Now in his nineties, Herbert Blomstedt, former conductor of the Leipzig Gewandhaus Orchestra and the San Francisco Symphony Orchestra, is still a powerful interpreter of the symphonic repertoire. His programme with the Wiener Philharmoniker is straightforward: it begins with Honegger’s brilliant Third Symphony and ends with Brahms’ Fourth. The eminent maestro, one of the orchestra’s favourites since his debut at the 2011 Salzburg Mozart Week, continues to enchant audiences with his enormous presence, verve and artistic drive. “A stirring, long-lasting listening experience. At the end, standing ovations and boundless cheers.” (br-klassik.de) “Fortunately, they still exist, the magical moments when time stands still, when music reaches and touches people.” (Die Presse) PROGRAM Honegger: Symphony No. 3 “Liturgique”; Brahms: Symphony No. 4
The Exclusive Subscription Concert Series – Leonidas Kavakos & Herbert Blomstedt
The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. Conductor Herbert Blomstedt, honorary member of the orchestra, is a regular guest at the subscription concerts. For this one he chose Carl Nielsen’s Fifth Symphony: “It is full of Danish humour: very serious and at the same time very comic and yet sublime.” As a counterpoint to Nielsen’s exciting experimentation, Greek star violinist Leonidas Kavakos interprets Johannes Brahms’ Violin Concerto, one of the most beloved and frequently performed works in the violin concerto repertoire. “Leonidas Kavakos, together with the Philharmoniker, makes this beautiful work a true celebration.” (klassik-begeistert.de)
Ein deutsches Requiem
“A powerful moment of musical history recreated” says Classic FM about the Brahms Requiem interpretation by Paavo Järvi, the Grammy Award-winning Estonian-American conductor, and his orchestra, Deutsche Kammerphilharmonie Bremen. The performance corresponds with Brahms’ final version including all seven movements and using the same number of musicians as the composer himself. The premiere of the German Requiem took place on April 10, 1868, in Bremen Cathedral under the direction of the composer himself, although the fifth movement, which was created later, was still missing. On April 10, 2018, for its 150th anniversary, the work is back to the exact place of its premiere in Bremen Cathedral. “Valentina Farcas was the perfect female counterpart to Goerne, which was not easy. She convinced with impeccable phrasing, diction, and legato, she never got shrill and she was not afraid to take risks in the high notes.” (El Pais), “rarely you hear such an insightful performance!” (FAZ)
Brahms The Complete Symphonies
Before moving into the Elbphilharmonie, chief conductor Thomas Hengelbrock and his NDR Elbphilharmonie Orchester performed a “Brahms Marathon” with all four symphonies of the Hamburg-born composer in the historic Laeiszhalle. Brahms’ music has always played an important role in the history of the orchestra, whose defining interpretations of the symphonies by Brahms and Bruckner have become the ensemble’s artistic hallmark. The orchestra, founded in 1945, was led by outstanding conductors such as Günter Wand, Christoph Eschenbach and Christoph von Dohnanyi. Since 2011, chief conductor Thomas Hengelbrock is in charge of continuing the NDR Elbphilharmonie Orchester’s history. In the bonus program Discovering Brahms, Thomas Hengelbrock offers interesting background information on all four symphonies. “The evening was more than worth it” (Hamburger Abendblatt).
The Brahms Symphonies
The Brahms interpretations of Paavo Järvi, the Grammy Award-winning Estonian-American conductor, and his Deutsche Kammerphilharmonie Bremen have been receiving the highest public and critical acclaim. “A Brahms revelation“ was the headline in the New Yorker, for the Zeit it’s „a reference recording“ and the Hamburger Abendblatt wrote “the greatest experts of Brahms come from Bremen (die besten Brahms Versteher kommen aus Bremen)“. The Deutsche Kammerphilharmonie Bremen perform Brahms nowadays exactly to the size that the composer himself was accustomed to at the time. This interpretation puts Brahms´ symphonies in a new light, which is explored in the additional documentary through the eyes of the musicians and their artistic director Paavo Järvi. BONUS: The Brahms Code – A music documentary by award-winning film director Christian Berger explores the four symphonies by Johannes Brahms through the eyes of the musicians and their artistic director Paavo Järvi.
