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Philharmonie Berlin, Chamber Music Hall (Berlin)
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Leoš Janáček (1854–1927) wrote the orchestral work Taras Bulba during the First World War, just before Czechoslovakia became independent from Austria-Hungary. He kept the theme to himself for a long time because the inspiration came from the other side of the war front, from a Russian writer. The Cossack Taras Bulba, the main character of Nikolai Gogol’s novel, loses his sons to war before he suffers a dramatic death. The music in Taras Bulba gradually builds from an enigmatic, subdued opening to an intensely powerful ending with a full orchestra, organ, and pipe bells.Bohuslav Martinů (1890–1959) combined the playful melodies and energetic rhythms of Czech folk music with inspiration from jazz, creating a distinctive tonal language that has been compared to Sergei Prokofiev’s and Béla Bartók’s music.Martinů wrote his Oboe Concerto in 1955 for the Czech-Australian oboist Jiří Tancibudek, who premiered the piece during the Olympics in Melbourne in 1956. The soloist at this concert is João Miguel Silva, the alternating solo oboist at the Oslo Philharmonic.During the 1870s, Antonín Dvořák (1841–1904) went from being completely unknown to musical Europe’s new favorite, with Johannes Brahms as an important supporter and role model. The great breakthrough came with Slavic Dances based on Czech folk music.Brahms’ second symphony was the model for Dvořák, who, in 1880, wrote a warm, bright, and summery symphony commissioned by the Vienna Philharmonic. Symphony No. 6 is rich in references, among others to Beethoven’s symphonies, Viennese dances, and Czech folk tunes.
»Yes, just love him, love him so much – but don’t forget that he achieved poetic freedom after years of study, go back to the foundation of his work, don’t prove his genius through the last symphony!« Schumann said this about Beethoven – and it is indeed the case that the Symphony No. 4, which Jakub Hrůša has chosen for this programme, is often treated somewhat like a Cinderella among the nine symphonies. Quite wrongly, because it is an equally masterful composition: it stands in B flat major, which is an expression of the »yearning for a better world« according to the symbolism of musical keys of a certain Mr Schubart, and is characterised by a friendly tone with many wonderful ideas. Our Chief Conductor combines it with an equally neglected piece from the pen of his beloved composer Dvořák. We will be playing the fascinating piano concerto together with the acclaimed pianist Daniil Trifonov: the wide-ranging work was premiered in Prague in 1878 and features a magnificent richness of deeply felt inspirations. We will first present the programme in Bamberg, but then also in Linz – and also travel to the birthplace of Jakub Hrůša, where we have something to celebrate: 1924 was the first time that the »Year of Czech Music« was celebrated. It goes without saying that we have to be there, and our luggage includes the two pieces that were played at the opening concert of the year-long festival in Brno – on the occasion of Josef Suk’s 50th birthday and Janáček’s 70th birthday. In other words, music by two more of our Chief Conductor’s favourite artists: The magnificent autobiographical tone poem »Zrání« and the sparkling orchestral rhapsody »Taras Bulba«.
The Signum Quartet, known for its intense and expressive chamber music, launched the "SIGNUM open space" in Bremen in 2022. This space fosters rehearsals, recordings, concerts, workshops, music education, and interactive exchanges with the audience, reflecting the quartet's commitment to impactful music experiences.
»Wherever you go, go with all your heart.« True to this saying, we are travelling on winding paths again – after all, we are Bavaria’s cultural ambassadors in the world. It gives us great pleasure to be touring across Europe to distribute musical calling cards from our wide-ranging repertoire to audiences elsewhere – who may well be curious. Jakub Hrůša once said that he loves it when people »really come with an open heart and are open to experiencing something completely new – and then relate it to what they already know«. At the request of the exceptionally gifted pianist Daniil Trifonov, this time the tour takes us to numerous places in Central Europe, to concert halls that we haven't performed in for a long time. In our suitcases we bring those exciting works that we have presented to our esteemed Bamberg audience for a long time – and although we are now travelling around for a while, we will of course always return to our beloved »home port« on the Regnitz later on.
»Wherever you go, go with all your heart.« True to this saying, we are travelling on winding paths again – after all, we are Bavaria’s cultural ambassadors in the world. It gives us great pleasure to be touring across Europe to distribute musical calling cards from our wide-ranging repertoire to audiences elsewhere – who may well be curious. Jakub Hrůša once said that he loves it when people »really come with an open heart and are open to experiencing something completely new – and then relate it to what they already know«. At the request of the exceptionally gifted pianist Daniil Trifonov, this time the tour takes us to numerous places in Central Europe, to concert halls that we haven't performed in for a long time. In our suitcases we bring those exciting works that we have presented to our esteemed Bamberg audience for a long time – and although we are now travelling around for a while, we will of course always return to our beloved »home port« on the Regnitz later on.
