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Concerts featuring Sakari Oramo in season 2024/25 or later
An evening-long meditation on life and the hereafter, devised by Sakari Oramo and featuring the UK premiere of Kaija Saariaho’s astonishing final masterpiece Hush.
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.
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.
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.
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.
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.
England’s dreaming: Sakari Oramo rediscovers rare and wonderful British masterpieces by Vaughan Williams, Doreen Carwithen and Malcolm Arnold.
Sakari Oramo conducts Mahler’s playful Fourth Symphony – and plays the violin too, as Kurt Weill retells the myth of Orpheus in his own, utterly original style.
Stephen Hough plays Beethoven and Sakari Oramo conducts Mahler’s First Symphony. Genius, pure and simple, from the BBC Symphony Orchestra.
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