Keywords: Subscription Concert, Symphony Concert
| Herbert Blomstedt | Conductor |
| Leonidas Kavakos | Violin |
| Symphonieorchester des Bayerischen Rundfunks |
| Violin Concerto in E Minor, Op. 64 | Felix Mendelssohn Bartholdy |
| Symphony No. 4 in E-Flat Major “Romantic” (1878 final version) | Anton Bruckner |
These events are similar in terms of concept, place, musicians or the program.
»Anyone who preserves the ability to see beauty will never grow old.« These words by Franz Kafka are wonderfully fitting for our esteemed Honorary Conductor, who has been a legend on the podium for a long time. Whilst he is approaching the age of 100, he still has a passion for meticulous attention to detail. He also has a congenial way of passing his positive energy on to the audience with his music. When asked what his secret is, he answered: »The love of music. It’s like a fire that you can’t put out – it inspires me, it challenges me.« And he added very sympathetically: »I’m an ordinary old man, but when you’re in love at the same time, it releases unexpected power reserves.« Herbert Blomstedt is a master of the art of interpretation, and his deeply human and keen spirit is unmistakable. As a sovereign connoisseur of the work in question, he always gives them a very personal interpretation. His characteristic trademarks are small but precise gestures or caressing hand movements. Added to this comes the charisma of an artist who is completely at peace with himself, who no longer needs to prove himself to anyone and performs with unwavering joy. In his self-created programmes, he likes to focus on unknown repertoire from his Swedish homeland – but in keeping with the motto that »old love never dies«, he regularly returns to his musical favourites. And with the two symphonies by Beethoven and Brahms, he will once again endeavour to achieve exactly what he so desires in his role as conductor: »If I can move people’s hearts, then I am happy.«
»Anyone who preserves the ability to see beauty will never grow old.« These words by Franz Kafka are wonderfully fitting for our esteemed Honorary Conductor, who has been a legend on the podium for a long time. Whilst he is approaching the age of 100, he still has a passion for meticulous attention to detail. He also has a congenial way of passing his positive energy on to the audience with his music. When asked what his secret is, he answered: »The love of music. It’s like a fire that you can’t put out – it inspires me, it challenges me.« And he added very sympathetically: »I’m an ordinary old man, but when you’re in love at the same time, it releases unexpected power reserves.« Herbert Blomstedt is a master of the art of interpretation, and his deeply human and keen spirit is unmistakable. As a sovereign connoisseur of the work in question, he always gives them a very personal interpretation. His characteristic trademarks are small but precise gestures or caressing hand movements. Added to this comes the charisma of an artist who is completely at peace with himself, who no longer needs to prove himself to anyone and performs with unwavering joy. In his self-created programmes, he likes to focus on unknown repertoire from his Swedish homeland – but in keeping with the motto that »old love never dies«, he regularly returns to his musical favourites. And with the two symphonies by Beethoven and Brahms, he will once again endeavour to achieve exactly what he so desires in his role as conductor: »If I can move people’s hearts, then I am happy.«
Among the many wonderful concerts this season, there is one that Sir Simon Rattle would particularly like to attend himself: Stravinsky and Mendelssohn, conducted by Herbert Blomstedt. The BRSO Chief Conductor has long admired Blomstedt (who has reached the impressive age of 97): “He’s like a splendid wine that only gets better with age,” says Rattle. “The last time I heard Lobgesang I was in my teens and still a mediocre timpani player. And although I couldn’t grasp its quality back then, I am convinced that Mr. Blomstedt will reveal the magnificence of this work – as he always does.” Hardly anyone conducts with such understanding and such humility. “He is such an inspiration!”
Among the many wonderful concerts this season, there is one that Sir Simon Rattle would particularly like to attend himself: Stravinsky and Mendelssohn, conducted by Herbert Blomstedt. The BRSO Chief Conductor has long admired Blomstedt (who has reached the impressive age of 97): “He’s like a splendid wine that only gets better with age,” says Rattle. “The last time I heard Lobgesang I was in my teens and still a mediocre timpani player. And although I couldn’t grasp its quality back then, I am convinced that Mr. Blomstedt will reveal the magnificence of this work – as he always does.” Hardly anyone conducts with such understanding and such humility. “He is such an inspiration!”
Herbert Blomstedt is Sweden's internationally most recognized conductor – ever. Among the orchestras he has worked with are the Gewandhaus Orchestra in Leipzig, the Berlin Philharmonic, the Orchestre de Paris, and notably the San Francisco Symphony, where Blomstedt was chief conductor for ten years. Blomstedt has also conducted the Royal Stockholm Philharmonic Orchestra on well over 200 occasions, and on the occasion of his 90th birthday in 2017, Konserthuset named its grand conductor's dressing room after him.As he makes another cherished visit to the Royal Stockholm Philharmonic Orchestra, it is with two favorites, Franz Berwald and Brahms. Memories from the Norwegian mountains came to him after a visit to Norway, and Berwald described the Nordic-sounding music as orchestral tonal painting. The restlessly bustling Sinfonie capricieuse is surrounded by mystique, for shortly after Berwald's death, the score disappeared under mysterious circumstances. The music was later reconstructed by Nils Castegren based on Berwald's remaining sketches.Johannes Brahms's first symphony is undoubtedly a masterpiece. The symphony was crafted over many years, with Brahms at times almost paralyzed by the performance demands of his idol Beethoven. However, the end result is magnificent and shaped with precision, intense emotion, and great beauty.
If the Gewandhaus Orchestra could only perform one work, it would be Bruckner's Seventh Symphony. This piece, premiered by the orchestra, is uniquely tied to its history and represents the deepest emotions. Conductor Herbert Blomstedt receives standing ovations upon entering the stage, and the hall's structural integrity is tested after every performance. The symphony's climax features a powerful cymbal crash in the Adagio, a controversial addition potentially attributed to the first conductor, Arthur Nikisch, and now accepted in the latest edition.
If the Gewandhaus Orchestra could only perform one work, it would be Bruckner's Seventh Symphony. This piece, premiered by the orchestra, is uniquely tied to its history and represents the deepest emotions. Conductor Herbert Blomstedt receives standing ovations upon entering the stage, and the hall's structural integrity is tested after every performance. The symphony's climax features a powerful cymbal crash in the Adagio, a controversial addition potentially attributed to the first conductor, Arthur Nikisch, and now accepted in the latest edition.
If the Gewandhaus Orchestra could only perform one work, it would be Bruckner's Seventh Symphony. This piece, premiered by the orchestra, is uniquely tied to its history and represents the deepest emotions. Conductor Herbert Blomstedt receives standing ovations upon entering the stage, and the hall's structural integrity is tested after every performance. The symphony's climax features a powerful cymbal crash in the Adagio, a controversial addition potentially attributed to the first conductor, Arthur Nikisch, and now accepted in the latest edition.
“When I turned 85 I thought: it’s now or never. I have no more duties as principal conductor; now I must do something for Stenhammar.” Since then Herbert Blomstedt has turned 94, and he has remained true to his mission with unbroken commitment. The highly esteemed maestro has already presented works by his Swedish countryman on two occasions with the BRSO. Now he will introduce us to Stenhammar’s Second Piano Concerto, a grand late-romantic opus full of soaring melodies, riveting drama and harrowing intensity. The soloist Martin Sturfält, likewise from Sweden, has already played the piece several times under Blomstedt’s baton. And as Stenhammar’s major “idols” were Sibelius and Beethoven, the “Eroica” Symphony fits perfectly into the concert’s dramatic scheme.
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