Guest at Stadttheater Fürth

Guest at Kissinger Sommer

Guest at Kissinger Sommer

Guest at Markgräfliches Opernhaus Bayreuth

Bayreuth Music

Guest performance at the Elbphilharmonie

“Complete at last the glorious work!” Something akin to these words from Haydn’s “Creation” surely went through the minds of many musicians and concertgoers when they first set foot in the Elbphilharmonie. We have been regular guests at this stunning concert hall ever since it opened in 2017. This season, our orchestra will perform here on two consecutive nights, playing some of the core repertoire featured on our recent internationally acclaimed recordings – superb symphonies by two musician friends who inspired one another: Johannes Brahms, who was born in Hamburg, and Antonín Dvořák, a native of our Bohemian home.

Guest performance at the Elbphilharmonie

“Complete at last the glorious work!” Something akin to these words from Haydn’s “Creation” surely went through the minds of many musicians and concertgoers when they first set foot in the Elbphilharmonie. We have been regular guests at this stunning concert hall ever since it opened in 2017. This season, our orchestra will perform here on two consecutive nights, playing some of the core repertoire featured on our recent internationally acclaimed recordings – superb symphonies by two musician friends who inspired one another: Johannes Brahms, who was born in Hamburg, and Antonín Dvořák, a native of our Bohemian home.

Guest at the Philharmonie Köln

Ludwig van Beethoven: genius, freethinker and troubled soul – as well as a master of coping with crises through music. In 1809, he lamented: »We have experienced a rather crowded misery. The entire course of events has affected my body and soul. What a destructive, desolate life around me! Nothing but drums, cannons, all kinds of human misery!« At that time, he was greatly distressed by the current situation, as Vienna was occupied by Napoleon's troops. Food shortages, the black market and inflation were making life difficult for the people. Beethoven often sought shelter in the cellar – and put pillows over his head to avoid hearing the noise. But despite these unfavourable conditions, he wrote his great Fifth Piano Concerto: a gigantic work that gives the impression as if he wanted to drown out the chaos of war with the power and splendour of his music. For long segments, it spreads a belligerent sound – but with the Adagio, a very contemplative movement is interwoven: Beethoven is said to have been thinking of the »chants of devout pilgrims«. These fragmented states of mind are already pervasive in his Fifth Symphony, which was premiered a year earlier and can certainly be understood as a statement on the political fate of Europe at that time. With its famous obsessive motif, the work is at first full of anxiety and emotional complexity over long stretches. But an astounding inner force is able to find its way out of the initial darkness and into the ever brightening light. Like Beethoven wrote in one of his conversation books, which he used because of his deafness and in which he also collected essential ideas: »With music I have transformed my suffering into hope«.

Guest at Festspielhaus Baden-Baden

In this concert, our honorary conductor guides us through a programme that brings to mind Goethe: »A thousand and a thousand thoughts rise and sink within me. My soul is like an everlasting firework without rest.« Beethoven could certainly have said the same thing about his hot-tempered disposition and extreme mood swings. His violin concerto was composed in 1806 – but he wrote down his many ideas for it so late that the premiere violinist had to play this rather difficult piece almost from sight. It is characterised by a spirit that is certainly reminiscent of the proverb that nowadays goes by the motto »Himmelhoch jauchzend, zu Tode betrübt« (»rejoicing to the skies, saddened to death«). A masterpiece from the history of music, for which we welcome as soloist María Dueñas, an »Andalusian violin miracle«: it is said of the young virtuoso that she elicits »a soulful and at times a fiery sound« from her instrument. Beethoven‘s groundbreaking compositions were both a curse and a blessing for the following generations – including Brahms, who confided to a friend: »You have no idea how it makes all of us feel to hear such a giant marching behind you all the time.« But on the other hand, Beethoven was also seen as his great role model. Nevertheless, it took Brahms a very long time to complete his first symphony: he spent 14 years crafting it, with interruptions from 1862 to 1876. And then, after this fierce symphonic struggle, there was finally lots of balm for his soul: Hans von Bülow was so enthusiastic about the First that he exuberantly described it as »Beethoven‘s Tenth«. The work is a stroke of genius: from the fateful conflict in the opening to the emotional triumph in the final movement – and all in all an enchanting journey of discovery with many interwoven insights.