»Wherever you go, go with all your heart.« True to this saying, we are travelling on winding paths again – after all, we are Bavaria’s cultural ambassadors in the world. It gives us great pleasure to be touring across Europe to distribute musical calling cards from our wide-ranging repertoire to audiences elsewhere – who may well be curious. Jakub Hrůša once said that he loves it when people »really come with an open heart and are open to experiencing something completely new – and then relate it to what they already know«. At the request of the exceptionally gifted pianist Daniil Trifonov, this time the tour takes us to numerous places in Central Europe, to concert halls that we haven't performed in for a long time. In our suitcases we bring those exciting works that we have presented to our esteemed Bamberg audience for a long time – and although we are now travelling around for a while, we will of course always return to our beloved »home port« on the Regnitz later on.
»Wherever you go, go with all your heart.« True to this saying, we are travelling on winding paths again – after all, we are Bavaria’s cultural ambassadors in the world. It gives us great pleasure to be touring across Europe to distribute musical calling cards from our wide-ranging repertoire to audiences elsewhere – who may well be curious. Jakub Hrůša once said that he loves it when people »really come with an open heart and are open to experiencing something completely new – and then relate it to what they already know«. At the request of the exceptionally gifted pianist Daniil Trifonov, this time the tour takes us to numerous places in Central Europe, to concert halls that we haven't performed in for a long time. In our suitcases we bring those exciting works that we have presented to our esteemed Bamberg audience for a long time – and although we are now travelling around for a while, we will of course always return to our beloved »home port« on the Regnitz later on.
»Wherever you go, go with all your heart.« True to this saying, we are travelling on winding paths again – after all, we are Bavaria’s cultural ambassadors in the world. It gives us great pleasure to be touring across Europe to distribute musical calling cards from our wide-ranging repertoire to audiences elsewhere – who may well be curious. Jakub Hrůša once said that he loves it when people »really come with an open heart and are open to experiencing something completely new – and then relate it to what they already know«. At the request of the exceptionally gifted pianist Daniil Trifonov, this time the tour takes us to numerous places in Central Europe, to concert halls that we haven't performed in for a long time. In our suitcases we bring those exciting works that we have presented to our esteemed Bamberg audience for a long time – and although we are now travelling around for a while, we will of course always return to our beloved »home port« on the Regnitz later on.
The Bamberger Symphoniker, whose Chief Conductor is Jakub Hrůša, has affectionately entitled its season “What we love.” And Hrůša loves the Eastern European canon, so he will present a trio of Eastern European composers (from the Czech Republic and Poland) in Munich: Janáček, Wieniawski, and Lutosławski. “When we love something, when we are really convinced of something, our natural impulse is to share it with others,” says Hrůša regarding Lutosławski’s Concerto for Orchestra, a major work from the 1950s that was celebrated already at its premiere. There is also music from Osud, which is peppered with melodies typical of Janáček. And between those works is the impressive, romantic Second Violin Concerto, with which Wieniawski has captivated the greatest violinists in history – including Joshua Bell.
The Bamberger Symphoniker, whose Chief Conductor is Jakub Hrůša, has affectionately entitled its season “What we love.” And Hrůša loves the Eastern European canon, so he will present a trio of Eastern European composers (from the Czech Republic and Poland) in Munich: Janáček, Wieniawski, and Lutosławski. “When we love something, when we are really convinced of something, our natural impulse is to share it with others,” says Hrůša regarding Lutosławski’s Concerto for Orchestra, a major work from the 1950s that was celebrated already at its premiere. There is also music from Osud, which is peppered with melodies typical of Janáček. And between those works is the impressive, romantic Second Violin Concerto, with which Wieniawski has captivated the greatest violinists in history – including Joshua Bell.
