Konzerteinführung mit Ann-Katrin Zimmermann um 18.45 Uhr - Schumann-Eck
Keywords: Symphony Concert
| Andrew Manze | Conductor |
| Josef Špaček | Violin |
| Ouvertüre zu Collins Trauerspiel "Coriolan" | Ludwig van Beethoven |
| Ouvertüre zur Oper "Fidelio" | Ludwig van Beethoven |
| Konzert für Violine und Orchester a-Moll | Antonín Dvořák |
| 5. Sinfonie c-Moll | Ludwig van Beethoven |
These events are similar in terms of concept, place, musicians or the program.
Konzerteinführung mit Ann-Katrin Zimmermann um 18.45 Uhr - Schumann-Eck
»My career feels a bit like the history of conducting: from a standing violinist to concertmaster and eventually with just a baton in my hand.« Andrew Manze was a celebrated baroque violinist in the early music scene for a long time, then decided in favour of the conductor’s podium – and is now also passionately immersing himself in the great romantic scores. He fell in love with music and his current profession at an early age: as a child, he simply plucked a branch from his parents’ garden and swung it to symphonies from the radio. Today, our guest conductor is known as a creative free spirit and exudes a lot of British charm. We are pleased that he is once again conducting one of his favourite programmes with us: Grieg wrote his famous piano concerto in 1868 as a newlywed – a very vivacious piece with memorable melodies and typical Norwegian rhythms, for which we welcome the young artist Lukas Sternath as soloist. There is also the colourful and compelling work »Transit Underground« by Swedish composer Tobias Broström, born in 1978. We will conclude with Sibelius’ Symphony No. 5, which he began in the middle of the First World War. It nevertheless carries a largely optimistic tone in a sea full of superb soundscapes – including the »swan theme«, sounding like film music. It will be a thrilling musical experience with Andrew Manze, because his overflowing joy in the compositions is inspiring and his impulses spark new ways of playing – and when everything works together in harmony, he is happy: »For me, the act of making music is everything. I love the magic when musicians come together, think about music and then something fantastic emerges.«
»My career feels a bit like the history of conducting: from a standing violinist to concertmaster and eventually with just a baton in my hand.« Andrew Manze was a celebrated baroque violinist in the early music scene for a long time, then decided in favour of the conductor’s podium – and is now also passionately immersing himself in the great romantic scores. He fell in love with music and his current profession at an early age: as a child, he simply plucked a branch from his parents’ garden and swung it to symphonies from the radio. Today, our guest conductor is known as a creative free spirit and exudes a lot of British charm. We are pleased that he is once again conducting one of his favourite programmes with us: Grieg wrote his famous piano concerto in 1868 as a newlywed – a very vivacious piece with memorable melodies and typical Norwegian rhythms, for which we welcome the young artist Lukas Sternath as soloist. There is also the colourful and compelling work »Transit Underground« by Swedish composer Tobias Broström, born in 1978. We will conclude with Sibelius’ Symphony No. 5, which he began in the middle of the First World War. It nevertheless carries a largely optimistic tone in a sea full of superb soundscapes – including the »swan theme«, sounding like film music. It will be a thrilling musical experience with Andrew Manze, because his overflowing joy in the compositions is inspiring and his impulses spark new ways of playing – and when everything works together in harmony, he is happy: »For me, the act of making music is everything. I love the magic when musicians come together, think about music and then something fantastic emerges.«
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.
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.
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.
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.
Brahms' Third Symphony, premiered in 1884, is his shortest and focuses on depth. Hans von Bülow liked it so much he played it twice in one concert. Elgar's Violin Concerto, inspired by Fritz Kreisler's praise, took four years to compose. Its premiere shook Queen's Hall, and a year later, Arthur Nikisch led another impactful performance at the Gewandhaus.
Brahms' Third Symphony, premiered in 1884, is his shortest and focuses on depth. Hans von Bülow liked it so much he played it twice in one concert. Elgar's Violin Concerto, inspired by Fritz Kreisler's praise, took four years to compose. Its premiere shook Queen's Hall, and a year later, Arthur Nikisch led another impactful performance at the Gewandhaus.
Grażyna Bacewicz, a Polish violinist, pianist, and composer, debuted at the Grand Concert. Born in 1909, she studied music and philosophy, finding a mentor in Nadia Boulanger. Despite war and political upheaval, she composed prolifically across genres. A car accident in her prime forced her to limit performing, but her works gained recognition, she taught, and held cultural positions. She passed away 55 years ago. Whistler and Debussy, acquainted through Mallarmé's salon, created experimental Nocturnes. Debussy's orchestral triptych features the English horn, shimmering brass and woodwinds, and a women's chorus.
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