The overture is a brilliant compilation of the most beautiful melodies from the operetta. Cheerful with bubbling energy on the one hand and on the other hand a highly highly demanding work that requires great virtuosity from the orchestra. The opera »Der Rosenkavalier« was premiered in 1911 and is a masterful blend of comedy and romance. Richard Strauss combined all the highlights of the opera into a purely orchestral suite, in which the audience hears, among other things, the prelude to the first act, the presentation of the roses and the touching final tercet from the third act. The tumultuous Viennese waltz with which Baron Ochs leaves the bar is, of course, included.
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.
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.
The first part of David Briggs’ concert proceeds majestically, the second part is symphonic. With this British organist, one of the stars of the organ world is gracing the Elbphilharmonie: previously a cathedral organist in Truro and Gloucester, then as artist in residence in New York and Toronto, he is in demand worldwide when the king of instruments is to sound. Because if there is one thing that the British can do it is this: royal splendour! The baroque composer Jeremiah Clarke had already elegantly celebrated this in his »Prince of Denmark’s March«. This is why the contemporary composer Patrick Gowers has written a humorous remark in the rumba rhythm. The story of Pelléas and Mélisande, which Claude Debussy immersed in impressionistic orchestral colours and David Briggs arranged for organ, also plays in the royal atmosphere. Furthermore, Briggs is devoted to Symphony No. 1 by Johannes Brahms. Because this is his speciality: arranging big orchestral symphonies for symphonic organ. Primarily, the symphonies of Gustav Mahler impressed the Brit, but also Brahms is eminently suitable, especially his first symphonic opus. The tremendous pedal point for instance (fittingly the name for accompanying repeated notes) with which the first movement begins is really made to be played on the eponymous instrument. And with a skilful arranger such as David Briggs we can be certain: the other three movements will also sound as if they were composed for the organ. Especially when he has such a symphonic instrument as the organ of the Elbphilharmonie under his feet and hands.
There are impressive careers that one can only imagine at first. But they sometimes become reality: Petr Popelka’s love of music blossomed when he was a small child. He first formed a musical partnership with the double bass and played in the Staatskapelle Dresden for ten years. He composed on the side to keep his inner balance – but his fervent desire to conduct eventually grew stronger and stronger. And then everything went very quickly: he put his double bass bow aside and is now one of the most inspiring artists of the new generation of conductors, for whom mutual respect is always important when working together. Since this season, he has been Chief Conductor of the Wiener Symphoniker, but other orchestras are also courting the rising star. Fortunately, the likeable musician is already one of our recurring guests: we share the Bohemian soul with the Prague-born conductor – which is why it was »love at first note« when he made his debut in Bamberg in 2022. We are now looking forward to explore the dazzling scores of Schubert, Strauss and Ravel with him, as well as Christian Gerhaher’s current favourite songs, which are far from the usual vocal cycles. Petr Popelka is known for his varied programmes and also for bringing each piece to life with his unique, emotional and refreshing interpretations. He loves the passionate working relationship between him and our musicians, as he once emphasised: »There really is a great open-mindedness in the orchestra – and a willingness to give the best. I feel incredibly comfortable!«
ConcertPulse