The London Philharmonic Orchestra perform at Bruges's Concertgebouw.Conductor Dima Slobodeniouk and violinist Christian Tetzlaff join the London Philharmonic Orchestra for a dazzling programme of Wennäkoski, Sibelius and Tchaikovsky.
Keywords: Symphony Concert
| Dima Slobodeniouk | Conductor |
| Christian Tetzlaff | Violin |
| Hava | Wennäkoski |
| Violin Concerto | Jean Sibelius |
| Symphony No. 5 | Piotr Tchaikovsky |
These events are similar in terms of concept, place, musicians or the program.
Andrew Manze strikes a passionate blow for Bruckner’s Second Symphony. ‘From the yearning, desolate opening to the self-assured, triumphant ending, the Second Symphony is a gem that has for too long been inexplicably overlooked, even by many Bruckner lovers’, the conductor says. Up to now, only five conductors have led the Concertgebouw Orchestra in this work – its last performance was conducted by Riccardo Chailly in 1992. Now Andrew Manze is taking up the gauntlet.After moving to Vienna, Bruckner set to work on his Second Symphony, a work in which we can hear him finding his own voice. In addition to the long-drawn-out opening theme, folk dances and quotations from his own oeuvre, the influence of the Viennese Classics is clearly audible – that of Beethoven in particular, but Wagner and Schubert as well. Andrew Manze pairs Bruckner’s Second with the most serious of Schubert’s first six symphonies, the Fourth.
Andrew Manze strikes a passionate blow for Bruckner’s Second Symphony. ‘From the yearning, desolate opening to the self-assured, triumphant ending, the Second Symphony is a gem that has for too long been inexplicably overlooked, even by many Bruckner lovers’, the conductor says. Up to now, only five conductors have led the Concertgebouw Orchestra in this work – its last performance was conducted by Riccardo Chailly in 1992. Now Andrew Manze is taking up the gauntlet.After moving to Vienna, Bruckner set to work on his Second Symphony, a work in which we can hear him finding his own voice. In addition to the long-drawn-out opening theme, folk dances and quotations from his own oeuvre, the influence of the Viennese Classics is clearly audible – that of Beethoven in particular, but Wagner and Schubert as well. Andrew Manze pairs Bruckner’s Second with the most serious of Schubert’s first six symphonies, the Fourth.
The Essentials series introduces you to the masterpieces you will be happy to know, performed by the world-famous Concertgebouw Orchestra and complete with a lively introduction by the incomparable Thomas Vanderveken. At Essentials we welcome a new generation of music lovers, and the concerts typically have a pleasant informal atmosphere.Grand, epic, mysterious: Jean Sibelius’ Fifth Symphony is an enigma. ‘It was as if God the Father was throwing pieces of mosaic from the edge of heaven and asking me to figure out what the pattern was,’ wrote Sibelius of composing the symphony, inspired by the vast natural landscapes of Finland. The Fifth is sombre in character, the composer having suffered from deep depression. But the sun gradually broke through, and the music culminates in a radiant and sublime ending.Sibelius’s symphonies fit Santtu-Matias Rouvali like a glove, and he has been a welcome guest with the Concertgebouw Orchestra since his first appearance in 2020. Like a passionate sculptor, the Finnish conductor moulds the orchestra in changeable shapes and colours – just what Sibelius’s epic music calls for.Essentials starts at 9 p.m. with an imaginative introduction to the programme (in Dutch).
In her first performance with the Concertgebouw Orchestra, Han-Na Chang champions Beethoven’s lyrical Fourth Symphony. Bernd Richard Deutsch’s Phantasma was inspired by Beethoven and Gustav Klimt’s Beethoven Frieze on display in Vienna’s Secession Building. Phantasma made a big impression on audiences at its world premiere, performed by the Concertgebouw Orchestra in October 2022. Klimt’s idealised vision of the world, brilliant explosions of colour, symbols and even gold – Deutsch brings them all to life in the music.Richard Strauss was unrivalled in his ability to make the most fantastic scenes come to life in music. Cervantes’s novel Don Quixote served as Strauss’s inspiration for his Fantastic Variations on a Theme of Knightly Character. The adventures of the knight-errant and his faithful squire, as heroic as they are hilarious, come to life as the orchestra’s principal cellist Tatiana Vassiljeva and principal violist Santa Vižine, with support from the tenor tuba and bass clarinet, join their orchestra in battle. But who are they fighting? Windmills, sheep and, of course, the knight of the bright moon. Han-Na Chang now makes her first appearance with the Concertgebouw Orchestra five years after it was originally scheduled owing to the coronavirus pandemic.
There are few orchestras that can boast as long a Mahler tradition as the Royal Concertgebouw Orchestra from Amsterdam. Even during Gustav Mahler’s lifetime, the orchestra regularly performed his symphonies and helped the composer achieve the fame he enjoys to this day. Klaus Mäkelä, who takes over as the orchestra’s chief conductor in 2027, continues this tradition with a performance of Mahler’s First Symphony. The composer wrote about his work: »It has become so overpowering – it flowed out of me like a mountain stream!« Also on the programme is Arnold Schönberg’s early work »Verklärte Nacht« for string orchestra, based on Richard Dehmel’s poem of the same name. Before Schönberg climbed to the top of the avant-garde and shocked the music world with his twelve-tone music, he wrote deeply Romantic pieces in his younger years, in which he endeavoured to unite the styles of Wagner and Brahms.
Musical tales of boundless passion and madness come to life. Hector Berlioz explored his obsessive love in the Symphonie Fantastique. Joyce DiDonato sings Into the Fire, Jake Heggie’s bittersweet song cycle about the French artist Camille Claudel, whose affair with her associate Auguste Rodin proved to be her undoing. Such a programme calls for a conductor who knows how to deliver drama in a perfectly measured way. Sir Antonio Pappano manages to lead the Concertgebouw Orchestra on this emotional roller coaster without going off the rails.The American composer Jake Heggie tells the moving story of Camille Claudel, whose passionate relationship with the eminent Auguste Rodin would prove to be her undoing. After a series of scandals, her family locked her away in an asylum. Heggie, who has garnered acclaim for his emotional songs and operas, has an elderly Claudel look back on her eventful life in Into the Fire.No less riveting is Berlioz’ Symphonie Fantastique, in which the composer used his own searing infatuation as a model for a colourful orchestral narrative that ends with opium-induced hallucinations of a macabre witches’ dance.
Musical tales of boundless passion and madness come to life. Hector Berlioz explored his obsessive love in the Symphonie Fantastique. Joyce DiDonato sings Into the Fire, Jake Heggie’s bittersweet song cycle about the French artist Camille Claudel, whose affair with her associate Auguste Rodin proved to be her undoing. Such a programme calls for a conductor who knows how to deliver drama in a perfectly measured way. Sir Antonio Pappano manages to lead the Concertgebouw Orchestra on this emotional roller coaster without going off the rails.The American composer Jake Heggie tells the moving story of Camille Claudel, whose passionate relationship with the eminent Auguste Rodin would prove to be her undoing. After a series of scandals, her family locked her away in an asylum. Heggie, who has garnered acclaim for his emotional songs and operas, has an elderly Claudel look back on her eventful life in Into the Fire.No less riveting is Berlioz’ Symphonie Fantastique, in which the composer used his own searing infatuation as a model for a colourful orchestral narrative that ends with opium-induced hallucinations of a macabre witches’ dance.
The Royal Concertgebouw Orchestra reunites with Maria João Pires for Mozart’s Piano Concerto No. 9 ‘Jeunehomme’, paired with Dvořák’s Eighth Symphony.
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).
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).
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