Brahms: The Piano Concertos
“It is not every day that Brahms sounds so perfect as this,” enthuses the Kurier newspaper, describing Buchbinder’s performance with the Vienna Philharmonic. The “phenomenal piano virtuoso” (Kurier) plays the First and Second Piano Concertos of Johannes Brahms in the Golden Hall of the Vienna Musikverein with Maestro Zubin Mehta, who has long been intensively associated both with the orchestra and with soloist Rudolf Buchbinder. Brahms’s piano concertos constantly demand from the pianist a wide range of interpretational refinement alongside a very high level of concentration and considerable technical skill. A challenge which Rudolf Buchbinder easily achieves: “Buchbinder’s tour de force earned him cheers” (Die Presse). “What Rudolf Buchbinder, the Vienna Philharmonic and conductor Zubin Mehta delivered at the Musikverein easily deserves the accolade ‘milestone’.” (Kurier)
Johannes Brahms: The complete Symphonies – Christian Thielemann / Discovering Brahms with Christian Thielemann
After the great success of his Beethoven cycle, Christian Thielemann now turns with his new orchestra, the Staatskapelle Dresden, to the symphonic works of Johannes Brahms. And once again he succeeds in presenting a new and authoritative reading of these compositions. His conductorial trademarks – broad soundscapes originating in calm and composed tempi, a sense of romanticism only heightened by clarity and a finely judged balance, with overwhelming and sometimes even brutal climaxes as stark contrast – cause Brahms’s symphonies to shine in a fresh light. Thielemann once again consolidates his reputation as the most genuine successor of the great German conductors of the past. “We can’t think of any other conductor than Thielemann at present who has all those endowments, which used to be the (original) trade mark of German maestros.” Asahi Shimbun (Tokyo) Bonus: A one-hour documentary with Christian Thielemann, providing an in-depth look into his interpretation of Brahms.
Ein deutsches Requiem
Ein deutsches Requiem, Brahm´s majestic masterpiece, in a definite performance: Christian Thielemann and the Münchner Philharmoniker are a synonym for excellence in German late-Romantic repertoire. Soloists Christine Schäfer and Christian Gerhaher also rank among the best in their voice ranges. Through his almost surreal affinity to Brahm´s music, Thielemann has crafted a perfromance that places him among the best interpreters of this work, such as Furtwängler, Karajan or Guilini. “In Thielemann´s hands, this dying fall became the Requiem´s gently expressive high point.” (Süddeutsche Zeitung)
Recital Cyprien Katsaris
Piano virtuoso Cyprien Katsaris plays Debussy’s Clair de lune from the Suite bergamasque, Ravel’s Pavane pour une infante défunte, Saint-Saëns’ The Swan (arranged by Godowsky), Brahms’ Sonata No. 3 in F minor Op. 5 and his own composition to celebrate European unity, Fantasie sur des hymnes. Each performance is introduced by Katsaris, who illustrates his insights into the music at the keyboard.
Sounds Magnificent – The Story of the Symphony
This series, featuring Sir André Previn and the Royal Philharmonic Orchestra, tells the story of the symphony. In each programme, Previn introduces a performance of a major symphonic work. He sets the music to be performed in the context of its composer’s life and work, explaining the way in which it contributed to the development of the symphonic form. His comments are illustrated by the orchestra, who play a variety of supporting extracts. The music featured in the series is Haydn’s Symphony No. 87, Mozart’s Symphony No. 39, Beethoven’s Symphony No. 5 (extracts) and Symphony No. 7, Berlioz’s Symphonie fantastique, Brahms’ Symphony No. 4, Tchaikovsky’s Symphony No. 6 (Pathetique), and Shostakovich’s Symphony No. 5. Six parts à 88′.