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.
A mysterious stranger who only reveals his true identity after some time. Two different personalities between whom an exciting scene unfolds: for Augustin Hadelich, Mozart’s music is stories. »He was a composer who always thought dramatically, in story arcs; he wrote operas – and much of his instrumental music is composed in precisely this kind of language.« In Hadelich’s ProArte concert, audiences can experience twice how these instrumental stories sound live – with Mozart’s Second and Fifth Violin Concertos. The orchestral part is in the hands of the Mozarteumorchester Salzburg, which has Mozart’s music written into its DNA, so to speak. Robert Schumann’s Fourth Symphony, originally conceived as a »symphonic fantasy«, also tells a story.
Konzerteinführung mit Ann-Katrin Zimmermann um 18.45 Uhr - Schumann-Eck
Konzerteinführung mit Ann-Katrin Zimmermann um 18.45 Uhr - Schumann-Eck
Der Festakt zum 35. Jahrestag der Friedlichen Revolution wird ab 14.10 Uhr live im TV-Programm der ARD übertragen. geschlossene Veranstaltung Eintritt nur auf Einladung Gefördert von der Beauftragten der Bundesregierung für Kultur und Medien Veranstalter: Stadt Leipzig und Freistaat Sachsen
Andrew Manze strikes a passionate blow for Bruckner’s Second Symphony. ‘From the yearning, desolate opening to the self-assured, triumphant ending, the Second Symphony is a gem that has for too long been inexplicably overlooked, even by many Bruckner lovers’, the conductor says. Up to now, only five conductors have led the Concertgebouw Orchestra in this work – its last performance was conducted by Riccardo Chailly in 1992. Now Andrew Manze is taking up the gauntlet.After moving to Vienna, Bruckner set to work on his Second Symphony, a work in which we can hear him finding his own voice. In addition to the long-drawn-out opening theme, folk dances and quotations from his own oeuvre, the influence of the Viennese Classics is clearly audible – that of Beethoven in particular, but Wagner and Schubert as well. Andrew Manze pairs Bruckner’s Second with the most serious of Schubert’s first six symphonies, the Fourth.
Bruckner’s Second Symphony is very different in tone from the extroverted First, a fact which is apparent right from the opening, when the high strings cautiously lay out a carpet of sound for the plaintive melody in the cellos. Unusual in this work are the silences (or Pausen in German) that regularly occur, which resulted in the Second jokingly being called the ‘Pausen’ Symphony. ‘Well,’ Bruckner is said to have answered, ‘when I have something important to say, I must take a deep breath first!’ The extraordinarily beautiful slow movement has a religious feel to it, with a secondary theme which is often described as mystical, a quotation from Bruckner’s own Mass in f-minor, and an enigmatic passage which anticipates his Ninth Symphony.Up to now, only five conductors have led the Concertgebouw Orchestra in this work – its last performance was under the direction of Riccardo Chailly in 1992. Now Andrew Manze is taking up the gauntlet. Originally an early music specialist, Manze applies his insights to music from all periods with great ease.
Andrew Manze strikes a passionate blow for Bruckner’s Second Symphony. ‘From the yearning, desolate opening to the self-assured, triumphant ending, the Second Symphony is a gem that has for too long been inexplicably overlooked, even by many Bruckner lovers’, the conductor says. Up to now, only five conductors have led the Concertgebouw Orchestra in this work – its last performance was conducted by Riccardo Chailly in 1992. Now Andrew Manze is taking up the gauntlet.After moving to Vienna, Bruckner set to work on his Second Symphony, a work in which we can hear him finding his own voice. In addition to the long-drawn-out opening theme, folk dances and quotations from his own oeuvre, the influence of the Viennese Classics is clearly audible – that of Beethoven in particular, but Wagner and Schubert as well. Andrew Manze pairs Bruckner’s Second with the most serious of Schubert’s first six symphonies, the Fourth.
»Music is love‘s soul, for it is the touching of the divine with the human.« These were the thoughts of Bettina von Arnim – and in our concert conducted by Andrew Manze we indulge in such deep soundscapes as Respighi‘s »Concerto Gregoriano« from 1921: it conjures up a religiously solemn world of the middle ages – inspired by his preoccupation with the honorable church modes and meditative melodies of Gregorian chant, which had seized him »like an addiction« at the time. The violin concerto is therefore largely a lyrical-contemplative composition and quotes the Easter sequence »victimae paschali laudes« in the middle movement – but in the end it soars hymn-like with echoes of the famous »Salve Regina« chant like a fervent profession of faith. One critic characterised the violin part as that of »a cantor in an ancient religious ceremony, with the orchestra personifying the choir of the believers«. With us, Frank Peter Zimmermann will assume the role of solo choir leader with his Stradivarius. What follows is a journey into the Bruckner cosmos: his creative work was inseparably intertwined with religious sentiments, which earned him the nickname »Musician of God«. Before he had dared to approach symphonies, he had already made a name for himself as an eminent organist and church composer. After several dissatisfactory attempts, he composed his first definitive symphony in Linz in 1865/66 – which, however, he reworked in Vienna in 1891 on the basis of the experience he had gathered thereafter: it captivates the listener with its natural originality, grandiose themes and climax after climax – and in addition offers deep insights into Bruckner‘s state of mind in the heartfelt Adagio.
