Classical concerts featuring

Gürzenich-Orchester Köln

Fancy some classical music?!

Who's up for classical music? For the third time, the Philharmonie opens its doors to young people when the Gürzenich Orchestra invites them to »Concert & Kölsch«. Two symphonies, one spectacle: Prokofiev and Glazunov, two Russian masters, meet: Prokofiev's 5th Symphony, composed in 1944 in the midst of the chaos of war, sounds heroic, emotional and full of energy. He paints impressive orchestral pictures - sometimes lyrical, sometimes gloomy, sometimes overwhelming. You are in for a real goosebump moment! Glazunov's Symphony No. 5 begins mysteriously, unfolds into a playful scherzo and culminates in a radiant finale that simply sounds monumental. A real highlight of Romantic music! No wonder this piece is celebrated as a masterpiece. This time, Lorenzo Viotti is on the podium - a young, charismatic conductor who turns late Romantic music into pure sound magic. A concert for everyone who loves epic music and is in the mood for an unforgettable live experience! After the concert, you can round off the evening with DJ sounds by Loush and relaxed conversation in the foyer. Free drink included!

Awakening

Two fifth symphonies from Russia: In 1944, Sergei Prokofiev spent some time in the countryside where he had all the peace and calm he needed in order to compose, while back home in Moscow, people were suffering from hunger and homelessness. What Prokofiev brought to paper is lushly orchestrated, patriotic, and deliberately Russian in its rhythm and melodies. Not to mention a tremendous amount of heroic pathos, in light of the global war against Nazi Germany. In his op. 100, we see the composer as a mature, experienced symphonist, and as grand master of instrumentation. He creates veritable »orchestral paintings« – some lyrical and sumptuous, some dark and warlike. Alexander Glasunow’s fifth symphony, too, has a heroic flavor to it. After a passage of dark fog in the brass section, and an elf-like Scherzo à la Mendelssohn, the symphony grows and eventually culminates in a grand, radiant finale of such majestic splendour that this has become Glasunow’s masterpiece. Both composers personally wielded the baton at the premieres of their fifth symphonies. Unfortunately, we can’t arrange for that to happen this time around. However, the Gürzenich Orchestra is looking forward to continuing its exhilarating collaboration with one of the foremost conductors of the young generation, Swiss-born Lorenzo Viotti. An exceptional talent and magician in the field of late Romantic sound, he most certainly would have appealed to the two Russian symphonists.

One and only

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

One and only

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

One and only

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

Tokorazawa

Tokyo

Osaka

Tokyo

Tokyo

Osaka

Yokohama

Intoxicating sounds

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?

Intoxicating sounds

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?

Intoxicating sounds

Anyone who has ever danced the Viennese Waltz will know that an air of royal-imperial grandeur and stylistic elegance is not the only sensation that overcomes you. A profound sense of dizziness and centrifugal force are part of the deal. What in the beginning seems cheerful and buoyant quickly turns into sensual frenzy, much like a spinning top gone crazy. There is no piece that shows these two aspects of waltzing in such a poignant and Viennese way as Ravel’s La Valse, so much so that even the famous impresario Sergei Diaghilev, who had commissioned the work, felt it was a bit over the top for his ballet company. But Ravel’s orchestral dance is so mesmerizing, so colourful and rhythmically bizarre that it is easy to visualize the frenzy on an imaginary dancefloor: »You can see a huge hall with countless people spinning in circles,« said the composer about La Valse. In less than 14 minutes, the illusive bliss of waltzing turns into apocalyptic ecstasy. A piece that eventually did fulfill its purpose as ballet music is Albert Roussel’s Bacchus et Ariadne, music to the ancient Greek myth – beautiful, almost fragrant sounds which the Frenchman and Ravel-contemporary later distilled into two suites for orchestra. Seduction, enchantment, orgiastic celebrations intoxicated with love, these substances are better enjoyed on a purely musical level. Bacchus, whose full-time occupation as God of wine-making rarely leaves him without a motley entourage of party guests, snatches the mortal Ariadne who was stood up by her ex-lover Theseus on the island of Naxos. Bacchus, aka Dionysus, and his Ariadne celebrate a triumphant Bacchanal together which Albert Roussel sets as sweeping, dazzling party for orchestra. From Ariadne to Alice: Edward Elgar was in need of a muse when he started to work on his violin concerto. Conveniently, she had the same name as the wife. »My work has me burning & I am composing like mad. You should come & see it (& hear it).« Having started out as a violinist, Elgar knew the instrument like the back of his hand. Surely, that is one reason why his opus 43 shows the perfect balance between the soloist and the orchestra. Star violinist Fritz Kreisler had commissioned this luscious, opulent work: a mosaic of countless ideas and melodies, a stream of yearning thoughts, led by the violin and painted in a variety of nuanced colours by the orchestra. Together, they indulge in an ecstatic final movement, including what might be the most touching solo cadenza ever. Thanks to our soloist, the world-famous violinist Frank Peter Zimmermann, the enormous technical difficulties fade away in the light of the musical rush of emotions. »Herein is enshrined the soul of..…,« Edward Elgar, prone to the enigma, wrote in the score. Five dots – perhaps they stand for the name Alice. But if yes, then which?

