Clara Schumann’s Piano Concerto is the composer’s only surviving work with orchestra. She herself premiered the concerto at age sixteen with Felix Mendelssohn Bartholdy at the Gewandhaus in Leipzig. Although contemporaries describe the young Clara as shy and reserved, this concert is full of self-confidence, power, and romantic feelings. On the occasion of the jubilee anniversary of Clara Schumann the concerto was recorded with the ensemble that first performed the work. The Gewandhausorchester Leipzig played on her 200th birthday under the baton of Kapellmeister Andris Nelsons. The pianist Lauma Skride took over the technically demanding piano part. The festive concert evening was framed by a world premiere of French composer Betsy Jolas (*1926) and the famous Spring Symphony by Robert Schumann.
Jonas Kaufmann – My Vienna
My Vienna is a deeply personal tribute to the world-famous melodies from the birthplace of waltz and operetta. Jonas Kaufmann has always had a special rapport with Austria and Vienna. His grandmother had a fondness for the light classics and was happy to sing the evergreens of Johann Strauss, Franz Lehár and Robert Stolz – a nice contrast to his grandfather’s passion for Wagner. As a child, Jonas spent much of his free time on his grandparents’ farm in Tyrol. Austrian television was almost more familiar to him than its German counterpart. Since then he has had a deep love for Viennese songs and operetta. “The music always put me in a good mood”, he recalls. “When I had unlikeable things to do as a student, like cleaning or vacuuming, all I had to do was play Carlos Kleiber’s Fledermaus recording, and in no time at all I had a grin on my face.” Viennese songs and scenes from operettas; music by Johann Strauß, Franz Léhar, Emmerich Kálmán, Robert Stolz, Ralph Benatzky, Jaromir Weinberger, Peter Kreuder and Georg Kreisler.
Yuja Wang – The Berlin Recital
International sensation Yuja Wang releases a recital program of works by late Romantic-era and 20th-century composers, recorded live at the Philharmonie Berlin. Yuja always has been in love with Berlin as a center for music and culture. Since 2013 she has been a regular guest at the Berlin Philharmonie – performing concertos with the Berlin Philharmonic, the big solo pieces, but also chamber music. Yuja‘s stellar piano technique is matched by boundless imagination. This solo recital allows her to be her dazzling musical self – an unmissable experience for any piano lovers out there! Works by: Sergei Rachmaninov, Sergei Prokofiev, Alexander Scriabin
LSO: Roth conducts Saint-Saens & Beethoven
Every revolution has its roots. The two explosive chords that open Beethoven’s Eroica symphony shook classical music to its foundations. For François-Xavier Roth, though, no artist operates in a vacuum, and tonight he places Beethoven’s era-defining masterpiece alongside the strikingly original music of one of his contemporaries from revolutionary France: François-Joseph Gossec. It’s a fascinating rediscovery – exactly what we’ve come to expect from a conductor as adventurous as Roth. Saint-Saëns’s Second Piano Concerto, on the other hand, needs no introduction: In the hands of the ‘simply formidable’ (The Guardian) Bertrand Chamayou, it’ll fizz like champagne. PROGRAM Gossec: Symphonie à 17 parties; Saint-Saëns: Piano Concerto No 2; Beethoven Symphony No 3 “Eroica”
LSO: Pappano conducts Ravel, Say & Rachmaninoff
A Dance to the Music of Time – Ravel, Say and Rachmaninoff. Spellbinding storytellers, dancing ghosts and melodies that will stay with you forever.The fairy-tale heroine Scheherazade must keep her audience entertained on pain of death in the One Thousand and One Nights. In Fazil Say’s concerto, the violin plays the part of the endlessly fascinating tale-teller. The piece is paired with impassioned music originally written for the ballet: Ravel’s haunting waltz and Rachmaninoff’s mysterious Symphonic Dances. Ravel imagined whirling couples in a Viennese concert hall in music that seems haunted by World War I. Rachmaninoff also conjures up a ghostly waltz, amid the expressive melodies of the last music he ever wrote. PROGRAM Ravel: La valse; Fazil Say: Violin Concerto (1001 Nights in the Harem); Rachmaninoff: Symphonic Dances
LSO: Nathalie Stutzmann conducts Bruckner’s Symphony No. 9 and Te Deum
The obsessive Anton Bruckner worked on his Ninth Symphony for the last ten years of his life, but the concluding Adagio remained unfinished at his death in 1896. He is said to have suggested that his Te Deum be used in its place – and leaving aside the tonal shift from the D-minor symphony to a C-major hymn, it feels a fitting grand finale for the famously devout composer, who dedicated his last symphony to God. In a concert billed as A Blaze of Glory, the acclaimed Nathalie Stutzmann – who counts Bruckner among her three favorite composers to conduct – leads the London Symphony Orchestra and London Symphony Chorus, joined by soloists Lucy Crowe, Anna Stéphany, Robin Tritschler, and Alexander Tsymbalyuk, in a program that represents no less than the culmination of Bruckner’s life’s work, a mighty and magnificent call to heaven itself.