»Music is love‘s soul, for it is the touching of the divine with the human.« These were the thoughts of Bettina von Arnim – and in our concert conducted by Andrew Manze we indulge in such deep soundscapes as Respighi‘s »Concerto Gregoriano« from 1921: it conjures up a religiously solemn world of the middle ages – inspired by his preoccupation with the honorable church modes and meditative melodies of Gregorian chant, which had seized him »like an addiction« at the time. The violin concerto is therefore largely a lyrical-contemplative composition and quotes the Easter sequence »victimae paschali laudes« in the middle movement – but in the end it soars hymn-like with echoes of the famous »Salve Regina« chant like a fervent profession of faith. One critic characterised the violin part as that of »a cantor in an ancient religious ceremony, with the orchestra personifying the choir of the believers«. With us, Frank Peter Zimmermann will assume the role of solo choir leader with his Stradivarius. What follows is a journey into the Bruckner cosmos: his creative work was inseparably intertwined with religious sentiments, which earned him the nickname »Musician of God«. Before he had dared to approach symphonies, he had already made a name for himself as an eminent organist and church composer. After several dissatisfactory attempts, he composed his first definitive symphony in Linz in 1865/66 – which, however, he reworked in Vienna in 1891 on the basis of the experience he had gathered thereafter: it captivates the listener with its natural originality, grandiose themes and climax after climax – and in addition offers deep insights into Bruckner‘s state of mind in the heartfelt Adagio.
»Music is love‘s soul, for it is the touching of the divine with the human.« These were the thoughts of Bettina von Arnim – and in our concert conducted by Andrew Manze we indulge in such deep soundscapes as Respighi‘s »Concerto Gregoriano« from 1921: it conjures up a religiously solemn world of the middle ages – inspired by his preoccupation with the honorable church modes and meditative melodies of Gregorian chant, which had seized him »like an addiction« at the time. The violin concerto is therefore largely a lyrical-contemplative composition and quotes the Easter sequence »victimae paschali laudes« in the middle movement – but in the end it soars hymn-like with echoes of the famous »Salve Regina« chant like a fervent profession of faith. One critic characterised the violin part as that of »a cantor in an ancient religious ceremony, with the orchestra personifying the choir of the believers«. With us, Frank Peter Zimmermann will assume the role of solo choir leader with his Stradivarius. What follows is a journey into the Bruckner cosmos: his creative work was inseparably intertwined with religious sentiments, which earned him the nickname »Musician of God«. Before he had dared to approach symphonies, he had already made a name for himself as an eminent organist and church composer. After several dissatisfactory attempts, he composed his first definitive symphony in Linz in 1865/66 – which, however, he reworked in Vienna in 1891 on the basis of the experience he had gathered thereafter: it captivates the listener with its natural originality, grandiose themes and climax after climax – and in addition offers deep insights into Bruckner‘s state of mind in the heartfelt Adagio.
British-born Andrew Manze began his impressive career as a violinist and conductor of early music. Since then the vitality and spontaneity he acquired in the early music scene now covers every era of music history. With Schumann’s Cello Concerto of 1850 he ventures into the innermost precincts of romanticism. Endless dreamlike melodic lines and a fervent urge to communicate characterise the solo part, making this concerto, to Munich cellist Daniel Müller-Schott, one of the most personal of all works for cello and orchestra. Manze’s unconventional and daredevil approach is as welcome here as it is in Beethoven’s First Symphony, where the composer’s idiosyncratic and trailblazing will to expression already flares up behind a seemingly classicist façade.
British-born Andrew Manze began his impressive career as a violinist and conductor of early music. Since then the vitality and spontaneity he acquired in the early music scene now covers every era of music history. With Schumann’s Cello Concerto of 1850 he ventures into the innermost precincts of romanticism. Endless dreamlike melodic lines and a fervent urge to communicate characterise the solo part, making this concerto, to Munich cellist Daniel Müller-Schott, one of the most personal of all works for cello and orchestra. Manze’s unconventional and daredevil approach is as welcome here as it is in Beethoven’s First Symphony, where the composer’s idiosyncratic and trailblazing will to expression already flares up behind a seemingly classicist façade.
British-born Andrew Manze began his impressive career as a violinist and conductor of early music. Since then the vitality and spontaneity he acquired in the early music scene now covers every era of music history. With Schumann’s Cello Concerto of 1850 he ventures into the innermost precincts of romanticism. Endless dreamlike melodic lines and a fervent urge to communicate characterise the solo part, making this concerto, to Munich cellist Daniel Müller-Schott, one of the most personal of all works for cello and orchestra. Manze’s unconventional and daredevil approach is as welcome here as it is in Beethoven’s First Symphony, where the composer’s idiosyncratic and trailblazing will to expression already flares up behind a seemingly classicist façade.
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