ConcertPulse
Măcelaru, Hadelich · Tchaikovsky, Dvořák
Musikverein Wien, Great Hall (Wien)
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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.
IM KREIS . . . ... seiner Schüler Webern und Berg begeht Schönberg bei uns sein Jubeljahr. An der Geburtstagstafel ist für drei weitere Gäste eingedeckt: Bach, bei dem alles beginnt und endet, Brahms the Progressive, und Wagner, der sich selbst eingeladen hat und das Vorspiel zum antitonalitären Zirkel mitbringt. Die runde Tafelmusik beginnt mit Weberns Gesellenstück von 1908 und dem allerletzten Berg-Werk vom anderen Ende der zweiten Wiener Schulzeit 1936. IM DUNKEL Souverän gebietet der 25-jährige Webern dem gewaltigen spätromantischen Orchester und beschwört zugleich mit dem barocken Satzprinzip der Passacaglia den zeitlosen Geist Bachs. Jedes Detail des farb- und formenreichen Satzes leitet Webern aus einem stetig kreisenden Hauptund einem Gegenthema her. Fast zeitgleich komponierte sein knapp zehn Jahre älterer Lehrer das Monodram Erwartung. Zur Uraufführung gelangte Schönbergs schneller Wurf jedoch erst vor 100 Jahren: Zemlinsky leitete 1924 in Prag die Premiere. Der Schauplatz – eine Mondnacht im Wald – scheint durch und durch romantisch. Doch das Dunkel ist zugleich Seelenraum einer Frau auf der Suche nach ihrem Geliebten, hinund hergerissen zwischen Ungewissheit, Hoffnung, Angst, Einsamkeit und Grauen. IM HIMMEL Wir bleiben halt unverbesserliche Romantiker! Auch mein neues Violinkonzert bestätigt es wieder, resümiert Berg also mit gutem Grund gegen Ende seines Lebens. Das einmalige Konzept des Werkes stand längst, als ihn die Nachricht vom Tod der 18-jährigen, an Kinderlähmung leidenden Manon Gropius ereilte, Tochter Alma Mahler-Werfels aus der Ehe mit Walter Gropius. Im letzten Abschnitt verschmilzt die genial gebaute Zwölftonreihe mit dem Beginn des Sterbechorals Es ist genug!, den Berg aus Bachs Leipziger Kantate O Ewigkeit, du Donnerwort! BWV 60 herbeizitiert – nicht ahnend, dass er neben Manon auch sich selbst aus dem Leben verabschiedete.
IM KREIS . . . ... seiner Schüler Webern und Berg begeht Schönberg bei uns sein Jubeljahr. An der Geburtstagstafel ist für drei weitere Gäste eingedeckt: Bach, bei dem alles beginnt und endet, Brahms the Progressive, und Wagner, der sich selbst eingeladen hat und das Vorspiel zum antitonalitären Zirkel mitbringt. Die runde Tafelmusik beginnt mit Weberns Gesellenstück von 1908 und dem allerletzten Berg-Werk vom anderen Ende der zweiten Wiener Schulzeit 1936. IM DUNKEL Souverän gebietet der 25-jährige Webern dem gewaltigen spätromantischen Orchester und beschwört zugleich mit dem barocken Satzprinzip der Passacaglia den zeitlosen Geist Bachs. Jedes Detail des farb- und formenreichen Satzes leitet Webern aus einem stetig kreisenden Hauptund einem Gegenthema her. Fast zeitgleich komponierte sein knapp zehn Jahre älterer Lehrer das Monodram Erwartung. Zur Uraufführung gelangte Schönbergs schneller Wurf jedoch erst vor 100 Jahren: Zemlinsky leitete 1924 in Prag die Premiere. Der Schauplatz – eine Mondnacht im Wald – scheint durch und durch romantisch. Doch das Dunkel ist zugleich Seelenraum einer Frau auf der Suche nach ihrem Geliebten, hinund hergerissen zwischen Ungewissheit, Hoffnung, Angst, Einsamkeit und Grauen. IM HIMMEL Wir bleiben halt unverbesserliche Romantiker! Auch mein neues Violinkonzert bestätigt es wieder, resümiert Berg also mit gutem Grund gegen Ende seines Lebens. Das einmalige Konzept des Werkes stand längst, als ihn die Nachricht vom Tod der 18-jährigen, an Kinderlähmung leidenden Manon Gropius ereilte, Tochter Alma Mahler-Werfels aus der Ehe mit Walter Gropius. Im letzten Abschnitt verschmilzt die genial gebaute Zwölftonreihe mit dem Beginn des Sterbechorals Es ist genug!, den Berg aus Bachs Leipziger Kantate O Ewigkeit, du Donnerwort! BWV 60 herbeizitiert – nicht ahnend, dass er neben Manon auch sich selbst aus dem Leben verabschiedete.
