| Isabelle Druet | Mezzo |
| Le Poème Harmonique | Orchestra |
| Vincent Dumestre | Theorbe, Director |
| Folias, sarabandas y otras danzas | BRICEÑO, MARTÍN Y COLL, LE BAILLY, MOULINIÉ |
These events are similar in terms of concept, place, musicians or the program.
Flamenco and Tango Argentino united in one poetic night... Both arts – at the same time light and difficult, comprehensible and enigmatic, modern and timeless – alternate, touch each other, merge with each other. The thirteen artists seduce their audience with the raw beauty of flamenco and touch their innermost being with the yearning melodies of Tango Argentino. Authentic and very personal, they take their audience on a journey through the two centuries-old and yet eternally young arts of flamenco and tango.
Arnold Schönberg’s Chamber Symphony famously once led to a riot in Vienna, but now the only virtuoso handiwork happens on stage when violinist Isabelle Faust tackles this challenging and rarely performed piece. In this evening of chamber music, some of the great works of early new music lead into the melancholy of Brahms’s Clarinet Quintet. The performance of Brahms’s Clarinet Quintet corresponds with the Berliner Philharmoniker’s chamber music afternoon event on 15 September 2024: the programme includes the benchmark clarinet quintet by Wolfgang Amadeus Mozart and Wolfgang Rihm’s response and continuation of this important clarinet quintet tradition.
Experience the grandeur of music composed for the wedding of Louis XIV and the Infanta of Spain. Vincent Dumestre and Le Poème Harmonique recreate the splendor of this event, which sealed peace between France and Spain. The performance showcases works by France's renowned composers of the 17th century, offering a glimpse into a truly magnificent celebration.
Following an acclaimed performance of Baroque repertoire last season, Isabelle Faust returns with a program that reveals a completely different side of her musical personality. Together with pianist Alexander Melnikov, a close collaborator since the beginning of her international career, she explores three large-scale Romantic sonatas by Johannes Brahms and Robert Schumann in a fascinating juxtaposition with exquisite miniatures by Webern and Kurtág.
The BRSO is giving its début in Gasteig’s Interim Quarter with Jakub Hrůša and the violinist Isabelle Faust, who recently thrilled Munich audiences with her readings of Adámek, Schoenberg, Eötvös and others. Now she will play the Britten concerto of 1939, a work whose symphonic earnestness and luscious violin writing place it among the foremost violin concertos of the 20th century. In addition to the insolent and brilliant First Symphony, an examination piece from the 19-year-old Shostakovich, Jakub Hrůša will introduce us to a composer from his own Czech homeland who suffered the fate of being at the wrong place at the wrong time: Miloslav Kabeláč (1908–1979). Kabeláč was unable to come to terms with the totalitarian regimes under which his country suffered, and has remained a barely heard voice as a result. In its spacious and ingeniously constructed overarching crescendo, The Mystery of Time (1957) has a magnetic power similar to that of Ravel’s Boléro.
The BRSO is giving its début in Gasteig’s Interim Quarter with Jakub Hrůša and the violinist Isabelle Faust, who recently thrilled Munich audiences with her readings of Adámek, Schoenberg, Eötvös and others. Now she will play the Britten concerto of 1939, a work whose symphonic earnestness and luscious violin writing place it among the foremost violin concertos of the 20th century. In addition to the insolent and brilliant First Symphony, an examination piece from the 19-year-old Shostakovich, Jakub Hrůša will introduce us to a composer from his own Czech homeland who suffered the fate of being at the wrong place at the wrong time: Miloslav Kabeláč (1908–1979). Kabeláč was unable to come to terms with the totalitarian regimes under which his country suffered, and has remained a barely heard voice as a result. In its spacious and ingeniously constructed overarching crescendo, The Mystery of Time (1957) has a magnetic power similar to that of Ravel’s Boléro.
The BRSO welcomes Maxim Emelyanychev, one of the most fascinating talents of the young generation of conductors, to its podium for the first time. Trained by the legendary Gennady Rozhdestvensky, Emelyanychev began his conducting career in his native Russia, while at the same time attracting attention as an extraordinary pianist – with CD recordings of Mozart sonatas, for example, or playing the fortepiano in Teodor Currentzis’ Da Ponte cycle. Since 2013 he has led the highly successful Italian Baroque ensemble Il pomo d’oro, and since 2019 he has also led the Scottish Chamber Orchestra. He has made highly acclaimed recordings with both ensembles. For his BRSO debut, Emelyanychev has put together an attractive Romantic program in which one can expect a fresh approach inspired by the music of the Classical and Baroque periods. This is also in line with violinist Isabelle Faust’s approach – especially for the Brahms concerto, in which she pursues the ideal of clarity, transparency and lightness.
The BRSO welcomes Maxim Emelyanychev, one of the most fascinating talents of the young generation of conductors, to its podium for the first time. Trained by the legendary Gennady Rozhdestvensky, Emelyanychev began his conducting career in his native Russia, while at the same time attracting attention as an extraordinary pianist – with CD recordings of Mozart sonatas, for example, or playing the fortepiano in Teodor Currentzis’ Da Ponte cycle. Since 2013 he has led the highly successful Italian Baroque ensemble Il pomo d’oro, and since 2019 he has also led the Scottish Chamber Orchestra. He has made highly acclaimed recordings with both ensembles. For his BRSO debut, Emelyanychev has put together an attractive Romantic program in which one can expect a fresh approach inspired by the music of the Classical and Baroque periods. This is also in line with violinist Isabelle Faust’s approach – especially for the Brahms concerto, in which she pursues the ideal of clarity, transparency and lightness.
They are an unconventional and avowed duet: Vincent Dubois, titular organist of Notre-Dame in Paris, and accordionist Marie-Andrée Joerger have been performing together for many years. At their organ matinee, they transform the Philharmonie first into a French salon with works by Ravel and Debussy, then into an Argentinian café – with tangos such as Invierno porteño, Adiós Nonino and Decarisimo by Astor Piazzolla. Imposing works by celebrated French organ composers Louis Vierne and Maurice Duruflé round off the performance.
ConcertPulse