Set your preferred locations for a better search. You can sign up here.

Hannu Lintu & Emanuel Ax

Date & Time
Thu, May 26, 2022, 20:00
The highly regarded Polish-American pianist Emanuel Ax is returning to the BRSO. For more than five decades he has thrilled music-lovers all over the world both with his playing and his modest, warm-hearted demeanour. The works of Frédéric Chopin have been a mainstay of his career, and he has again deepened his grasp of this music during the covid lockdown. The nobility and brilliance of his tone provide the perfect prerequisites for the F-minor Concerto, written when Chopin was 19... Read full text

Keywords: Subscription Concert, Symphony Concert

Artistic depiction of the event

Musicians

Hannu LintuConductor
Emanuel AxPiano
Symphonieorchester des Bayerischen Rundfunks

Program

Piano Concerto No. 2 in F Minor, Op. 21Frédéric Chopin
Symphony No. 2 D Major, op. 43Jean Sibelius
Give feedback
Last update: Fri, Nov 22, 2024, 12:42

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event

Hannu Lintu & Emanuel Ax

Fri, May 27, 2022, 20:00
Hannu Lintu (Conductor), Emanuel Ax (Piano), Symphonieorchester des Bayerischen Rundfunks
The highly regarded Polish-American pianist Emanuel Ax is returning to the BRSO. For more than five decades he has thrilled music-lovers all over the world both with his playing and his modest, warm-hearted demeanour. The works of Frédéric Chopin have been a mainstay of his career, and he has again deepened his grasp of this music during the covid lockdown. The nobility and brilliance of his tone provide the perfect prerequisites for the F-minor Concerto, written when Chopin was 19 years old. After the intermission, Finnish conductor Hannu Lintu will conduct the 2nd Symphony by Jean Sibelius.
Artistic depiction of the event

NDR Elbphilharmonie Orchestra / Emanuel Ax / Alan Gilbert

Thu, Mar 27, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Emanuel Ax (Piano), Alan Gilbert (Conductor)
Since Alan Gilbert has been chief conductor of the NDR Elbphilharmonie Orchestra, the American grand seigneur of the keyboard Emanuel Ax has returned to Hamburg with regularity. Together, the two take on one of Wolfgang Amadeus Mozart’s most famous piano concertos: the one in D minor, K. 466. Its dark key and correspondingly dramatic gesture alone make it stand out from the composer’s piano concertos, which are usually in major keys – this is the Mozart of »Don Giovanni« and the Requiem! But the central island of tranquillity of the »Romance« with its catchy melody also enjoyed great popularity early on.
Artistic depiction of the event

NDR Elbphilharmonie Orchestra / Emanuel Ax / Alan Gilbert

Fri, Mar 28, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Emanuel Ax (Piano), Alan Gilbert (Conductor)
Since Alan Gilbert has been chief conductor of the NDR Elbphilharmonie Orchestra, the American grand seigneur of the keyboard Emanuel Ax has returned to Hamburg with regularity. Together, the two take on one of Wolfgang Amadeus Mozart’s most famous piano concertos: the one in D minor, K. 466. Its dark key and correspondingly dramatic gesture alone make it stand out from the composer’s piano concertos, which are usually in major keys – this is the Mozart of »Don Giovanni« and the Requiem! But the central island of tranquillity of the »Romance« with its catchy melody also enjoyed great popularity early on.
Artistic depiction of the event

NDR Elbphilharmonie Orchestra / Emanuel Ax / Alan Gilbert

Sun, Mar 30, 2025, 18:00
Elbphilharmonie, Großer Saal (Hamburg)
NDR Elbphilharmonie Orchester, Emanuel Ax (Piano), Alan Gilbert (Conductor)
Since Alan Gilbert has been chief conductor of the NDR Elbphilharmonie Orchestra, the American grand seigneur of the keyboard Emanuel Ax has returned to Hamburg with regularity. Together, the two take on one of Wolfgang Amadeus Mozart’s most famous piano concertos: the one in D minor, K. 466. Its dark key and correspondingly dramatic gesture alone make it stand out from the composer’s piano concertos, which are usually in major keys – this is the Mozart of »Don Giovanni« and the Requiem! But the central island of tranquillity of the »Romance« with its catchy melody also enjoyed great popularity early on.
Artistic depiction of the event

