As concert halls are silent and theatres dark during the COVID-19 Coronavirus Pandemic, bringing performers and audiences together demands creative solutions. C Major Entertainment, in collaboration with Arte Concert and DG, is set to launch a series of professional live relays of concerts given by artists at Berlin’s legendary Meistersaal. The programmes focus on solo or duo works. This approach limit the number of artists, technicians and backstage staff involved, in compliance with government regulations, while drawing on the endlessly rich repertoire of chamber pieces past and present. Using remote cameras, members of the audio and video crew are safely dispersed in different rooms. The fifth episode featuring Berlin-based Korean pianist Seong-Jin Cho.
LSO: Rattle conducts Brahms and Shostakovich
It begins with the engines of industry: mechanical marches, pounding brass. An uneasy second movement, and then a nightmarish vision of life in Stalin’s Russia explodes in a frenzied succession of dance themes. Shostakovich withdrew his Fourth Symphony before its first performance, after hints that he was treading a fine line with the Soviet authorities. It shines on as an extraordinary vision of thwarted humanity. Brahms wrote his Violin Concerto with, and for, his friend, the virtuosic Hungarian musician Joseph Joachim, and its foot-stomping finale honours Joachim’s heritage. PROGRAM Brahms: Violin Concerto; Shostakovich: Symphony No. 4
LSO: Michael Tilson Thomas conducts Brahms
“In an all-Brahms programme, Christian Tetzlaff brought momentum and shape to the Violin Concerto, and Tilson Thomas made every note glow” (The Guardian) There is a sense that every concert the London Symphony Orchestra gets to give with its conductor laureate, Michael Tilson Thomas, is now a gift – this evening of Brahms came a little over a year after the announcement that he was being treated for an aggressive form of brain cancer. Yet if Tilson Thomas’s own dynamic energy now needs to be husbanded to some extent, this did not translate into any loss of momentum or intensity in the orchestra’s performance: small gestures – a lean towards the cellos here, a shimmy of the fingers to fade out the brass there – were enough to shape the music into the kind of long, elastic lines that make Brahms’s notes glow. PROGRAM Brahms: Violin Concerto, Serenade No. 1
LSO: Nathalie Stutzmann conducts Brahms & Beethoven
Nathalie Stutzmann dives deep into the dark heart of 19th century music, with storm-swept thrillers by Beethoven, Brahms and Franck. The stars shine most brightly when the night is at its darkest. Brahms stares tragedy in the face in his final symphony: music that wrestles beauty and hope from a lifetime of sorrow. Beethoven finds poetry among the shadows, in his moody Third Piano Concerto. And César Franck gallops through the night in a wild, supernatural sonic thriller. We’re going to hell and back – hold on tight! Nathalie Stutzmann’s concerts with the LSO always bring out the drama and emotion of romantic music, repertoire that she lives and breathes. In her own words, to inspire people, “you have to be the incarnation of the music you have in your heart.” PROGRAM Franck: Le chasseur maudit; Beethoven: Piano Concerto No. 3; Brahms: Symphony No. 4
Ein deutsches Requiem
“Rather than a German Requiem, I should have called it a ‘human requiem’.” Brahms’s words reveal much about the universal character of his celebrated work. The Wiener Philharmoniker under the baton of the great Herbert von Karajan presents a performance of appropriate subtlety and timelessness. Brahms’s Requiem is different from the traditional mass for the dead in numerous ways: the words are in German and not in Latin, and the texts—drawn from Martin Luther’s German translation of the Bible—emphasize life’s peaceful conclusion rather than making entreaties on behalf of deceased souls facing the Final Judgement. An incredibly hopeful Requiem whose all-inclusive message resonates through to the present day.
Karajan conducts Brahms 1
Before he became a world-famous conductor, Herbert von Karajan had originally wanted to be a pianist. It was at the age of 20 that he gave up the piano, a choice that would play a determining role in his musical career: by the time he was 21 years old, he had already begun conducting operas! It is easy to imagine that his attachment to the piano gave Karajan a particular affinity for the music of the great late 19th century conductor and concert-pianist Johannes Brahms. Karajan gave Brahms’s First Symphony—composed over the course of 20 years and premiered in 1876 in Karlsruhe— a masterful interpretation in this concert featuring the brilliant Berliner Philharmoniker.
Karajan conducts Brahms 2
“He was obsessed with the beauty of sound. He strove for a round and subtle sound, both precise and sparkling. It is bliss that we hear in the numerous recordings he made with the Berliner Philharmoniker.” It was the sociologist Dr. Françoise Davoine gave this admirative description of the celebrated maestro Herbert von Karajan’s fruitful collaboration with the prestigious Berlin orchestra. Karajan and the Philharmoniker’s common quest for the perfect sound is brilliantly expressed in this powerful interpretation of Brahms’s Second Symphony.
Eschenbach conducts Schönberg & Brahms
To mark the 80th anniversary of the end of World War II, conductor Christoph Eschenbach conducts Arnold Schoenberg’s “A Survivor from Warsaw” and Johannes Brahms’ “A German Requiem”, with the NFM Wroclaw Philharmonic and Choir as well as soloists Michael Nagy and Aleksandra Zamojska. Both works carry a profound emotional depth and humanistic message. Schoenberg’s “A Survivor from Warsaw” is one of the most significant compositions by this leading avant-garde artist of the early 20th century. And of his “German Requiem”, Brahms once said that he “would gladly omit the word ‘German’ and simply use ‘Human,’” emphasizing his desire for it to be seen as a “human requiem”. PROGRAM Schönberg: A Survivor from Warsaw; Brahms: Ein deutsches Requiem