Gorgeous late-romantic soundscapes – featuring works by Josef Suk and Leoš Janáček, who are among Jakub Hrůša’s favourite composers. It is thus a matter of the heart for him to regularly introduce audiences to pieces by these fascinating composers that are still relatively unknown outside the Czech Republic. The captivating »Asrael« Symphony already delivered proof of how well this works – and Josef Suk is also being celebrated this year on the occasion of his 150th birthday with an imposing musical autobiography: the programme includes his tone poem »Zráni«, finished in 1917, revolving around human maturity and elevating love to the core aspiration of our existence. Even the conductor of the premiere was absolutely enthusiastic, as he is said to have kissed the score in front of the concert audience and exclaimed in honour of Smetana’s famous cycle: »A second fatherland!« Janáček’s grandiose work was composed at virtually the same time – the scoring of a story about a Cossack culminating in a marvellous apotheosis. Jakub Hrůša fell in love with this composition, as he explained in an interview: »'Taras Bulba' is at the centre of my musical life. I didn't choose it, it just so happened. It was the first work and I’m still in love with it.« The brilliant »Paganini Rhapsody« by Rachmaninov from 1934 – who once answered the question »What is music?« in his typically poetic language: »That which goes from heart to heart, love.« – is also an emotional companion to the two Bohemian pieces.
Gorgeous late-romantic soundscapes – featuring works by Josef Suk and Leoš Janáček, who are among Jakub Hrůša’s favourite composers. It is thus a matter of the heart for him to regularly introduce audiences to pieces by these fascinating composers that are still relatively unknown outside the Czech Republic. The captivating »Asrael« Symphony already delivered proof of how well this works – and Josef Suk is also being celebrated this year on the occasion of his 150th birthday with an imposing musical autobiography: the programme includes his tone poem »Zráni«, finished in 1917, revolving around human maturity and elevating love to the core aspiration of our existence. Even the conductor of the premiere was absolutely enthusiastic, as he is said to have kissed the score in front of the concert audience and exclaimed in honour of Smetana’s famous cycle: »A second fatherland!« Janáček’s grandiose work was composed at virtually the same time – the scoring of a story about a Cossack culminating in a marvellous apotheosis. Jakub Hrůša fell in love with this composition, as he explained in an interview: »'Taras Bulba' is at the centre of my musical life. I didn't choose it, it just so happened. It was the first work and I’m still in love with it.« The brilliant »Paganini Rhapsody« by Rachmaninov from 1934 – who once answered the question »What is music?« in his typically poetic language: »That which goes from heart to heart, love.« – is also an emotional companion to the two Bohemian pieces.
Wonderful late-romantic soundscapes - including works by Josef Suk and Leoš Janáček, who are among Jakub Hrůša's favourite composers. It is therefore regularly a matter close to his heart to introduce audiences to pieces by these fascinating composers that are still relatively unknown outside the Czech Republic. The grandiose work by Janáček will be rehearsed on Wednesday night - the setting of a story about a Cossack that culminates in a magnificent apotheosis. Jakub Hrůša has really fallen for this composition, as he explained in an interview: ‘’Taras Bulba' is at the centre of my musical life. I didn't choose it, it just happened that way. It was the first work and I'm still in love with it.’The format of the public and moderated rehearsal offers the opportunity to take a look at the working phase before our symphony concerts. Our chief conductor Jakub Hrůša and moderator and violist Martin Timphus will explain and comment during the rehearsal and answer questions about the planned programme and our orchestral work.
Musical works of Leoš Janáček , Thomas Adès , Béla Bartók
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Mikhail Glinka’s »Divertimento brillante« dates from a time when Glinka was living in Italy and saw the world premiere of Bellini’s bel canto opera »La Sonnambula« at La Scala in Milan. The melodic material comes from this opera, Glinka’s Divertimento consists of just one long movement with a brilliant finale, from which the work undoubtedly takes its name. The first half of the concert focuses on Finland’s musical heritage, including »Don Juanquijoten Virtuoosinen Pöytämusiikki« (The Virtuoso Table Music of Don Quixote) by Aulis Sallinen, which was written to celebrate the 70th birthday of cellist Arto Noras and premiered by Noras in Helsinki in 2012. Noras himself also performs this work here in Hamburg. In Janáček’s »Moravian Folk Poetry in Songs«, the stage belongs entirely to the strings of the Czech Talich Quartet, while Dohnányi’s Sextet, Op. 73 forms the finale, a work composed entirely in the spirit of late Romanticism, yet also infected by the zeitgeist: with a kind of ragtime for clarinet and piano in the finale.
In 1982, Rafael Kubelík recorded Dvořák’s Slavonic Dances with the BRSO in Munich’s Herkulessaal. This is one of the reasons that this concert serves as Sir Simon Rattle’s homage to the former chief conductor. It begins with the colorful and somewhat gentler second series of Dvořák’s folk-inspired composition, in which melancholy and poetic nuances mingle with the world of exuberant dance. Violist Timothy Ridout then makes his BRSO debut in the extensively lyrical passages of Martinů’s Rhapsody-Concerto. And finally, the brass gets has a chance to shine: nine trumpets (sounding as if there were at least ninety) dominate Janáček’s Sinfonietta – a work that would have surely become popular even without its famous celebratory fanfare. But it wouldn’t take your breath away and have such an overwhelming impact otherwise.
