ConcertPulse
CLASSICAL MUSIC AT THE CASTLE
A summery musical evening with conductor Krzysztof Urbanski and soloist Kian Soltani at the Plassenburg in Kulmbach.
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A summery musical evening with conductor Krzysztof Urbanski and soloist Kian Soltani at the Plassenburg in Kulmbach.
Tchaikovsky's 4th Symphony, his "Fate" Symphony, grapples with the "fateful power that hinders our pursuit of happiness." This music sounds driven, ecstatic, and sometimes desperate. But don't worry, the evening also offers more relaxed forces. Avi Avital's fate is the mandolin, an instrument he has single-handedly brought to the forefront.
The "Recycling Concerto" was originally scheduled as "Junges Konzert" in Alte Oper Frankfurt on November 9, 2023, will now take place as "Junges Konzert Extra" in hr-Sendesaal on November 8, 2023. Percussionist Vivi Vassileva will play instruments made of recycled waste materials like plastic, glass, metal, and coffee capsules. The concert lasts about 100 minutes including intermission.
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.
This concert will plunge you into an age of dazzling tonal colour that believed, to quote Victor Hugo, that "art is not fit to be a leading-string, fetter, or gag; it says to the free man: ‘Go!’ and releases him into that garden of poetry where there is no forbidden fruit." Dukas wrote his legendary programme music in 1897. In this magnificent setting of Goethe's ballad of the same name, the overconfident sorcerer's apprentice wants to play at creation himself and master the elements. He recites the charm that makes a broom run to the river for water, but then is unable to tame the huge chaos he has created and stop the impending deluge – until the sorcerer puts an end to the ludicrous goings-on with the right spell. Berlioz’s deeply romantic songs are brimming with sensuality: the seductive cycle “Les nuits d’été”, orchestrated in 1856, is based on a collection of poetry by Théophile Gautier with the contradictory title “La comédie de la mort”. So while these sublime “summer nights” sometimes beguilingly evoke the delights of love, their darker central section focuses on separation and death, elegiacally and emotively describing a tormented spirit. The fetters are then completely cast off in Stravinsky's famous 1913 ritual invocation "Le sacre du printemps", which deals with the "mystery of the great impulse of creative forces". The events described in the music are based on pagan images: in order to propitiate the god of spring, a girl is sacrificed and, in the end, like a seed, she is “buried in the bosom of the earth" – all set to music in a veritable orgy of rhythm.
This concert will plunge you into an age of dazzling tonal colour that believed, to quote Victor Hugo, that "art is not fit to be a leading-string, fetter, or gag; it says to the free man: ‘Go!’ and releases him into that garden of poetry where there is no forbidden fruit." Dukas wrote his legendary programme music in 1897. In this magnificent setting of Goethe's ballad of the same name, the overconfident sorcerer's apprentice wants to play at creation himself and master the elements. He recites the charm that makes a broom run to the river for water, but then is unable to tame the huge chaos he has created and stop the impending deluge – until the sorcerer puts an end to the ludicrous goings-on with the right spell. Berlioz’s deeply romantic songs are brimming with sensuality: the seductive cycle “Les nuits d’été”, orchestrated in 1856, is based on a collection of poetry by Théophile Gautier with the contradictory title “La comédie de la mort”. So while these sublime “summer nights” sometimes beguilingly evoke the delights of love, their darker central section focuses on separation and death, elegiacally and emotively describing a tormented spirit. The fetters are then completely cast off in Stravinsky's famous 1913 ritual invocation "Le sacre du printemps", which deals with the "mystery of the great impulse of creative forces". The events described in the music are based on pagan images: in order to propitiate the god of spring, a girl is sacrificed and, in the end, like a seed, she is “buried in the bosom of the earth" – all set to music in a veritable orgy of rhythm.