Klaus Mäkelä Emanuel Ax Jean Sibelius Anders Hillborg

Fri, Mar 14, 2025, 19:00
Klaus Mäkelä (Conductor), Emanuel Ax (Piano)
“…vivacious, funny, heroic, eloquent, plain-spoken, thoughtful and wholly irresistible…This is a work in which constructive ingenuity and the pleasure principle walk arm in arm…” one reviewer wrote after the premiere of Anders Hillborg’s Piano Concerto No. 2 in the fall of 2023.Hillborg wrote the concerto for the pianist legend Emanuel “Manny” Ax, who is also tonight’s soloist with the Oslo Philharmonic. Hillborg writes about the subtitle The MAX Concert: “It suggests – in powerful ALL CAPS – the exuberance and genius of the outstanding pianist.”In the last few decades, Anders Hillborg (b. 1954) has become one of the most versatile and most-performed composers. He has written music for film and television and collaborated with pop artists like Eva Dahlgren. His orchestral pieces have a film score-like visual feel.Jean Sibelius (1865-1957) often found inspiration in the Finnish national epic Kalevala, and his music has almost become synonymous with Finnish nature and mythology. In the 1890s, he wrote four symphonic poems about Lemminkäinen, one of the most famous heroes in Kalevala. Lemminkäinen is a fearless adventurer and skirt-chaser, a sort of Finnish Don Juan. Lemminkäinen does not form a coherent narrative but independent episodes. Sibelius is more concerned with recreating the mood and atmosphere than telling a story.The second of the four symphonic poems in Lemminkäinen is the most famous and often performed as an independent work: Swan of Tuonela, in which Lemminkäinen meets the enigmatic swan guarding the realm of the dead. The swan is portrayed through a famous solo for English horn.
Artistic depiction of the event

Season Opening: Leonidas Kavakos / Yo-Yo Ma / Emanuel Ax

Thu, Sep 5, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Leonidas Kavakos (Violin), Yo-Yo Ma (Cello), Emanuel Ax (Piano)
If the term all-star team applies to one line-up, then it’s this one: violinist Leonidas Kavakos, cellist Yo-Yo Ma and pianist Emanuel Ax are among the greatest in their respective fields – and are a force to be reckoned with as a trio. The Washington Post raved about the musical chemistry of their interaction as »almost supernatural«. For the opening of the Elbphilharmonie season, the three of them take to the stage of the Grand Hall, which they easily fill with their luxurious sound and concentrated charisma. On the programme: seemingly symphonic trios by Johannes Brahms and Ludwig van Beethoven. Since their first encounter in 2014 at the Tanglewood Festival in the US, the three superstars have appeared together many times, and have released two albums with arrangements of his Symphonies Nos. 2, 5 and 6. »The fullness of sound here almost makes you forget that it’s not a large orchestra playing,«, marvelled Rondo magazine. The Archduke Trio, which Beethoven dedicated to his aristocratic patron and music lover, the Habsburg Archduke Rudolph, and a trio arrangement of his Sixth Symphony will now be performed in the Elbphilharmonie. The Trio in C major by Johannes Brahms was composed at almost the same time as his Second Piano Concerto. The piano part in the trio is also extremely virtuosic and soloistic, while the violin and cello become a miniature orchestra, but of course also appear as soloists repeatedly themselves. Yo-Yo Ma is looking forward to the concert: »We tend to put people in categories: soloists, chamber musicians, orchestral musicians and so on. Such pigeonholing prevents creativity and fruitful collaboration. That’s why we’re returning to a basic principle of music – interaction between friends who want to do something together.«
Artistic depiction of the event

Orchester ’91 / Emanuel Dantscher

Sun, Apr 14, 2024, 19:00
Laeiszhalle, Großer Saal (Hamburg)
Orchester’91, Emanuel Dantscher (Director)
Under the baton of Emanuel Dantscher, the Orchester’91 presents an extraordinary blend of great symphonic music in this concert to mark its 33rd anniversary. In the »Overture’91«, a work commissioned by the orchestra from Roland Fister, a bridge is built between Hamburg and Vienna. Here, seagull cries resound alongside a waltz, but also »Guten Abend, gute Nacht« by Johannes Brahms.
Artistic depiction of the event

