Marek Janowski and Augustin Hadelich

Marek Janowski and Augustin Hadelich

In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.

Marek Janowski and Augustin Hadelich

In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.

Marek Janowski

“All good music must have a sense of direction,” Marek Janowski once said. This is what he considers “the most important guiding principle for all composers.” The composer who posed the greatest challenge throughout Janowski’s life was Beethoven. The maestro initially navigates a classical terrain in Beethoven’s First Symphony, while Bruckner’s Third Symphony contains harmonic disturbances and jarring rhythms, as well as quotes from Wagner. In the opening, marked “Misterioso,” the distinctive trumpet theme emerges from the gently undulating strings. The work’s originality certainly comes to the fore in the finale, when a polka (played by the strings) is boldly layered over a chorale (played by the winds). This demands restrained ecstasy from the musicians of the BRSO – and the experienced Beethoven and Bruckner interpreter Janowski provides the best guidance.

Marek Janowski

“All good music must have a sense of direction,” Marek Janowski once said. This is what he considers “the most important guiding principle for all composers.” The composer who posed the greatest challenge throughout Janowski’s life was Beethoven. The maestro initially navigates a classical terrain in Beethoven’s First Symphony, while Bruckner’s Third Symphony contains harmonic disturbances and jarring rhythms, as well as quotes from Wagner. In the opening, marked “Misterioso,” the distinctive trumpet theme emerges from the gently undulating strings. The work’s originality certainly comes to the fore in the finale, when a polka (played by the strings) is boldly layered over a chorale (played by the winds). This demands restrained ecstasy from the musicians of the BRSO – and the experienced Beethoven and Bruckner interpreter Janowski provides the best guidance.

Augustin Hadelich

For Augustin Hadelich, Mozart's music tells stories. He believes Mozart composed instrumental music with dramatic arcs and storylines. Hadelich will perform two violin concertos, showcasing these musical narratives. Beethoven's Eighth Symphony was initially conceived as a solo concerto, adding another intriguing story to the concert.

Gewandhausorchester, Marek Janowski Dirigent

Gewandhausorchester, Marek Janowski Dirigent

GEISTREICH Der Name trügt: Die Geister dieser Ouvertüre sind nicht beherrschbar. Mit der Wucht des ganzen Orchesters braust der mächtige Teamgeist auf, Feuergeister entflammen Streicherfuror, aus der Flöte säuseln Feingeister, ein Schöngeist betört mit Oboentönen, dem Fagott entweichen Flattergeister, ein Waldgeist wohnt im Horn, der Berggeist droht mit Blech, und ein paar Kleingeister verführen mit Klarinetten-Charme. Carl Maria von Weber, der den Mächten des Orchesters gebietet wie kaum ein Zeitgenosse, animiert selbst in der Pauke einen schlummernden Poltergeist zum aufmüpfigen Solo. Er weiß, dass die 1811 als Relikt eines Rübezahl-Opernplans freigelassenen Geistwesen nicht wieder einzufangen sind, und preist sein Orchesterstück das kraftvollste und klarste was ich geschrieben habe. Wen diese Musik begeistert, den lässt ihr Melodienspuk tage- und nächtelang nicht mehr los. GEISTERGEGENWART 14 Jahre alt ist Felix Mendelssohn Bartholdy, als er 1823 in Berlin das Konzert für Klavier und Violine aus dem Ärmel schüttelt. Es gehört zu einer Fünfergruppe früher Geniestreiche, die Mendelssohn für sich, seine ebenso talentierte Schwester und enge Freunde wie den sieben Jahre älteren Geigenlehrer Eduard Rietz aufs Papier wirft. Mit ihm bestreitet Mendelssohn die erste Aufführung am 25. Mai 1823 im Rahmen einer privaten Sonntagsmusik und die öffentliche Premiere im Königlichen Schauspielhaus zu Berlin kurz darauf. Felix’ gespenstisch virtuoses Klavierspiel beschwört alle guten Geister des Barock und der Klassik herauf.

Thomas Søndergård & Augustin Hadelich

The barely ten-minute “Legend for Orchestra” about the guardian of the Finnish realm of the dead, The Swan of Tuonela, is one of Jean Sibelius’ best-known compositions and a showpiece for English horn – it is entrusted with the elegiac song with which the swan attracts the souls of the deceased. Afterwards, violinist Augustin Hadelich will interpret Ligeti’s Violin Concerto. The work, composed thirty years ago, captivates the listener with its iridescent, shimmering soundscapes and rhythmically motoric pulse. Furthermore the concert will conclude with Dvořák’s Seventh Symphony, his formidable response to Brahms’ Third. With this symphony, the Czech composer wanted to set “a world in motion”. The work was written for London. Long before he achieved the recognition he deserved on the continent, Dvořák was already held in high regard by the English audiences of the time.

Thomas Søndergård & Augustin Hadelich

The barely ten-minute “Legend for Orchestra” about the guardian of the Finnish realm of the dead, The Swan of Tuonela, is one of Jean Sibelius’ best-known compositions and a showpiece for English horn – it is entrusted with the elegiac song with which the swan attracts the souls of the deceased. Afterwards, violinist Augustin Hadelich will interpret Ligeti’s Violin Concerto. The work, composed thirty years ago, captivates the listener with its iridescent, shimmering soundscapes and rhythmically motoric pulse. Furthermore the concert will conclude with Dvořák’s Seventh Symphony, his formidable response to Brahms’ Third. With this symphony, the Czech composer wanted to set “a world in motion”. The work was written for London. Long before he achieved the recognition he deserved on the continent, Dvořák was already held in high regard by the English audiences of the time.

Czech Philharmonic / Augustin Hadelich / Semyon Bychkov

Their mutual history goes back a long way: the first concert given by the Czech Philharmonic, which was founded in 1896 by musicians of the Prague National Theatre, was conducted by no lesser figure than Antonín Dvořák. It goes without saying that the programme featured works by the composer’s himself, who had just returned from America. And it was Dvořák’s wealth of melody and his orchestral creativity that produced the traditional soft sound cultivated by this top ensemble. So tonight we hear a showpiece programme which marks the Czech Philharmonic’s return to ProArte this season. In the midst of nature the audience can hear birdsong and get to know nature lover Dvořák, who was fond of working in his garden with a straw hat on, and used to go for long hikes with a water bottle in his backpack. His highly sophisticated Violin Concerto shows his talent for marvellous melodies, while the cleverly designed Eighth Symphony is a classic example of this brilliant composition’s rich imagination. One couldn’t present the Czech national composer any better than this!