Giovanni Antonini & Maria João Pires

Giovanni Antonini & Maria João Pires

Schubert was just sixteen years old when he began working on the first of his eight symphonies in 1813, the last of which he completed in 1825. At the age of nineteen, he began writing his Fourth, the “Tragic,” which moves from C minor to C major, i.e. from darkness to light – “per aspera ad astra.” The Fifth Symphony is even more optimistic, striving from the first bar towards a “brighter, better life” and a cheerful buoyancy that dissolves all melancholy. Incidentally, this is the closest Schubert ever got in his compositional output to the Mozartean ideal of beauty – as exemplified in the “Jenamy” Piano Concerto, “Mozart’s Eroica” (Alfred Einstein): original, virtuosic, and daring. Another highlight of this concert is the collaboration of Maria João Pires and Giovanni Antonini, two artists with whom the BRSO has a close relationship.

Concertgebouw Orchestra & Maria João Pires: Mozart

When Maria João Pires takes her place at the piano and leads you into Mozart’s sound world, you simply lose track of time. You can’t get any closer to the composer than this! The ‘Jeunehomme’ concerto is named after the amateur pianist Victoire Jenamy – a discovery not made until 2004 – rather than referring to Mozart’s own youth at the time of its composition.Honorary guest conductor Iván Fischer also leads the Concertgebouw Orchestra in two works brimming with optimism, joie de vivre and a love of nature. Dvořák’s Eighth Symphony is a work of mature mastery. The composer had achieved international fame and was at the height of his powers when he wrote it. And as his operatic ambitions grew, so did the dramatic quality of his symphonies, as the richly varied Eighth demonstrates. Marsyas by Alphons Diepenbrock, the Dutch classicist turned composer, is a fine rarity. Diepenbrock stayed true to classically Greek themes, as in his incidental music about a faun who challenges the gods to a musical duel. Performed here is the Entr’acte, nicknamed ‘Zwerftochten door het woud’ (Wandering Through the Forest).

Concertgebouw Orchestra & Maria João Pires: Mozart

When Maria João Pires takes her place at the piano and leads you into Mozart’s sound world, you simply lose track of time. You can’t get any closer to the composer than this! The ‘Jeunehomme’ concerto is named after the amateur pianist Victoire Jenamy – a discovery not made until 2004 – rather than referring to Mozart’s own youth at the time of its composition.Honorary guest conductor Iván Fischer also leads the Concertgebouw Orchestra in two works brimming with optimism, joie de vivre and a love of nature. Dvořák’s Eighth Symphony is a work of mature mastery. The composer had achieved international fame and was at the height of his powers when he wrote it. And as his operatic ambitions grew, so did the dramatic quality of his symphonies, as the richly varied Eighth demonstrates. Marsyas by Alphons Diepenbrock, the Dutch classicist turned composer, is a fine rarity. Diepenbrock stayed true to classically Greek themes, as in his incidental music about a faun who challenges the gods to a musical duel. Performed here is the Entr’acte, nicknamed ‘Zwerftochten door het woud’ (Wandering Through the Forest).

Concertgebouw Orchestra & Maria João Pires: Mozart

When Maria João Pires takes her place at the piano and leads you into Mozart’s sound world, you simply lose track of time. You can’t get any closer to the composer than this! The ‘Jeunehomme’ concerto is named after the amateur pianist Victoire Jenamy – a discovery not made until 2004 – rather than referring to Mozart’s own youth at the time of its composition.Honorary guest conductor Iván Fischer also leads the Concertgebouw Orchestra in two works brimming with optimism, joie de vivre and a love of nature. Dvořák’s Eighth Symphony is a work of mature mastery. The composer had achieved international fame and was at the height of his powers when he wrote it. And as his operatic ambitions grew, so did the dramatic quality of his symphonies, as the richly varied Eighth demonstrates. Marsyas by Alphons Diepenbrock, the Dutch classicist turned composer, is a fine rarity. Diepenbrock stayed true to classically Greek themes, as in his incidental music about a faun who challenges the gods to a musical duel. Performed here is the Entr’acte, nicknamed ‘Zwerftochten door het woud’ (Wandering Through the Forest).