Carl Philipp Emanuel Bach Festival

Mon, Apr 29, 2024, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Mitglieder des Philharmonischen Staatsorchesters Hamburg, Elise van Es (Soprano), Hansjörg Albrecht (Harpsichord), Hansjörg Albrecht (Piano)
»I feel air from other planets« – so begins a poem by Stefan George, the poet who once stood for such an admired departure into modernity that a composer like Arnold Schönberg set some of his poems to music early on. Schönberg and Carl Philipp Emanuel Bach were both avant-gardists in the best sense of the word. Both shared an emotional, technical, but also idealistic connection to the traditions from which they came. And both sought the development of art and artistic expression as a reflection of their time, developing a new musical language in the process. Schönberg (born in 1874) turned towards expressionism and later towards atonality, Carl Philipp Emanuel Bach (born in 1714) towards an enlightened understanding of music and as a pioneer and trailblazer for the music of Viennese Classicism. And as Arnold Schönberg and Carl Philipp Emanuel Bach are both celebrating milestone birthdays this year, the Carl-Philipp-Emanuel-Bach-Choir Hamburg congratulates them with this concert.
Artistic depiction of the event

NOSPR / Alsop / Sumino / Inauguration of the season 2024/2025

Fri, Oct 4, 2024, 19:30
Marin Alsop (Conductor), NOSPR, Hayato Sumino (Piano)
We invite you to a live broadcast of the concert on Polish Radio 2.Samuel Barber began composing the Symphony No. 1 in1935, at the age of twenty-five. At the end of 1942 and at the beginning of 1943, he made significant amendments to the score, eventually to dedicate it to Gian Carlo Menotti – his university friend and later life partner. Commenting on this symphonic debut, he admitted that the intention behind it was a polemical dialogue with the classical tradition: „The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character.”The concept of the Concertino by the twenty-nine-year-old Władysław Szpilman– that of a single-movement “small concerto” – is similarly untypical. His first and only composition for piano with orchestra was created in the Warsaw ghetto in 1940. Hence the “compactness” of the form. The graceful character, references to jazz and subtle allusions to Chopin permeate the melodies and harmonic language of the Concertino, showing Szpilman as akin to Prometheus, one who brings light into the darkest places of human despair and sorrow.In the case of the forty-year-old Johannes Brahms, one could call his Variations on a Theme by Haydn, Op. 56a, a “protodebut”. The story of how long Brahms, filled with doubt, was preparing for his Symphony No. 1 (1876), is one of the most frequently discussed aspects of his biography. The 1873 Variations are a significant step in this process. They constitute a prototype of the symphonic idea and texture, and simultaneously a tribute and a token of admiration for the author of TheCreation of the World. „He was quite someone!” was how Brahms wrote about Haydn a year before his own death. “Oh, how pitiful are we against someone like him!”With his Rhapsody in Blue (1924), today, Gershwin is an iconic figure, standing like the Colossus of Rhodes, towering over the borderline between two orders – those of classical music and jazz. However, when the twenty-six-year-old was entering the conservative realm of American concert halls with his slightly nonchalant Broadway gait, he was crossing a line no one had ignored in such an ostentatious manner before. Paul Whiteman organised the Experiment in Modern Music concert in order to prove that the relatively new form of music called jazz deserved being recognised as a serious and sophisticated form of art. The Rhapsody proved that being first and brave is worth the risk!Andrzej SułekConcert duration (intermission included): approximately 90 minutes
Artistic depiction of the event

NOSPR / Arming / Fung / Lullabies and symphonic fantasies

Thu, Oct 10, 2024, 19:30
Christian Arming (Conductor), NOSPR, Zlatomir Fung (Cello)
This year, two hundred years from the premiere of Beethoven’s Symphony No. 9, it is worth remembering the Name Day Overture. Initially, it was intended to contain a choir part with the text of Schiller’s Ode to Joy. The final result turned out to be different, yet no less interesting. All the more so, since the background for the piece is to be found in the name day of Emperor Francis I and II and its dedication is one for Prince Antoni Radziwiłł. It is quite a different story with Haydn’s Cello Concerto in D major. It is a popular piece, permanently present in the repertoire, though probably less frequently played than the Concerto in C major. Equally technically challenging and equally virtuosic, but more dreamy and melancholic, its narrative flowing lightly at a leisurely pace. Haydn’s melodies are easy to remember and not easy to forget, just like the theme from a Polish folk song quoted by Panufnik in his Lullaby, a virtuosic piece using quartertones. „A gem of talent, technique and taste” – that was how Stefan Kisielewski marvelled at the composition. Martinů’s Symphony No. 6, which the composer himself called Symphonic Fantasies,might seem both moving and surprising. It brings together modern oniric sounds and distinct neoclassical elements. „It is a work without form, and yet something holds it together, though I do not know what it is,” Martinů admitted openly. One may seek this “something” on one’s own, letting oneself be captivated by this music created by a Czech master who is still to find recognition in Poland.Piotr MatwiejczukConcert duration (intermission included): approximately 90 minutes