When Richard Strauss composes, theater is not far away. His symphonic poems bring characters like Till Eulenspiegel and Macbeth to life in the concert hall. Sebastian Weigle, former General Music Director of the Frankfurt Opera, conducts. Augustin Hadelich, a leading violinist, performs Mendelssohn's concerto. Note: Weigle replaced Andrés Orozco-Estrada, leading to program adjustments. Concert duration: about 115 minutes including intermission.
Wenn Richard Strauss komponiert, ist das Theater nicht weit. Zupackende Klänge, effektvolle Gesten – seine Sinfonischen Dichtungen lassen so unterschiedliche Charaktere wie Till Eulenspiegel und Macbeth im Konzertsaal erstehen und plastisch Form annehmen. Das Orchester als Klang-Wunderkammer. Sebastian Weigle, der ehemalige Generalmusikdirektor der Oper Frankfurt hat eine besondere Expertise für die Werke von Richard Strauss. Orchester und Dirigent müssen da auf einer Wellenlinie agieren, Strauss-Partituren sind Trümpfe, die es gekonnt auszuspielen gilt. Außerdem ist Augustin Hadelich in der »Großen Reihe« des hr-Sinfonieorchesters zu Gast – einst Wunderkind, doch längst einer der führenden Violinisten gleich welcher Generation. Ihn kann man mit dem berühmten Mendelssohn-Konzert erleben, das in elegisch versonnene, noble Sphären führt und makellose Schönheit verströmt. HINWEIS:Sebastian Weigle hat die Leitung der Konzerte dankenswerterweise kurzfristig für Andrés Orozco-Estrada übernommen, der aufgrund einer Erkrankung seine Mitwirkung leider kurzfristig absagen musste. In Verbindung mit der Umbesetzung musste dabei auch das Programm der Konzerte in Teilen angepasst werden.Konzertdauer: ca. 115 Minuten – inklusive Pause
Felix Mendelssohn-Bartholdy's violin concerto ranks among the priceless masterpieces of classical music. He wrote it for his childhood friend and violin virtuoso Ferdinand David, and the result was extremely successful – for with its spiritual airiness and melodic beauty, the violin concerto is one of the most beloved works of all time.Violinist Augustin Hadelich began performing concerts at the age of 8 but suffered serious burns in an accident at the age of 15. After two years and many surgeries, he was able to resume playing the violin and now performs worldwide with leading orchestras and conductors. "It is a delight to work with Hadelich, for there is a clarity in his playing and everything is so well thought out without losing spontaneity", says chief conductor Ryan Bancroft, who leads the Royal Stockholm Philharmonic Orchestra.Anton Bruckner's extensive and grand symphonies never cease to amaze. According to Bruckner himself, the opening horn signal in the Fourth Symphony symbolizes the dawn after the night's rest. A captivating symphonic landscape emerges where the full range of the orchestra is used. This is Bruckner's most performed and beloved symphony, and it is also he who gave it the subtitle "The Romantic."Read more about chief conductor Ryan Bancroft
Felix Mendelssohn-Bartholdy's violin concerto ranks among the priceless masterpieces of classical music. He wrote it for his childhood friend and violin virtuoso Ferdinand David, and the result was extremely successful – for with its spiritual airiness and melodic beauty, the violin concerto is one of the most beloved works of all time.Violinist Augustin Hadelich began performing concerts at the age of 8 but suffered serious burns in an accident at the age of 15. After two years and many surgeries, he was able to resume playing the violin and now performs worldwide with leading orchestras and conductors. "It is a delight to work with Hadelich, for there is a clarity in his playing and everything is so well thought out without losing spontaneity", says chief conductor Ryan Bancroft, who leads the Royal Stockholm Philharmonic Orchestra.Anton Bruckner's extensive and grand symphonies never cease to amaze. According to Bruckner himself, the opening horn signal in the Fourth Symphony symbolizes the dawn after the night's rest. A captivating symphonic landscape emerges where the full range of the orchestra is used. This is Bruckner's most performed and beloved symphony, and it is also he who gave it the subtitle "The Romantic."Read more about chief conductor Ryan Bancroft
Richard Wagner championed the larger than life. In Tristan und Isolde, he aims his telescope at a young couple in love. Their passion is too great for this earthly world, resulting in extremely sensual music. The passion embodied by Sibelius’s only Violin Concerto is more restrained. It is not a typically virtuoso work, but rather a dream journey through a mysterious orchestral landscape. The refined and sensitive violinist Augustin Hadelich is our guide in this performance.Karina Canellakis has saved the rapturous climax for the very end. Le poème de l’extase is one of the most extraordinary works composed by the already exceptional Aleksandr Scriabin, for whom music served as ‘a bridge to the beyond’. This work explores a spiritual world that others can only dream of – but Scriabin places the listener right at the very centre of it all, with the orchestra producing a kaleidoscope of dazzling colour.
