Violinist Lisa Batiashvili, cellist Gautier Capuçon, Christian Thielemann and the Staatskapelle Dresden present a sophisticated concert programme of three great composers: Johannes Brahms, Pyotr I. Tchaikovsky and Franz Liszt. In Brahms´ Double Concerto Lisa Bathiashvili is playing her Guarneri “with tenderness and devotion” (Der Neue Merker). Her lyrical, velevety performance is contrasted by Capuçon’s more throaty and vibrating tone: “The two ways of playing seem to collide sometimes but to match brilliantly at the same time”. Christian Thielemann and his Staatskapelle “are mixing different colours as if they were putting emeralds and rubies on precious metal, creating huge sonority but always retaining clarity in it” (Dresdner Neueste Nachrichten).
RCO: Herreweghe conducts Beethoven & Brahms
With Beethoven’s Piano Concerto No. 4 and Brahms’ Symphony No. 2, Philippe Herreweghe is highlighting the Royal Concertgebouw Orchestra’s most important function since ist founding, namely to perform the best works from the Classical and Romantic periods. Herreweghe joins forces here with star pianist Yefim Bronfman, the Russian-Israeli-American master who is known as a heavyweight, excelling in tumultuous works. Remarkably enough, Bronfman now turns to the subtlest and most tender of piano concertos that Beethoven composed.
Martha Argerich & Daniel Barenboim – Piano Duos at the Teatro Colón III
In order to continue their incredibly successful piano duos series, Daniel Barenboim and Martha Argerich return to the stage of beautiful Teatro Colón at their hometown Buenos Aires, putting the “city in a state of emergency” (Frankfurter Allgemeine Zeitung) with a fulminant concert evening. Argerich and Barenboim perform Johannes Brahms’ Variations On A Theme by Haydn, Arnold Schönberg’s Five pieces for Orchestra in Anton Webern’s arrangement for two pianos and Franz Liszt’s Concerto Pathétique. “An unforgettable concert […] Words were not needed. Barenboim and Argerich met again doing what they can do best and what they do in the best way it can possibly be done in this world” (La Nación).
Nathalie Stutzmann conducts the Münchner Philharmoniker
“Nathalie Stutzmann triumphed on her debut with the Münchner Philharmoniker as unpretentiously as precisely.” (Süddeutsche Zeitung) French conductor Nathalie Stutzmann, newly appointed music director in Atlanta, makes her debut with the Münchner Philharmoniker with a “fateful” program: Johannes Brahms’ Schicksalslied (Song of Fate), which was written close in time to his Requiem, is based on a poem by Hölderlin. In contrast to the poem, Brahms lets his musical Schicksalslied end in hopeful tones. Max Reger’s Requiem is a haunting lament in view of the senseless victims of the First World War. Wiebke Lehmkuhl through her singing underlines the appeal against indifference and forgetfulness. Tchaikovsky’s “Fifth” with its omnipresent “fate motif” concludes this concert. Programme: J. Brahms: “Schicksalslied” (Song of Destiny) for choir and orchestra, Op. 54; M. Reger: Requiem for alto, choir and orchestra, Op. 144/B; P. I. Tchaikovsky: Symphony No. 5 in E minor, Op. 64
At home with Martha Argerich
In Geneva, the city where she spent most of her life, Martha Argerich invites her lifelong music partner, the cellist Mischa Maisky, to play chamber music works by Beethoven, Schumann, Brahms and Chopin. Between each piece, the pianist opens up to her daughter Annie Dutoit, in an intimate conversation that reveals personal insights as well as musical ones