Guest at the Beethovenfest Bonn

»This must be love!« These words were heard at the joyous announcement that the journey with Jakub Hrůša will continue for several more wonderful years. And he sums it up perfectly, because our Chief Conductor is completely happy with his »friendly and harmonious home«: he loves the city Bamberg, the amicable atmosphere in the orchestra and the whole team behind the scenes, the magnificent hall and the enthusiastic audiences – who return his love in such a way that the concerts with him have been constantly sold out for years. And since fate has been particularly kind to this close relationship since 2016, Jakub Hrůša has fittingly included the Beethoven symphony on the programme for our season opener, with its world-famous tones revolving around the much-invoked Fatum – and about which it was said early on that it is a »living image of great passion«. This symphonic blockbuster is combined with favourites from the heart of our Chief Conductor: With compositions from his and our Bohemian homeland, which he regularly familiarises us with on our journey together. And in doing so, we are always moving on to lesser-known repertoire. Dvořák's Violin Concerto, for example, is not heard very often, even though it is in no way inferior in quality to the great Romantic concertos of his colleagues: it is »original, full of cantilenas and written for accomplished violinists« – including Isabelle Faust, whose wish it was to play the solo part with us one day. However, before that, we should first congratulate this year's birthday boy, Smetana: With his fascinating tone poem »Wallenstein's Camp«, which for Jakub Hrůša is a »fantastic opener« for concerts – which makes the piece a perfect opening for the new season themed »What we love«.

Guest at Markgräfliches Opernhaus Bayreuth

»I love Czech music, and I want to share what I love with other people creatively.« Jakub Hrůša once said this in an interview, and this programme is another wonderful example thereof. The pleasure of listening is also complemented by an artist from his homeland: Ivo Kahánek is the soloist in the much too rarely performed piano concerto by Dvořák – the very composer who is always close to our Chief Conductor's heart, as he put it: »This music is like mother’s milk for me.« The symphonic piano concerto from 1876, packed with folklore, flourishes from the way the pianist and orchestra toss the thematic balls to and fro in a captivating and supple way. Before this, there is a likewise endearing piece to set the mood and thus even a double anniversary: Smetana was born in the Czech Republic in 1824 and the premiere of his comic opera »The Two Widows« took place in Prague in 1874 under his baton – a work that is set somewhere in Bohemia on an aristocratic estate and features a sparkling overture. Finally, we delve into the world of Beethoven, whose compositions are (not only) part of Jakub Hrůša’s core repertoire. Schumann described his Symphony No. 4 from 1806 as a »slender Greek maiden between two Northland giants«, as it was composed between the courageous »Eroica« and the glorious Fifth. It is a friendly work with enchanting melodies, as Beethoven was madly in love with a young noblewoman at the time – which is why a contemporary commented: »While writing this symphony, his heart must have nearly burst with joy.«

Guest performance at the Wiener Musikverein

"Women, you angels of the earth! Heaven's loveliest creation! You are the sole ray that illuminates our lives." (Alphonse de Lamartine) We start with the meaning-laden Adagietto from Mahler's Fifth Symphony, inspired in 1901 by his blossoming love for his future wife Alma. A musical marriage proposal with strings and harp, it is a beguilingly beautiful work, albeit shot through with hauntingly world-weary and nostalgic tones. Like many great composers, Richard Strauss had a strong woman at his side – the singer Pauline, for whom he composed many of his vocal works. His lush "Four Last Songs" strike a tone of farewell. These settings of texts by Hesse and Eichendorff were written in 1948, when Strauss’ world had been shattered by the war and he was growing “weary of wandering”, to quote the final line of the last song. While profound grief can often stifle creativity, it sometimes can also awaken new creative energies – as proven by our programme’s emotional final piece, a "work of superhuman strength" written by Josef Suk, who had close personal ties with Dvořák. He became not only the latter’s master student, but also his friend and son-in-law as well, falling in love with Dvořák’s daughter Otylka. But this happiness was abruptly destroyed by Dvořák’s demise in 1904 and the tragically early death of Otylka a mere fourteen months later. Suk wrote the moving symphony "Asrael" to overcome this trauma and in memory of his loved ones, saying: "Such misfortune either destroys a person or brings all the forces lying dormant in them to the surface. Music saved me."