Magical

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers. Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe. Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.

Magical

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers. Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe. Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.

Eye and ear

On a single whiplash, the door opens to a world of colours and light: Maurice Ravel’s piano concerto in G Major is fascinating from the very first note. Basque folklore, sounds from Spain and southern France, crystalline sparkle, and elegant jazz – musical notes become images, some tender and fluffy, others rich and bright. Ravel’s compatriot, French pianist Bertrand Chamayou, seems completely in his element in this dazzling bravura piece. The other two works are equally sensual to the eye and the ear: In his Ballet Gayaneh, Armenian composer Aram Khachaturian lets the sparks fly, including a fiery sabre dance. Modest Mussorgsky invites us to a vernissage where he paces from painting to painting, creatively turning each of them into sounds.

Eye and ear

On a single whiplash, the door opens to a world of colours and light: Maurice Ravel’s piano concerto in G Major is fascinating from the very first note. Basque folklore, sounds from Spain and southern France, crystalline sparkle, and elegant jazz – musical notes become images, some tender and fluffy, others rich and bright. Ravel’s compatriot, French pianist Bertrand Chamayou, seems completely in his element in this dazzling bravura piece. The other two works are equally sensual to the eye and the ear: In his Ballet Gayaneh, Armenian composer Aram Khachaturian lets the sparks fly, including a fiery sabre dance. Modest Mussorgsky invites us to a vernissage where he paces from painting to painting, creatively turning each of them into sounds.

Eye and ear

On a single whiplash, the door opens to a world of colours and light: Maurice Ravel’s piano concerto in G Major is fascinating from the very first note. Basque folklore, sounds from Spain and southern France, crystalline sparkle, and elegant jazz – musical notes become images, some tender and fluffy, others rich and bright. Ravel’s compatriot, French pianist Bertrand Chamayou, seems completely in his element in this dazzling bravura piece. The other two works are equally sensual to the eye and the ear: In his Ballet Gayaneh, Armenian composer Aram Khachaturian lets the sparks fly, including a fiery sabre dance. Modest Mussorgsky invites us to a vernissage where he paces from painting to painting, creatively turning each of them into sounds.

Guerst performance Brussels

Carnival

Charlie finds himself in a dilemma: Lou seems to be distancing themselves more and more, showing less interest in spending time together. In an effort to uplift their spirits, Charlie proposes the idea of arranging an "Emotion Carnival". They ponder which emotions induce laughter, provide the most comfort, evoke fear, or cause overwhelming joy. Together, Lou and Charlie embark on a whimsical journey to explore the depths of emotional power, inviting both young and old to join them on a musical expedition into the realm of feelings. Over the span of two months, 300 second-grade students will collaborate on a composition by Thierry Tidrow, inspired by a libretto penned by Pauline Jacob, under the guidance of vocal instructors. The culmination of their efforts will be showcased in two concerts alongside the Gürzenich Orchestra Cologne. Just like any carnival, attendees are encouraged to embrace various (emotional) disguises. Note regarding the primary school concert: Interested primary school classes must register to attend the performance at koelner-philharmonie.de/education. Classes 1-4 / Duration approx. 1 hour for free To the family concert Presented by KölnMusik in collaboration with the Gürzenich Orchestra Cologne and Philharmonie Luxembourg.

A Carnival of Emotions

Charlie finds himself in a dilemma: Lou seems to be distancing herself more and more, showing less interest in spending time together. In an effort to uplift her spirits, Charlie proposes the idea of arranging an "Emotion Carnival". They ponder which emotions induce laughter, provide the most comfort, evoke fear, or cause overwhelming joy. Together, Lou and Charlie embark on a whimsical journey to explore the depths of emotional power, inviting both young and old to join them on a musical expedition into the realm of feelings. Over the span of two months, 300 second-grade students will collaborate on a composition by Thierry Tidrow, inspired by a libretto penned by Pauline Jacob, under the guidance of vocal instructors. The culmination of their efforts will be showcased in two concerts alongside the Gürzenich Orchestra Cologne. Just like any carnival, attendees are encouraged to embrace various (emotional) disguises. For families with children aged 6 and over / Duration approx. 1 hour To the school concert Presented by KölnMusik in collaboration with the Gürzenich Orchestra Cologne and Philharmonie Luxembourg.

