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The BRSO is looking forward to its first collaboration with the Polish conductor Krzysztof Urbański, who has been the Chief Conductor of the Orchestra della Svizzera italiana since 2022 and has served as guest conductor of renowned orchestras such as the Münchner and Berliner Philharmoniker, the Dresden Staatskapelle, the Leipzig Gewandhaus Orchestra, the London Symphony Orchestra and the New York Philharmonic. Urbański will introduce himself to the BRSO audience with a work particularly close to his heart: Shostakovich’s existential Tenth Symphony. Immediately after Stalin’s death, Shostakovich created in this symphony a harrowing document of the suffering caused by dictatorship and terror, and at the same time a moving self-portrait. In addition, there is a reunion with Evgeny Kissin, who raised his voice against the Russian war of aggression from the very beginning. He will perform Rachmaninov’s Third Piano Concerto, probably the most technically demanding of the composer’s four concertos.
The BRSO is looking forward to its first collaboration with the Polish conductor Krzysztof Urbański, who has been the Chief Conductor of the Orchestra della Svizzera italiana since 2022 and has served as guest conductor of renowned orchestras such as the Münchner and Berliner Philharmoniker, the Dresden Staatskapelle, the Leipzig Gewandhaus Orchestra, the London Symphony Orchestra and the New York Philharmonic. Urbański will introduce himself to the BRSO audience with a work particularly close to his heart: Shostakovich’s existential Tenth Symphony. Immediately after Stalin’s death, Shostakovich created in this symphony a harrowing document of the suffering caused by dictatorship and terror, and at the same time a moving self-portrait. In addition, there is a reunion with Evgeny Kissin, who raised his voice against the Russian war of aggression from the very beginning. He will perform Rachmaninov’s Third Piano Concerto, probably the most technically demanding of the composer’s four concertos.
The BRSO’s chamber music programs center on works whose unusual instrumentation has prevented them from being frequently performed in concerts. One such work is pianist Viktor Derevianko’s arrangement of Dmitri Shostakovich’s Fifteenth Symphony for piano trio and three percussionists, which creates an exciting timbral and rhythmic alternative to Shostakovich’s original. The Fifteenth Symphony is Shostakovich’s last contribution to the symphonic genre, and is considered to be an eloquent summation of his artistic life. Shostakovich references music of the past with quotations from Rossini and Wagner. The concert will commence with Anton Arensky’s rarely performed Piano Trio, composed in 1894: it is an unjustly neglected masterpiece that is in no way inferior to the compositions of German Romanticism. And Serbian percussionist and composer Nebojša Jovan Živković composed the percussion trio “Trio per uno” to showcase his favorite instruments. This is a program full of discoveries for inquisitive music lovers.
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.
