Bruckner: Messe
In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
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In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
After personal and professional setbacks drove Bruckner to the brink of madness in 1867, the organist suffered a nervous breakdown. Recovering in an asylum, he returned to composing and created his "Great" f-minor Mass, a work of symphonic scale and profound expressiveness. The SWR Vokalensemble, WDR Rundfunkchor Köln, and SWR Symphonieorchester reunite with conductor Pablo Heras-Casado this season for a performance of Bruckner's final mass setting.
In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
After personal and professional setbacks drove Bruckner to the brink of madness in 1867, the organist suffered a nervous breakdown. Recovering in an asylum, he returned to composing and created his "Great" f-minor Mass, a work of symphonic scale and profound expressiveness. The SWR Vokalensemble, WDR Rundfunkchor Köln, and SWR Symphonieorchester reunite with conductor Pablo Heras-Casado this season for a performance of Bruckner's final mass setting.
After personal and professional setbacks drove Bruckner to the brink of madness in 1867, the organist suffered a nervous breakdown. Recovering in an asylum, he returned to composing and created his "Great" f-minor Mass, a work of symphonic scale and profound expressiveness. The SWR Vokalensemble, WDR Rundfunkchor Köln, and SWR Symphonieorchester reunite with conductor Pablo Heras-Casado this season for a performance of Bruckner's final mass setting.
In 1867, Anton Bruckner, recovering from a nervous ailment, began composing his large-scale Mass No. 3. Twenty-five years later, he quoted it in his unfinished 9th Symphony as a gesture of thanks to God.
Not many conductors manage this: to be as much in demand with the Freiburger Barockorchester as with the Bayreuth Festival or the San Francisco Symphony Orchestra; to have the right touch for early music as well as for Romantic and contemporary music, and for concert music as well as for opera. The Spaniard Pablo Heras-Casado is a stylistic all-rounder and presents another »conquest« in his repertoire during his return to the NDR Elbphilharmonie Orchestra: Excerpts from Richard Wagner’s »Götterdämmerung«. In addition, the no less versatile star violist and NDR Artist in Residence 2024/25 Antoine Tamestit performs Sofia Gubaidulina’s Viola Concerto, which has more or less become a »modern classic«.
Not many conductors manage this: to be as much in demand with the Freiburger Barockorchester as with the Bayreuth Festival or the San Francisco Symphony Orchestra; to have the right touch for early music as well as for Romantic and contemporary music, and for concert music as well as for opera. The Spaniard Pablo Heras-Casado is a stylistic all-rounder and presents another »conquest« in his repertoire during his return to the NDR Elbphilharmonie Orchestra: Excerpts from Richard Wagner’s »Götterdämmerung«. In addition, the no less versatile star violist and NDR Artist in Residence 2024/25 Antoine Tamestit performs Sofia Gubaidulina’s Viola Concerto, which has more or less become a »modern classic«.