Jakub Hrůša & Bamberger Symphoniker: Mahler & Bruckner

Bamberger Symphoniker, Jakub Hrůša & Julia Fischer

Jakub Hrůša conducts Bruckner, Mahler and Rott

The concert introduction takes place at 7 pm in the Joseph-Keilberth-Saal.

Bamberger Symphoniker

Experience a guaranteed sound rush when the Bamberg Symphony Orchestra and Ray Chen tackle Tchaikovsky's luscious Violin Concerto. The top violinist presents himself as always both virtuosic and approachable. Ray Chen, also a social media star, believes musicians should be ambassadors for their art, making classical music accessible through entertaining videos and flawless performances.

Bamberger Symphoniker in Munich

Gewandhausorchester, Jakub Hrůša Dirigent

The most valuable prize in music competitions is always the amazed and participating audience. This was no different 75 years ago, when the Bach world commemorated the 200th anniversary of the composer's death and the Bach Competition was held for the first time in Leipzig, the site of the central celebrations. Brahms, a connoisseur and admirer of Bach's music, paid homage to it in various ways. Honegger's Symphony No. 2, written during the occupation of Paris in 1941, reflects the composer's distress over the world war. The finale, infused with Bach-like polyphony, culminates in a trumpet fanfare and a chorale melody radiating hope and reconciliation.

Gewandhausorchester, Jakub Hrůša Dirigent

The most valuable prize in music competitions is always the amazed and participating audience. This was no different 75 years ago, when the Bach world commemorated the 200th anniversary of the composer's death and the Bach Competition was held for the first time in Leipzig, the site of the central celebrations. Brahms, a connoisseur and admirer of Bach's music, paid homage to it in various ways. Honegger's Symphony No. 2, written during the occupation of Paris in 1941, reflects the composer's distress over the world war. The finale, infused with Bach-like polyphony, culminates in a trumpet fanfare and a chorale melody radiating hope and reconciliation.

Jakub Hrůša & Julia Fischer

Aristotle once said that "The beginning is half of the whole." This concert will present a brand-new creation by Johannes X. Schachtner, who was born in 1985 into a Bavarian family of musicians. This young composer already has an extensive catalogue of works to his credit and collaborates with international artists such as the acclaimed violinist Julia Fischer, for whom the violin concerto we commissioned was written. The concerto refers explicitly to our roots in Prague, nodding to the Bohemian musical tradition that we have continued to cultivate under our principal conductor Jakub Hrůša. The forms adopted by Czech composers such as Dvořák and Janáček have inspired Schachtner to write a sequence of several connected movements rather than employ the traditional classical-romantic solo concerto structure. Jazz influences can be heard in the concerto, too – we can’t wait for its premiere! Dvořák's most famous contribution to the symphonic genre is marked by a similar sense of a new beginning: his cultural mission for his sojourn in the "New World" was to create an American national music – for in contrast to Europe with its centuries-long musical tradition, there had been no major developments in the field of classical music in the “land of unlimited possibilities”.

Jakub Hrůša conducts Beethoven

Under the baton of our Chief Conductor, we take our listeners on musical soul-searchings through emotional highs and lows: We combine two sonic legacies revolving around heroes – and there is a connection between them. As Romain Rolland said admiringly of Beethoven: »You are the embodiment of heroism in all of modern art. You give us your bravery, your faith that struggle is bliss.« Due to the political events around Napoleon, numerous myths surround Beethoven’s »Eroica«. The symphony was initially dedicated to the Frenchman – but even Prometheus, who brought fire to mankind in ancient times, is a possible candidate as the hero. And it is also possible that this instrumental journey may even retrace Beethoven's own fate. For the generations that followed, the famous Helden-Symphonie has remained a powerful memory – including for Richard Strauss, who almost a century later referred to the model in a way that was both playful and serious: »Ein Heldenleben« is set in E-flat major, like the »Eroica«, and displays autobiographical characteristics. In the meantime, Strauss even referred to it as a »heroic symphony«. The result is a very haunting work: at the beginning, the protagonist confronts his adversaries – the malicious envious and presumptuous know-it-alls and supposedly the nagging music critics of that time. For peace of mind, the hero then ultimately flees the world with his beloved mate. Strauss gave numerous hints about the detailed content of the symphonic poem – but what was important to him was its central message: »It is enough to know that it portrays a hero in combat with his enemies.«

Jakub Hrůša conducts Beethoven

Under the baton of our Chief Conductor, we take our listeners on musical soul-searchings through emotional highs and lows: We combine two sonic legacies revolving around heroes – and there is a connection between them. As Romain Rolland said admiringly of Beethoven: »You are the embodiment of heroism in all of modern art. You give us your bravery, your faith that struggle is bliss.« Due to the political events around Napoleon, numerous myths surround Beethoven’s »Eroica«. The symphony was initially dedicated to the Frenchman – but even Prometheus, who brought fire to mankind in ancient times, is a possible candidate as the hero. And it is also possible that this instrumental journey may even retrace Beethoven's own fate. For the generations that followed, the famous Helden-Symphonie has remained a powerful memory – including for Richard Strauss, who almost a century later referred to the model in a way that was both playful and serious: »Ein Heldenleben« is set in E-flat major, like the »Eroica«, and displays autobiographical characteristics. In the meantime, Strauss even referred to it as a »heroic symphony«. The result is a very haunting work: at the beginning, the protagonist confronts his adversaries – the malicious envious and presumptuous know-it-alls and supposedly the nagging music critics of that time. For peace of mind, the hero then ultimately flees the world with his beloved mate. Strauss gave numerous hints about the detailed content of the symphonic poem – but what was important to him was its central message: »It is enough to know that it portrays a hero in combat with his enemies.«

Jakub Hrůša, Ivo Kahánek

»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.«