Keywords: Symphony Concert
| Marek Janowski | Conductor |
| Frank-Michael Erben | Violin |
| Charlotte Steppes | Piano |
| Ann-Katrin Zimmermann | Konzerteinführung |
| Konzertouvertüre "Der Beherrscher der Geister" | Carl Maria von Weber |
| Konzert für Violine, Klavier und Orchester d-Moll | Felix Mendelssohn Bartholdy |
| 4. Sinfonie d-Moll op. 120 | Robert Schumann |
These events are similar in terms of concept, place, musicians or the program.
GEISTREICH Der Name trügt: Die Geister dieser Ouvertüre sind nicht beherrschbar. Mit der Wucht des ganzen Orchesters braust der mächtige Teamgeist auf, Feuergeister entflammen Streicherfuror, aus der Flöte säuseln Feingeister, ein Schöngeist betört mit Oboentönen, dem Fagott entweichen Flattergeister, ein Waldgeist wohnt im Horn, der Berggeist droht mit Blech, und ein paar Kleingeister verführen mit Klarinetten-Charme. Carl Maria von Weber, der den Mächten des Orchesters gebietet wie kaum ein Zeitgenosse, animiert selbst in der Pauke einen schlummernden Poltergeist zum aufmüpfigen Solo. Er weiß, dass die 1811 als Relikt eines Rübezahl-Opernplans freigelassenen Geistwesen nicht wieder einzufangen sind, und preist sein Orchesterstück das kraftvollste und klarste was ich geschrieben habe. Wen diese Musik begeistert, den lässt ihr Melodienspuk tage- und nächtelang nicht mehr los. GEISTERGEGENWART 14 Jahre alt ist Felix Mendelssohn Bartholdy, als er 1823 in Berlin das Konzert für Klavier und Violine aus dem Ärmel schüttelt. Es gehört zu einer Fünfergruppe früher Geniestreiche, die Mendelssohn für sich, seine ebenso talentierte Schwester und enge Freunde wie den sieben Jahre älteren Geigenlehrer Eduard Rietz aufs Papier wirft. Mit ihm bestreitet Mendelssohn die erste Aufführung am 25. Mai 1823 im Rahmen einer privaten Sonntagsmusik und die öffentliche Premiere im Königlichen Schauspielhaus zu Berlin kurz darauf. Felix’ gespenstisch virtuoses Klavierspiel beschwört alle guten Geister des Barock und der Klassik herauf.
“All good music must have a sense of direction,” Marek Janowski once said. This is what he considers “the most important guiding principle for all composers.” The composer who posed the greatest challenge throughout Janowski’s life was Beethoven. The maestro initially navigates a classical terrain in Beethoven’s First Symphony, while Bruckner’s Third Symphony contains harmonic disturbances and jarring rhythms, as well as quotes from Wagner. In the opening, marked “Misterioso,” the distinctive trumpet theme emerges from the gently undulating strings. The work’s originality certainly comes to the fore in the finale, when a polka (played by the strings) is boldly layered over a chorale (played by the winds). This demands restrained ecstasy from the musicians of the BRSO – and the experienced Beethoven and Bruckner interpreter Janowski provides the best guidance.
“All good music must have a sense of direction,” Marek Janowski once said. This is what he considers “the most important guiding principle for all composers.” The composer who posed the greatest challenge throughout Janowski’s life was Beethoven. The maestro initially navigates a classical terrain in Beethoven’s First Symphony, while Bruckner’s Third Symphony contains harmonic disturbances and jarring rhythms, as well as quotes from Wagner. In the opening, marked “Misterioso,” the distinctive trumpet theme emerges from the gently undulating strings. The work’s originality certainly comes to the fore in the finale, when a polka (played by the strings) is boldly layered over a chorale (played by the winds). This demands restrained ecstasy from the musicians of the BRSO – and the experienced Beethoven and Bruckner interpreter Janowski provides the best guidance.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
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.
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