Last but not least

Towards the end of his eventful life as a composer, Dmitri Shostakovich once again sets out to write a symphony, his fifteenth by now. It is bound to be his last, as the seriously ill Russian is fully aware of. Still, his decision stands: »I would like to write a cheerful symphony.« And indeed, his final symphonic endeavour begins with a twinkle in the eye, mischievously orchestrated. But by the second movement, the mood has already changed, and movement by movement, the score turns into what seems like a musical biography. A painful chorale, moments of eerie trembling, and sharp irony – Shostakovich creates a musical review of his own oeuvre and the horrors of his era. His life as an artist is still marked by panic, even though two decades have gone by since Stalin’s death. Thus it is not surprising that Shostakovich’s sense of humour, essential for survival, keeps drifting towards the grotesque and becomes terrifying. At the end, you can almost hear death itself coming towards you, bones rattling. The fifth and last piano concerto by Ludwig van Beethoven also reflects the political turmoil of the era. No tranquility to compose in early 1809. Instead: the sounds of war, gunfire, and Napoleon just outside of Vienna. Even though the first movement is marked by triumphant pathos, the weighty subtitle Emperor describes but a single facet of this extraordinary piano concerto which includes one of the most heavenly and tender slow movements Beethoven ever wrote: A dream sequence, far from this world, a divine melody that Leonard Bernstein later borrowed for his heart-wrenching Somewhere in the West Side Story. Without further ado, and using the effect of surprise he is known for, Beethoven charges into the finale which features a few innovative particularities: a duet for solo piano and timpani, for example, resembling a distant memory of the drums of war. The Gürzenich Orchestra looks forward to this musical adventure, and to two living legends: Eliahu Inbal as conductor, born 1936 in Jerusalem, and the magnificent Elisabeth Leonskaja at the piano.

Last but not least

Towards the end of his eventful life as a composer, Dmitri Shostakovich once again sets out to write a symphony, his fifteenth by now. It is bound to be his last, as the seriously ill Russian is fully aware of. Still, his decision stands: »I would like to write a cheerful symphony.« And indeed, his final symphonic endeavour begins with a twinkle in the eye, mischievously orchestrated. But by the second movement, the mood has already changed, and movement by movement, the score turns into what seems like a musical biography. A painful chorale, moments of eerie trembling, and sharp irony – Shostakovich creates a musical review of his own oeuvre and the horrors of his era. His life as an artist is still marked by panic, even though two decades have gone by since Stalin’s death. Thus it is not surprising that Shostakovich’s sense of humour, essential for survival, keeps drifting towards the grotesque and becomes terrifying. At the end, you can almost hear death itself coming towards you, bones rattling. The fifth and last piano concerto by Ludwig van Beethoven also reflects the political turmoil of the era. No tranquility to compose in early 1809. Instead: the sounds of war, gunfire, and Napoleon just outside of Vienna. Even though the first movement is marked by triumphant pathos, the weighty subtitle Emperor describes but a single facet of this extraordinary piano concerto which includes one of the most heavenly and tender slow movements Beethoven ever wrote: A dream sequence, far from this world, a divine melody that Leonard Bernstein later borrowed for his heart-wrenching Somewhere in the West Side Story. Without further ado, and using the effect of surprise he is known for, Beethoven charges into the finale which features a few innovative particularities: a duet for solo piano and timpani, for example, resembling a distant memory of the drums of war. The Gürzenich Orchestra looks forward to this musical adventure, and to two living legends: Eliahu Inbal as conductor, born 1936 in Jerusalem, and the magnificent Elisabeth Leonskaja at the piano.

Last but not least

Towards the end of his eventful life as a composer, Dmitri Shostakovich once again sets out to write a symphony, his fifteenth by now. It is bound to be his last, as the seriously ill Russian is fully aware of. Still, his decision stands: »I would like to write a cheerful symphony.« And indeed, his final symphonic endeavour begins with a twinkle in the eye, mischievously orchestrated. But by the second movement, the mood has already changed, and movement by movement, the score turns into what seems like a musical biography. A painful chorale, moments of eerie trembling, and sharp irony – Shostakovich creates a musical review of his own oeuvre and the horrors of his era. His life as an artist is still marked by panic, even though two decades have gone by since Stalin’s death. Thus it is not surprising that Shostakovich’s sense of humour, essential for survival, keeps drifting towards the grotesque and becomes terrifying. At the end, you can almost hear death itself coming towards you, bones rattling. The fifth and last piano concerto by Ludwig van Beethoven also reflects the political turmoil of the era. No tranquility to compose in early 1809. Instead: the sounds of war, gunfire, and Napoleon just outside of Vienna. Even though the first movement is marked by triumphant pathos, the weighty subtitle Emperor describes but a single facet of this extraordinary piano concerto which includes one of the most heavenly and tender slow movements Beethoven ever wrote: A dream sequence, far from this world, a divine melody that Leonard Bernstein later borrowed for his heart-wrenching Somewhere in the West Side Story. Without further ado, and using the effect of surprise he is known for, Beethoven charges into the finale which features a few innovative particularities: a duet for solo piano and timpani, for example, resembling a distant memory of the drums of war. The Gürzenich Orchestra looks forward to this musical adventure, and to two living legends: Eliahu Inbal as conductor, born 1936 in Jerusalem, and the magnificent Elisabeth Leonskaja at the piano.

