Musical works of Samuel Barber , Franz Schubert
Keywords: Symphony Concert
| Grosse Concerte Gewandhausorchester | Orchestra |
| Franz Welser-Möst | Conductor |
| Alisa Weilerstein | Cello |
| Konzert für Violoncello und Orchester op. 22 | Samuel Barber |
| 8. Sinfonie C-Dur D 944 ('Große C-Dur-Sinfonie') | Franz Schubert |
These events are similar in terms of concept, place, musicians or the program.
Konzert & Nachklang: Nach dem Konzert ist bei uns der Abend noch nicht vorbei. Die Bar bleibt geöffnet, wenn wir Musikerinnen und Musiker des Konzerts im Foyer treffen. Mit Blick auf den Augustusplatz lassen wir den Abend gemeinsam ausklingen.
Seven years after the light-hearted and ironic Symphonie classique, Prokofiev’s Second Symphony was to be a work “of steel and iron” – and its disjointed, dissonant sounds delivered an intense physical punch. This rarely performed work has been called “brutal,” “painful,” and “unloved.” However, this is certainly not Franz Welser-Möst’s view – he holds it in high esteem. This is similar to Tchaikovsky’s Fifth, his “Fate Symphony,” about which Tchaikovsky himself wrote: “After every performance, I become more and more convinced that my last symphony is a failed work. It has turned out to be too colorful, too bulky, too insincere, too long, and generally unappealing. Has the beginning of the end really already arrived?” It has become one of the most popular orchestral works of all time.
Seven years after the light-hearted and ironic Symphonie classique, Prokofiev’s Second Symphony was to be a work “of steel and iron” – and its disjointed, dissonant sounds delivered an intense physical punch. This rarely performed work has been called “brutal,” “painful,” and “unloved.” However, this is certainly not Franz Welser-Möst’s view – he holds it in high esteem. This is similar to Tchaikovsky’s Fifth, his “Fate Symphony,” about which Tchaikovsky himself wrote: “After every performance, I become more and more convinced that my last symphony is a failed work. It has turned out to be too colorful, too bulky, too insincere, too long, and generally unappealing. Has the beginning of the end really already arrived?” It has become one of the most popular orchestral works of all time.
Seven years after the light-hearted and ironic Symphonie classique, Prokofiev’s Second Symphony was to be a work “of steel and iron” – and its disjointed, dissonant sounds delivered an intense physical punch. This rarely performed work has been called “brutal,” “painful,” and “unloved.” However, this is certainly not Franz Welser-Möst’s view – he holds it in high esteem. This is similar to Tchaikovsky’s Fifth, his “Fate Symphony,” about which Tchaikovsky himself wrote: “After every performance, I become more and more convinced that my last symphony is a failed work. It has turned out to be too colorful, too bulky, too insincere, too long, and generally unappealing. Has the beginning of the end really already arrived?” It has become one of the most popular orchestral works of all time.
The “most European” of America’s “Big Five” orchestras shuttles back and forth between the continents under its Principal Conductor Franz Welser-Möst: in America, John Adams takes inspiration from the curiosities of French Provence (“Guide to Strange Places”), while in Paris, Sergei Prokofiev is inspired by the industrial landscapes of America in his mighty Second Symphony.
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.
Since 1782, the Gewandhaus Orchestra has been committed to social causes, including the benefit concert for the "Leipzig hilft Kindern" foundation. This year's concert, featuring star pianist Leif Ove Andsnes and conductor Sakari Oramo, continues this tradition on the eve of the first Advent. The foundation has supported approximately 200 projects with over 1.25 million euros, aiding children in need.
Liszt composed tone poems about Orpheus, who overcomes death with music, and Prometheus, who inspires humanity with art. Orpheus's music is harmonious, while Prometheus's is dissonant, reflecting his suffering. Beethoven's 4th Piano Concerto, sometimes called the "Orpheus Concerto," may be inspired by Orpheus. Leó Weiner, a Liszt admirer, orchestrated Liszt's B minor Sonata for the Liszt centenary in 1956.
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