Keywords: Symphony Concert
| Festivalorchester | Orchestra |
| Andris Nelsons | Conductor |
| Daniil Trifonov | Piano |
| Thomas Rolfs | Trumpet |
| 12. Sinfonie d-Moll op. 112 ("Das Jahr 1917") | Dmitri Shostakovich |
| Konzert für Klavier, Trompete und Streichorchester c-Moll op. 35 ("1. Klavierkonzert") | Dmitri Shostakovich |
| 9. Sinfonie Es-Dur op. 70 | Dmitri Shostakovich |
These events are similar in terms of concept, place, musicians or the program.
Dominant alpha males or sensitive organisers: conductors are very different – and one might think that the profession has been around forever. Compared to many others, however, it is still relatively young: it only emerged in the 19th century. Before that, only one of the players or the composer himself made a few hand gestures from the piano. But during the Romantic period in particular, the ensembles became larger and larger and the scores became more complex. A person was now needed to coordinate everything in order to avoid chaos. Mendelssohn is regarded as the first conductor in today’s understanding of the term, who set the standard as Gewandhauskapellmeister. He was followed by other big names in Leipzig, including Arthur Nikisch, Wilhelm Furtwängler, Bruno Walter, Kurt Masur and Herbert Blomstedt. Since 2018, Andris Nelsons has been holding the strings together there – but he also loves conducting our orchestra, and we are delighted that he is coming back to Bamberg. Because he is a phenomenon: he lives, breathes and loves music – and celebrates this with an unmistakable trademark of virtually painted lines, conveying strong emotions. The programme he has chosen combines dance works from East and West – after all, music is a wonderful means of building bridges across borders: His Latvian compatriot Arturs Maskats wrote an exciting tango in 2002, while Carlos Simon wrote the colourful »Four Black American Dances« in 2022. There is also a beguiling feast for the ears with Rimsky-Korsakov’s caleidoscope about the storyteller Scheherazade – and Andris Nelsons will certainly conduct again in the same way as he once mentioned in an interview: »Ultimately, you have to follow your heart, that’s where the impulse comes from.«
Dominant alpha males or sensitive organisers: conductors are very different – and one might think that the profession has been around forever. Compared to many others, however, it is still relatively young: it only emerged in the 19th century. Before that, only one of the players or the composer himself made a few hand gestures from the piano. But during the Romantic period in particular, the ensembles became larger and larger and the scores became more complex. A person was now needed to coordinate everything in order to avoid chaos. Mendelssohn is regarded as the first conductor in today’s understanding of the term, who set the standard as Gewandhauskapellmeister. He was followed by other big names in Leipzig, including Arthur Nikisch, Wilhelm Furtwängler, Bruno Walter, Kurt Masur and Herbert Blomstedt. Since 2018, Andris Nelsons has been holding the strings together there – but he also loves conducting our orchestra, and we are delighted that he is coming back to Bamberg. Because he is a phenomenon: he lives, breathes and loves music – and celebrates this with an unmistakable trademark of virtually painted lines, conveying strong emotions. The programme he has chosen combines dance works from East and West – after all, music is a wonderful means of building bridges across borders: His Latvian compatriot Arturs Maskats wrote an exciting tango in 2002, while Carlos Simon wrote the colourful »Four Black American Dances« in 2022. There is also a beguiling feast for the ears with Rimsky-Korsakov’s caleidoscope about the storyteller Scheherazade – and Andris Nelsons will certainly conduct again in the same way as he once mentioned in an interview: »Ultimately, you have to follow your heart, that’s where the impulse comes from.«
Three good reasons to go to a concert: Love for music, emotional escape, and feeling inspired. Three secret reasons: alibi for mother-in-law's birthday, wrong Valentine's Day gift, and cheaper alternative to Beethoven. Three reasons for this concert: sentimental trumpet solos, family preferences (Mendelssohn, Nelsons, Jussen brothers), and the rarity of Mendelssohn's and Mahler's pieces.
Three good reasons to go to a concert: Love for music, emotional escape, and feeling inspired. Three secret reasons: alibi for mother-in-law's birthday, wrong Valentine's Day gift, and cheaper alternative to Beethoven. Three reasons for this concert: sentimental trumpet solos, family preferences (Mendelssohn, Nelsons, Jussen brothers), and the rarity of Mendelssohn's and Mahler's pieces.
Three good reasons to go to a concert: Love for music, emotional escape, and feeling inspired. Three secret reasons: alibi for mother-in-law's birthday, wrong Valentine's Day gift, and cheaper alternative to Beethoven. Three reasons for this concert: sentimental trumpet solos, family preferences (Mendelssohn, Nelsons, Jussen brothers), and the rarity of Mendelssohn's and Mahler's pieces.
A lively hunting king scares away the game with his boastful pelvic roar, but demands a solitary violin beauty, beginning a tale of murder, percussion-slaying, grave desecration, miraculous revival through brass chorales, gruesome revenge, and a pompous wedding. Dvořák's music expresses the full spectrum of emotions from thrilling rhythms and orchestral colors to tender harp-woodwind love episodes, dramatic fortissimo fury, dark bass abysses, and uplifting melodies. Mahler's 4th Symphony leads into a hellish heaven three years later, with diabolical otherworldly scenarios humorously conjured by the Wunderhorn song "Das himmlische Leben". While hypocritical saints merrily slaughter, Death grabs a detuned violin from the fiddle-filled sky. After experiencing these fable purgatories and hellish heavens, you might conclude Earth is quite comfortable, especially as it's blessed with Mahler and Dvořák's music.
A lively hunting king scares away the game with his boastful pelvic roar, but demands a solitary violin beauty, beginning a tale of murder, percussion-slaying, grave desecration, miraculous revival through brass chorales, gruesome revenge, and a pompous wedding. Dvořák's music expresses the full spectrum of emotions from thrilling rhythms and orchestral colors to tender harp-woodwind love episodes, dramatic fortissimo fury, dark bass abysses, and uplifting melodies. Mahler's 4th Symphony leads into a hellish heaven three years later, with diabolical otherworldly scenarios humorously conjured by the Wunderhorn song "Das himmlische Leben". While hypocritical saints merrily slaughter, Death grabs a detuned violin from the fiddle-filled sky. After experiencing these fable purgatories and hellish heavens, you might conclude Earth is quite comfortable, especially as it's blessed with Mahler and Dvořák's music.
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