An evening-long meditation on life and the hereafter, devised by Sakari Oramo and featuring the UK premiere of Kaija Saariaho’s astonishing final masterpiece Hush.
Gustav Mahler's 5th Symphony starts with a four-note motif, resembling Beethoven's 5th. Reflecting the era's upheaval, the symphony features stark contrasts, from somber marches to triumphant brass chorales. Mahler's focus on polyphony weaves through the composition. He considered it a "completely new style," possibly influenced by his love for and marriage to Alma Schindler in 1902. The 'Adagietto,' seen as a declaration of love to Alma, gained fame, notably through Visconti's 'Death in Venice.' The junge orchester NRW celebrates its 40th anniversary this year.
Michael Nagy, photo: Gisela Schenker Biographers of Gustav Mahler have vied with one another to produce increasingly daring readings of his work through the prism of events in the composer’s life. A rewarding object for comparative analysis is his youthful four-movement cycle Lieder eines fahrenden Gesellen, originally composed for voice and piano. Full of paradoxes, darkness and fantasy, these songs to the composer’s own words impose autobiographical associations from the very title of the work. In it, Mahler reveals himself to be an insatiable romantic wanderer – a tragic witness to his beloved’s wedding. The work Der Ring ohne Worte does not appear in the catalogue of Richard Wagner’s oeuvre. Although the title may evoke associations with Romantic piano miniatures (songs without words), it is an extensive symphonic ‘synopsis’ of Der Ring des Nibelungen, written by American conductor Lorin Maazel, who died a decade ago. His ambitious aim was to condense the instrumental music from each movement of the great Wagnerian cycle in the right proportions and in such a way as to avoid adding bridges or modulations and to preserve the chronology of events. The result was a work lasting 70 minutes uninterrupted, which begins with the prelude to Das Rheingold and ends with the final notes of Götterdämmerung.
Michael Nagy, photo: Gisela Schenker Biographers of Gustav Mahler have vied with one another to produce increasingly daring readings of his work through the prism of events in the composer’s life. A rewarding object for comparative analysis is his youthful four-movement cycle Lieder eines fahrenden Gesellen, originally composed for voice and piano. Full of paradoxes, darkness and fantasy, these songs to the composer’s own words impose autobiographical associations from the very title of the work. In it, Mahler reveals himself to be an insatiable romantic wanderer – a tragic witness to his beloved’s wedding. The work Der Ring ohne Worte does not appear in the catalogue of Richard Wagner’s oeuvre. Although the title may evoke associations with Romantic piano miniatures (songs without words), it is an extensive symphonic ‘synopsis’ of Der Ring des Nibelungen, written by American conductor Lorin Maazel, who died a decade ago. His ambitious aim was to condense the instrumental music from each movement of the great Wagnerian cycle in the right proportions and in such a way as to avoid adding bridges or modulations and to preserve the chronology of events. The result was a work lasting 70 minutes uninterrupted, which begins with the prelude to Das Rheingold and ends with the final notes of Götterdämmerung.
Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.
Night music and love songs – Mahler and Schumann at their romantic best.
In our moderated rehearsals, visitors get to know the most important genres of classical music: Symphony, solo concerto, symphonic poem. In conversation with the conductor, orchestra musician or soloist, you will learn exciting facts about the works and gain an in-depth insight into the orchestra’s rehearsal work. This is an offer for school classes from intermediate level and adults. Duration: approx. 90 minutes. Participation free of charge. The moderation will be in German.
Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.
Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.
Pavel Haas (1899–1944) and Gustav Mahler (1860–1911) emerged from similar roots in the Bohemia that is now Czechia: Haas from Brno and Mahler from Kaliste, 120 kilometers away. Both were Jewish, but Haas hailed from a Moravian-Jewish family and Mahler from an Austrian-Jewish one.Pavel Haas was deported during World War II to the Theresienstadt concentration camp, later to be murdered in Auschwitz. His only symphony remained unfinished. It wasn't until half a century later that the remaining material was orchestrated, and the work premiered in 1998. Haas' creative output is characterized by Bohemian and Jewish influences, with elements of folk music and jazz. The symphony is a remarkable, staggering piece.If darkness pervades Haas' symphony, Mahler's fourth symphony is brighter, lyrical, and playful. It's been dubbed "sky blue" at times, and the fourth movement features a soprano solo: "Wir geniessen die himmlischen Freuden," "We enjoy the heavenly pleasures."The soloist is our latest soprano star in the international music scene, Christina Nilsson. Conducting this captivating program with the Royal Stockholm Philharmonic Orchestra is the American conductor Joshua Weilerstein, noted for his championing of rare works.
Three good reasons to go to a concert: Love for music, emotional escape, and feeling inspired. Three secret reasons: alibi for mother-in-law's birthday, wrong Valentine's Day gift, and cheaper alternative to Beethoven. Three reasons for this concert: sentimental trumpet solos, family preferences (Mendelssohn, Nelsons, Jussen brothers), and the rarity of Mendelssohn's and Mahler's pieces.