In 1982, Rafael Kubelík recorded Dvořák’s Slavonic Dances with the BRSO in Munich’s Herkulessaal. This is one of the reasons that this concert serves as Sir Simon Rattle’s homage to the former chief conductor. It begins with the colorful and somewhat gentler second series of Dvořák’s folk-inspired composition, in which melancholy and poetic nuances mingle with the world of exuberant dance. Violist Timothy Ridout then makes his BRSO debut in the extensively lyrical passages of Martinů’s Rhapsody-Concerto. And finally, the brass gets has a chance to shine: nine trumpets (sounding as if there were at least ninety) dominate Janáček’s Sinfonietta – a work that would have surely become popular even without its famous celebratory fanfare. But it wouldn’t take your breath away and have such an overwhelming impact otherwise.
At the finale of the Teatime Classics series, cellist LiLa presents works by Johannes Brahms, Leoš Janáček and Bohuslav Martinů. The 21-year-old Chinese musician is accompanied by the American-Hungarian pianist Julia Hamos, a fellow student at the Kronberg Academy. LiLa had her first music lesson on the piano at the age of four, before she switched to the cello three years later. In 2016 she enrolled at New York’s Juilliard School as a pre-college student. Awarded many prizes at international competitions, she became the youngest prize-winner at the 2014 International Tchaikovsky Competition in Moscow. LiLa has already appeared at the Verbier Festival, and has appeared with various orchestras, among them the Shanghai Philharmonic Orchestra. Pianist Julia Hamos is a graduate of the Royal Academy of Music in London and of the Mannes College of Music in New York. Since 2019 she himself been continuing her studies at the Barenboim-Said Academy, where her teacher is Sir András Schiff. Ms Hamos has won international awards and scholarships, and is in demand both as a soloist and a chamber musician. The versatile artist also cooperates closely with other fields of art such as dance and theatre.
»Adorn yourself, O beloved soul, forsake this dark den of sin, enter into the bright light, and begin to gleam gloriously!« Thus goes a favorite hymn for the Lord’s Supper centuries ago, from which Bach created a wonderfully tranquil organ work – about which Mendelssohn commented, »If life had taken everything from me, this piece would bring me comfort again.« After this, our opening concert is all about the city of Brno, the home of our Principal Conductor. Also Petr Fiala, founder of the famous Czech Philharmonic Choir Brno and composer himself, was born here in 1943. It was his heart’s desire for Jakub Hrůša to conduct his »Stabat Mater« one day: A colourful setting of the medieval poem, focusing on the mother of Jesus in her mourning for her crucified son. We will also perform Janáček's highly original »Glagolitic Mass«, premiered in Brno in 1927: when the composer, aged 72, wrote the piece shortly before his death, he deliberately wanted to distinguish himself from Western practices and therefore spoke of a »joyful mass« – inspired by the nature spectacle of a thunderstorm and spreading an utterly secular atmosphere. And while the traditional ordinarium from Kyrie to Agnus Dei is adhered to here, the text is not in Latin but in the old Church Slavonic from the 9th century – for Janáček loved to occupy himself with different types of human tonality, which he described as his »little windows to the soul«. Musically, the agitated events are sometimes contrasted with tender passages – and just before the finale there is a brilliant organ solo, which brings this unique mass to an end like a joyful celebration.
Bohemia and Moravia are home to music, and this concert showcases large-scale wind chamber music by two talented natives. Bohuslav Martinů, influenced by his time in Paris, contributes a lively septet and grotesque ballet music featuring dancing kitchen utensils. Leoš Janáček's wind sextet "Youth," written for his 70th birthday, is witty, vital, and full of personal experiences.
Simon Rattle and Magdalena Kožená will give a quite unusual chamber recital together with friends from London and Berlin – especially for BRSO subscribers. In some of the songs Sir Simon will play the piano, but others are accompanied by a string quartet or wind ensemble, adding choice colours to Magdalena Kožená’s mezzo. Owing to the unusual instrumentation, the chosen works are rarely heard in the concert hall and display a vivid panorama of European art song. A rare highlight!
Janáček’s hilarious satire about art, lunar travel, nationalism – and sausages.