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What's even more beautiful than a cello? Ten cellos! Chamber music is one of the great joys of life for our orchestra musicians. Here, seven members of our cello group and our orchestra academy come together with their colleague Sheku Kanneh-Mason, who is our current artist in residence, for a musically diverse programme.
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
»It could only be Shostakovich!« commented the BBC presenter when Sheku Kanneh-Mason entered the final of the »BBC Young Musician« in 2016 with Shostakovich’s First Cello Concerto. Naturally, he emerged as the winner of the competition, in which he performed a different work by Shostakovich from round to round. His power composer! And there is no doubt that the now 25-year-old musician is one of the greatest talents on the cello. In ProArte’s »International Soloists« series, Kanneh-Mason juxtaposes the cello concerto dedicated to Rostropovich from 1959 with Ravel’s Hebrew melody Kaddish – an elegiac song that unfolds a particularly intense power in the version for cello and strings. And to mark the Ravel Year 2025, the Camerata Salzburg also contributes »Le tombeau de Couperin«, his very personal and highly artistic exploration of French Baroque music.
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
An orchestra blazing burnished colours, rich string tone, and boundless refinement, the Czech Philharmonic launches a two-day residency with a concert of Shostakovich.
An orchestra blazing burnished colours, rich string tone, and boundless refinement, the Czech Philharmonic launches a two-day residency with a concert of Shostakovich.
The new star of British cello Sheku Kanneh-Mason takes on Shostakovich’s formidable Concerto No. 1, before conductor Semyon Bychkov and the venerable Czech Philharmonic tackle the composer’s most famous symphony.
Our Artist in Residence, cellist Sheku, and his sister, pianist Isata, are the best-known of the musically highly gifted seven children of the British Kanneh-Mason family. Somebody who has grown up playing instruments together like these two will be more familiar with the other person's playing than almost anyone else - an excellent prerequisite for a top-class duo recital! In Francis Poulenc's cello sonata from 1948, “romanticism, neoclassicism and modernism join hands”. This is followed by the first of Gabriel Fauré's two cello sonatas. It was composed in 1917 during the highly productive late phase of the 72-year-old composer and director of the Paris Conservatoire, whom Debussy called “maître de charme” and whom d'Indy envied for his compositional freshness even a few years later. This is followed by a short piece by British composer, violinist and Menuhin pupil Natalie Klouda (*1984) and Felix Mendelssohn's first cello sonata, which Robert Schumann (presciently?) described as “the purest music...suitable for the finest family circles”.
For the third and final time, artist in residence Sheku Kanneh-Mason will be a guest soloist with the Konzerthausorchester. With his cello, he lends his voice to King Solomon, as Ernest Bloch's ‘Schelomo’, first performed in New York in 1917, is a dialogue between the biblical ruler and his people. This in turn speaks from the orchestra. In terms of its musical structure, the short 20-minute, late-romatic neoclassical rhapsody could easily pass for film music: It illustrates the world view and character of the king, who, like other people, knows happy and darker phases of life. The composer's desire to create vital Jewish music is expressed in numerous sound quotations. Conductor Michael Sanderling's biography is linked to both pieces of this evening: The son of conductor Kurt Sanderling, a friend of Dmitri Shostakovich, was himself a cellist before deciding to pursue a career as a conductor. Shostakovich uses folk and workers' songs in many passages of his 11th Symphony “The Year 1905”. The charged atmosphere of an icy January day on which the Tsar's soldiers fired on a peaceful demonstration march of striking workers on their way to the Winter Palace, the massacre, the grief and the hope for a better future can be heard impressively in the four movements.
For the third and final time, artist in residence Sheku Kanneh-Mason will be a guest soloist with the Konzerthausorchester. With his cello, he lends his voice to King Solomon, as Ernest Bloch's ‘Schelomo’, first performed in New York in 1917, is a dialogue between the biblical ruler and his people. This in turn speaks from the orchestra. In terms of its musical structure, the short 20-minute, late-romatic neoclassical rhapsody could easily pass for film music: It illustrates the world view and character of the king, who, like other people, knows happy and darker phases of life. The composer's desire to create vital Jewish music is expressed in numerous sound quotations. Conductor Michael Sanderling's biography is linked to both pieces of this evening: The son of conductor Kurt Sanderling, a friend of Dmitri Shostakovich, was himself a cellist before deciding to pursue a career as a conductor. Shostakovich uses folk and workers' songs in many passages of his 11th Symphony “The Year 1905”. The charged atmosphere of an icy January day on which the Tsar's soldiers fired on a peaceful demonstration march of striking workers on their way to the Winter Palace, the massacre, the grief and the hope for a better future can be heard impressively in the four movements.
For the third and final time, artist in residence Sheku Kanneh-Mason will be a guest soloist with the Konzerthausorchester. With his cello, he lends his voice to King Solomon, as Ernest Bloch's ‘Schelomo’, first performed in New York in 1917, is a dialogue between the biblical ruler and his people. This in turn speaks from the orchestra. In terms of its musical structure, the short 20-minute, late-romatic neoclassical rhapsody could easily pass for film music: It illustrates the world view and character of the king, who, like other people, knows happy and darker phases of life. The composer's desire to create vital Jewish music is expressed in numerous sound quotations. Conductor Michael Sanderling's biography is linked to both pieces of this evening: The son of conductor Kurt Sanderling, a friend of Dmitri Shostakovich, was himself a cellist before deciding to pursue a career as a conductor. Shostakovich uses folk and workers' songs in many passages of his 11th Symphony “The Year 1905”. The charged atmosphere of an icy January day on which the Tsar's soldiers fired on a peaceful demonstration march of striking workers on their way to the Winter Palace, the massacre, the grief and the hope for a better future can be heard impressively in the four movements.
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