wounds

Two great Passion settings by Johann Sebastian Bach, the St. Matthew Passion and the St. John Passion, are considered to be among the cornerstones of western music. Another, following the Gospel of Mark, has remained lost to the day. How might it have sounded? Over the past decades, many experts have attempted to reconstruct the St. Mark Passion. While this initially may seem like the search for sunken Atlantis, the philosopher’s stone, or the Holy Grail, from the perspective of musical practice it is actually not so different from what Bach himself did on a regular basis: creative secondary use. Many of his chorales or arias can be spotted more than once in his catalogue of works – usually with a different text and sometimes in an entirely different context. This baroque practice is known as musical parody, and it works both ways: Ton Koopman, one of the world’s foremost Bach performers, decided to start over: In tireless research, he examined works by the great master, trying to find out whether they might serve as musical setting for the words of Mark’s Gospel. Johann Sebastian Bach’s Passions lead us to the core of Christian faith, and to the bleak abysses of all earthly life: desperation, betrayal, cruelty and the fear of death. And yet, underneath everything lies an unwavering trust in God. Ton Koopman’s reconstruction of the St. Mark Passion believably retraces the sufferings of Jesus, from the opening chorus »Geh, Jesu, geh zu deiner Pein« (Go, Jesus, go to Your suffering) all the way to the final chorale in which mourning and pain seem to have been overcome. Now, sung by renowned soloists and the Amsterdam Baroque Choir, the »rebuilt« St. Mark Passion is coming to Cologne for the first time, directed by its musical rebuilder, Ton Koopman.

Dear to the heart

Supporting the »wir helfen« (we help) campaign by the newspaper Kölner Stadt-Anzeiger is more than just a tradition upheld by the Gürzenich Orchestra – it is of heartfelt importance. This season, contributing to the initiative for underprivileged children and adolescents in the region, the orchestra will play a passionate concert full of deep emotions. Before giving birth to his second concerto for piano and orchestra, with its endless melodies and sweeping, intense drama, Sergei Rachmaninoff had to fight his way through a deep valley of depression and self-doubt. In the end, hypno-therapy is what helped the Russian composer dissolve his writer’s block. Against all expectations, the concerto was a great success: It offers everything ranging from chamber musical intimacy to symphonic opulence, and demands everything from the soloist, emotionally and technically. No problem for the 24-year-old Russian pianist Alexander Malofeev, a sensational shooting star who has won countless prizes and travels the world. Pyotr Ilyich Tchaikovsky described his last symphony, the »Pathétique,« as his best work, as being dear to his heart. He claimed to have put »all his soul« into it. The fact that he died just a few days after the premiere amplifies the impression of someone who condenses all facets of his artistic identity and symphonic oeuvre, and puts them to paper. Yet the musical approach he chooses is absolutely surprising. One would think he might bring his last symphony to a rejoicing and triumphant end, an emphatic summary of his own highly successful career. Instead, Tchaikovsky chooses a melancholy, introspective ending – not so much a real finale as a touching farewell with many open questions, a musical »good bye« which, still today, goes straight to the heart.

Where

The premiere of a new work by Unsuk Chin unfortunately had to be postponed. Instead, we will open the concert with the Adagio for string orchestra by Periklis Koukos. At the end, we will hear »Five Greek dances for string orchestra« by Nikos Skalkottas, replacing his »Four Images« which were originally planned. There is hardly a work that is considered to be so closely connected to the composer’s life as Robert Schumann’s »Rhenish.« This symphony (his third, though chronologically his fourth and last) is euphoric, radiant, energetic, and jubilant. Schumann has packed up all his belongings and moved from Saxony to the cheerful Rhineland. As the new local music director of Düsseldorf, he is welcomed with a special serenade. The new job gives him hope, and the view of the tall cathedral in the neighbouring town of Cologne, a bit further south, is simply overwhelming! Schumann experiences a creative frenzy and composes five symphonic movements full of emphatic joie de vivre, sometimes with an optimistic drive, sometimes carried by smooth waves. Not a single phrase indicates the suicidal thoughts of the same Schumann, three years after the premiere, when he tried to take his life by jumping into the ice-cold Rhine.