LSO: Pappano conducts Strauss and Mozart
Two portraits from a magician of orchestral colour, Richard Strauss – plus a young Mozart dances on the violin. Lisa Batiashvili is the perfect partner for Mozart’s elegant Concerto, in the final performance of her LSO Artist Portrait series, while Sir Antonio Pappano and the LSO bring out every twist and turn in Strauss’ stories. PROGRAM Strauss: Till Eulenspiegel, Ein Heldenleben; Mozart: Violin Concerto No 5
LSO: Pappano conducts Strauss, Liszt and Kendall
A blast of trumpets, a pounding of timpani: the opening of Richard Strauss’ Also sprach Zarathustra heralds the rise of the sun. Stanley Kubrick used it to grab viewers’ attention in his film 2001: A Space Odyssey.But for Strauss, this is the dawn of an age full of questions: what does it mean to be alive? Joining the debate, Liszt’s Totentanz is a ferocious vision of mortality, complete with ghoulish jangling bones. And there’s a new work by Hannah Kendall, a composer whose music, in Pappano’s own words, ‘has an amazing ability to really grip the listener’. PROGRAM Kendall: O flower of fire (world premiere); Franz Liszt: Totentanz; Richard Strauss: Also sprach Zarathustra
LSO: Kirill Karabits conducts Mahler No. 4
Mahler isn’t necessarily massive, and his Fourth Symphony begins with sleighbells, birdsong, and a melody straight out of Mozart. It all seems deliciously simple. But this is Mahler, after all, and between that playful opening and the final portrayal of a child’s Heaven, there’s a whole universe of drama, emotion and heart-piercing beauty. With soprano Lucy Crowe bringing all her insight and vocal radiance to that extraordinary finale, it’ll sound lovelier and more blissful than ever.
LSO: Kirill Karabits conducts Bartok & Rozsa
Kirill Karabits conducts Bartók’s Concerto for Orchestra – plus a rare performance of the Violin Concerto by Bartók’s fellow-Hungarian (and Hollywood legend) Miklós Rózsa. New worlds for old: from exile in America, Béla Bartók and Miklós Rózsa both longed for their native Hungary. Bartók imagined the nocturnal sounds of the Great Hungarian Plain, and transformed them into a defiant shout of hope and joy for a virtuoso orchestra. Rozsa, meanwhile, took time out from Hollywood to write a violin concerto that sings, dances and positively smoulders. It all adds up to a fabulously red-blooded evening of music from Kirill Karabits and LSO leader Roman Simovic: expect dark secrets, untamed melodies, and folk-rhythms in the raw. But it’s also a portrait of two composers grappling with the 20th century on their own, undaunted, terms. Today, Rózsa is still probably best known for classic film scores like Ben-Hur and Lust for Life: this rare performance of his Violin Concerto shows that even without the pictures, he can hold an audience spellbound.