Three good reasons to go to a concert: Love for music, emotional escape, and feeling inspired. Three secret reasons: alibi for mother-in-law's birthday, wrong Valentine's Day gift, and cheaper alternative to Beethoven. Three reasons for this concert: sentimental trumpet solos, family preferences (Mendelssohn, Nelsons, Jussen brothers), and the rarity of Mendelssohn's and Mahler's pieces.
Pavel Haas (1899–1944) and Gustav Mahler (1860–1911) emerged from similar roots in the Bohemia that is now Czechia: Haas from Brno and Mahler from Kaliste, 120 kilometers away. Both were Jewish, but Haas hailed from a Moravian-Jewish family and Mahler from an Austrian-Jewish one.Pavel Haas was deported during World War II to the Theresienstadt concentration camp, later to be murdered in Auschwitz. His only symphony remained unfinished. It wasn't until half a century later that the remaining material was orchestrated, and the work premiered in 1998. Haas' creative output is characterized by Bohemian and Jewish influences, with elements of folk music and jazz. The symphony is a remarkable, staggering piece.If darkness pervades Haas' symphony, Mahler's fourth symphony is brighter, lyrical, and playful. It's been dubbed "sky blue" at times, and the fourth movement features a soprano solo: "Wir geniessen die himmlischen Freuden," "We enjoy the heavenly pleasures."The soloist is our latest soprano star in the international music scene, Christina Nilsson. Conducting this captivating program with the Royal Stockholm Philharmonic Orchestra is the American conductor Joshua Weilerstein, noted for his championing of rare works.
Three good reasons to go to a concert: Love for music, emotional escape, and feeling inspired. Three secret reasons: alibi for mother-in-law's birthday, wrong Valentine's Day gift, and cheaper alternative to Beethoven. Three reasons for this concert: sentimental trumpet solos, family preferences (Mendelssohn, Nelsons, Jussen brothers), and the rarity of Mendelssohn's and Mahler's pieces.
Tchaikovsky's deeply moving Sixth Symphony will be performed by the hr-Symphony Orchestra, conducted by Nathalie Stutzmann. The former celebrated alto singer claims that conducting feels "like 100 voices singing inside of her". Baritone Matthias Goerne, known for his expressive voice, will also perform six songs from Mahler's "Des Knaben Wunderhorn". The concert duration is approximately 120 minutes including intermission.
A lively hunting king scares away the game with his boastful pelvic roar, but demands a solitary violin beauty, beginning a tale of murder, percussion-slaying, grave desecration, miraculous revival through brass chorales, gruesome revenge, and a pompous wedding. Dvořák's music expresses the full spectrum of emotions from thrilling rhythms and orchestral colors to tender harp-woodwind love episodes, dramatic fortissimo fury, dark bass abysses, and uplifting melodies. Mahler's 4th Symphony leads into a hellish heaven three years later, with diabolical otherworldly scenarios humorously conjured by the Wunderhorn song "Das himmlische Leben". While hypocritical saints merrily slaughter, Death grabs a detuned violin from the fiddle-filled sky. After experiencing these fable purgatories and hellish heavens, you might conclude Earth is quite comfortable, especially as it's blessed with Mahler and Dvořák's music.
A lively hunting king scares away the game with his boastful pelvic roar, but demands a solitary violin beauty, beginning a tale of murder, percussion-slaying, grave desecration, miraculous revival through brass chorales, gruesome revenge, and a pompous wedding. Dvořák's music expresses the full spectrum of emotions from thrilling rhythms and orchestral colors to tender harp-woodwind love episodes, dramatic fortissimo fury, dark bass abysses, and uplifting melodies. Mahler's 4th Symphony leads into a hellish heaven three years later, with diabolical otherworldly scenarios humorously conjured by the Wunderhorn song "Das himmlische Leben". While hypocritical saints merrily slaughter, Death grabs a detuned violin from the fiddle-filled sky. After experiencing these fable purgatories and hellish heavens, you might conclude Earth is quite comfortable, especially as it's blessed with Mahler and Dvořák's music.
Tchaikovsky's deeply moving Sixth Symphony will be performed by the hr-Symphony Orchestra, conducted by Nathalie Stutzmann. The former celebrated alto singer claims that conducting feels "like 100 voices singing inside of her". Baritone Matthias Goerne, known for his expressive voice, will also perform six songs from Mahler's "Des Knaben Wunderhorn". The concert duration is approximately 120 minutes including intermission.
The Frankfurt Radio Symphony Orchestra, conducted by Nathalie Stutzmann, will perform Prokofiev's "Overture on Hebrew Themes," Mahler's "Songs from Des Knaben Wunderhorn," and Tchaikovsky's Symphony No. 6 ("Pathétique") in Aschaffenburg. Baritone Matthias Goerne will be the soloist.
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