Richard Wagner championed the larger than life. In Tristan und Isolde, he aims his telescope at a young couple in love. Their passion is too great for this earthly world, resulting in extremely sensual music. The passion embodied by Sibelius’s only Violin Concerto is more restrained. It is not a typically virtuoso work, but rather a dream journey through a mysterious orchestral landscape. The refined and sensitive violinist Augustin Hadelich is our guide in this performance.Karina Canellakis has saved the rapturous climax for the very end. Le poème de l’extase is one of the most extraordinary works composed by the already exceptional Aleksandr Scriabin, for whom music served as ‘a bridge to the beyond’. This work explores a spiritual world that others can only dream of – but Scriabin places the listener right at the very centre of it all, with the orchestra producing a kaleidoscope of dazzling colour.
Richard Wagner championed the larger than life. In Tristan und Isolde, he aims his telescope at a young couple in love. Their passion is too great for this earthly world, resulting in extremely sensual music. The passion embodied by Sibelius’s only Violin Concerto is more restrained. It is not a typically virtuoso work, but rather a dream journey through a mysterious orchestral landscape. The refined and sensitive violinist Augustin Hadelich is our guide in this performance.Karina Canellakis has saved the rapturous climax for the very end. Le poème de l’extase is one of the most extraordinary works composed by the already exceptional Aleksandr Scriabin, for whom music served as ‘a bridge to the beyond’. This work explores a spiritual world that others can only dream of – but Scriabin places the listener right at the very centre of it all, with the orchestra producing a kaleidoscope of dazzling colour.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
In Anton Bruckner’s Seventh Symphony, the Berliner Philharmoniker can explore the full spectrum of music-making, from intimacy in chamber music passages to its characteristically powerful tutti sound. Like Bruckner’s work, Mendelssohn’s violin concerto also emerged from the Romantic period – yet it inhabits a completely different sound world, filled with light and radiance. Conductor Marek Janowski is particularly highly regarded for his work in this repertoire. Augustin Hadelich, celebrated for his wonderfully lyrical sound at his debut three years ago, returns to the Berliner Philharmoniker as soloist.
Their mutual history goes back a long way: the first concert given by the Czech Philharmonic, which was founded in 1896 by musicians of the Prague National Theatre, was conducted by no lesser figure than Antonín Dvořák. It goes without saying that the programme featured works by the composer’s himself, who had just returned from America. And it was Dvořák’s wealth of melody and his orchestral creativity that produced the traditional soft sound cultivated by this top ensemble. So tonight we hear a showpiece programme which marks the Czech Philharmonic’s return to ProArte this season. In the midst of nature the audience can hear birdsong and get to know nature lover Dvořák, who was fond of working in his garden with a straw hat on, and used to go for long hikes with a water bottle in his backpack. His highly sophisticated Violin Concerto shows his talent for marvellous melodies, while the cleverly designed Eighth Symphony is a classic example of this brilliant composition’s rich imagination. One couldn’t present the Czech national composer any better than this!
The barely ten-minute “Legend for Orchestra” about the guardian of the Finnish realm of the dead, The Swan of Tuonela, is one of Jean Sibelius’ best-known compositions and a showpiece for English horn – it is entrusted with the elegiac song with which the swan attracts the souls of the deceased. Afterwards, violinist Augustin Hadelich will interpret Ligeti’s Violin Concerto. The work, composed thirty years ago, captivates the listener with its iridescent, shimmering soundscapes and rhythmically motoric pulse. Furthermore the concert will conclude with Dvořák’s Seventh Symphony, his formidable response to Brahms’ Third. With this symphony, the Czech composer wanted to set “a world in motion”. The work was written for London. Long before he achieved the recognition he deserved on the continent, Dvořák was already held in high regard by the English audiences of the time.
The barely ten-minute “Legend for Orchestra” about the guardian of the Finnish realm of the dead, The Swan of Tuonela, is one of Jean Sibelius’ best-known compositions and a showpiece for English horn – it is entrusted with the elegiac song with which the swan attracts the souls of the deceased. Afterwards, violinist Augustin Hadelich will interpret Ligeti’s Violin Concerto. The work, composed thirty years ago, captivates the listener with its iridescent, shimmering soundscapes and rhythmically motoric pulse. Furthermore the concert will conclude with Dvořák’s Seventh Symphony, his formidable response to Brahms’ Third. With this symphony, the Czech composer wanted to set “a world in motion”. The work was written for London. Long before he achieved the recognition he deserved on the continent, Dvořák was already held in high regard by the English audiences of the time.