Concertgebouw Orchestra & Maria João Pires: Mozart

When Maria João Pires takes her place at the piano and leads you into Mozart’s sound world, you simply lose track of time. You can’t get any closer to the composer than this! The ‘Jeunehomme’ concerto is named after the amateur pianist Victoire Jenamy – a discovery not made until 2004 – rather than referring to Mozart’s own youth at the time of its composition.Honorary guest conductor Iván Fischer also leads the Concertgebouw Orchestra in two works brimming with optimism, joie de vivre and a love of nature. Dvořák’s Eighth Symphony is a work of mature mastery. The composer had achieved international fame and was at the height of his powers when he wrote it. And as his operatic ambitions grew, so did the dramatic quality of his symphonies, as the richly varied Eighth demonstrates. Marsyas by Alphons Diepenbrock, the Dutch classicist turned composer, is a fine rarity. Diepenbrock stayed true to classically Greek themes, as in his incidental music about a faun who challenges the gods to a musical duel. Performed here is the Entr’acte, nicknamed ‘Zwerftochten door het woud’ (Wandering Through the Forest).

Maria João Pires & Ignasi Cambra

The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!

Giovanni Antonini

»Music should touch the heart!« Giovanni Antonini is a phenomenal artist who succeeds in realising this credo of 18th century composers. The Italian conductor likes to indulge in the emotional worlds that the works tell us about, immersing himself in the effects and emotions. A musician who has his own language in the midst of all the performers, whose signature is unmistakable and who breathes a lot of fresh air. His energy is truly infectious – and when asked where he gets it from, he once replied in an interview: »I get it from the music. Even after a concert, which was exhausting and tiring, I’m always tired in a positive sense, that’s the difference. And so on the day after, I’m ready for a new musical adventure. And of course there is also my great love for music!« However, he is not only a fiery spirit, but also a sharp-witted analyst. He is particularly well-known for his innovative and sophisticated approaches to the baroque and classical repertoire – and we love to regularly and intensively explore this historical approach with him. This time he takes us into Mozart's adventure world: his last two symphonies are on the programme. In between, there is another »musical adventure«, which Giovanni Antonini has rarely done recently, but which he is happy to do with us: as an accomplished recorder player, he himself takes on the solo part in Telemann’s original instrumental concerto. Our audience is in for a wonderful musical stroll through the colours and temperaments of the 18th century – where the point was always to »delight the connoisseurs and lovers of music«.

Giovanni Antonini

Giovanni Antonini & Lydia Teuscher

Among conductors, Giovanni Antonini continues to number among the “savages” who use ultra-brisk tempos to breathe unparalleled passion and vivacity into the music of bygone eras. In the meantime he no longer specialises in Baroque music, but increasingly devotes himself to the Classical and early Romantic periods. Between Mozart’s “Little” G minor Symphony and Haydn’s “Drumroll” Symphony (written for London), the soprano Lydia Teuscher will sing three famous concert arias by Mozart and Mendelssohn. The Mozart arias were originally inserted into comic operas by other composers; today they can be heard in concert as precious gems in their own right. Mendelssohn composed his aria of love and vengeance for Maria Malibran, placing at her side a poignant violin solo to be played by the virtuoso Charles-Auguste de Bériot, her lover at the time and later her husband.

Giovanni Antonini & Lydia Teuscher

Among conductors, Giovanni Antonini continues to number among the “savages” who use ultra-brisk tempos to breathe unparalleled passion and vivacity into the music of bygone eras. In the meantime he no longer specialises in Baroque music, but increasingly devotes himself to the Classical and early Romantic periods. Between Mozart’s “Little” G minor Symphony and Haydn’s “Drumroll” Symphony (written for London), the soprano Lydia Teuscher will sing three famous concert arias by Mozart and Mendelssohn. The Mozart arias were originally inserted into comic operas by other composers; today they can be heard in concert as precious gems in their own right. Mendelssohn composed his aria of love and vengeance for Maria Malibran, placing at her side a poignant violin solo to be played by the virtuoso Charles-Auguste de Bériot, her lover at the time and later her husband.