The Brandenburg Concertos by Johann Sebastian Bach are, together with Vivaldi’s “Four Seasons”, the most famous concerts in the history of early music. They are true “evergreens” with an exciting genesis, brilliantly orchestrated and extremely varied. The flautist Ana de la Vega is one of the dazzling personalities of a young generation of musicians. On the occasion of the 300th anniversary of the Brandenburg Concertos, she embarks on a journey into the history and musical characteristics of the works. Fascinated by Bach and his music, she searches for traces in Leipzig, Weimar, Köthen and Berlin: How did the concerts come about? What makes them so unique? And what is the truth of the claim that they were a secret application of Bach?
Beethoven: The Last Three Piano Sonatas
Large industrial complexes, built of solid brick tell the story of industrialization of 19th century Leipzig. Where spinning wheels once rattled, chimneys smoked and thousands of workers carried out their daily work, new life has moved in over the past few years. Today, former factories are home to artists’ studios, galleries and manufactories. The term “industrial culture” is taken literally here. The Kunstkraftwerk Leipzig is one of these buildings that tell the story of time and was now the chosen location for a very special production: the exceptional Korean pianist Sunwook Kim played Ludwig van Beethoven’s last three Piano Sonatas op. 109-111 in an industrial setting framed by light projections that filled the brick hall. Beethoven’s last three piano sonatas occupy a very special place within his oeuvre. Completely deaf by then, the composer puts three of his most intimate and personal works on paper, which at the same time radiate optimism and point musically into the future like hardly any other works.
Winterreise: Ballet by Christian Spuck
Franz Schubert’s “Winterreise” is not only regarded as the zenith of Schubert’s song composition, but as the pinnacle of German art song in its entirety. German composer Hans Zender arranged the cycle in 1993 with the title “Schuberts Winterreise – a composed interpretation”. Zender’s version for tenor and chamber orchestra reveals the cycle’s potential to disturb, and approaches Wilhelm Müller’s poems in its own way. Like Hans Zender, Christian Spuck’s production, which was awarded the renowned «Prix Benois de la Danse» in 2019, undertakes a journey into the innermost self.
Nelsons conducts Tchaikovsky and Weinberg
With this concert, Andris Nelsons and the Gewandhausorchester continue their Tchaikovsky cycle. They are joined by star trumpeter Håkan Hardenberger who plays Mieczyslaw Weinberg‘s Trumpet Concerto, which Shostakovich described as a symphony for trumpet and orchestra. PROGRAM Tchaikovsky: Symphony No. 4; Weinberg: Concerto for Trumpet and Orchestra
Nelsons conducts Tchaikovsky and Shostakovich
In May 2019, the principal conductor of the Gewandhausorchester, Andris Nelsons, presented Tchaikovsky’s Symphony No. 5 in combination with Shostakovich’s Violin Concerto No. 1 with outstanding violinist Baiba Skride as the soloist. With this choice of program, Andris Nelsons continued the Tchaikovsky cycle with the Gewandhausorchester Leipzig, which he had started as part of the concert series that surrounded his inauguration as Gewandhauskapellmeister in February 2018. PROGRAM Tchaikovsky: Symphony No. 5; Shostakovich: Concerto for Violin and Orchestra
Nabucco
Under the direction of Andreas Homoki, this new production features a first-class cast: Catherine Naglestad and Michael Volle debut in the roles of Abigaille and Nabucco respectively, while the German bass Georg Zeppenfeld portrays Zaccaria. Music Director Fabio Luisi conducts the Philharmonia Zürich.
Paavo Järvi – Tonhalle Orchester Zürich, Inaugural Concert
The Tonhalle Orchester Zürich has appointed one of the best conductors of our time as ist new artistic director: Paavo Järvi takes over the post with the 2019/2020 season. Born in Estonia in 1962, Järvi is currently music director of the NHK Orchestra in Tokyo. In 2009, he worked with the Tonhalle Orchestra for the first time and again most recently in December 2016. Kullervo, Op. 7, is a suite of symphonic movements by the Finnish composer Jean Sibelius. Although often referred to as a „choral symphony,“ the work avoids traditional symphonic structure and its five movements constitute a set of related but independent tone poems. PROGRAM Sibelius: Kullervo
Ivor Bolton conducts the Dresden Festival Orchestra
This glamerous concert opened the prestigious Dresden Music Festival 2019. Together with Dresden-born singer René Pape the Dresden Festival Orchestra under the baton of Ivor Bolton dived deeply into the romantic repertoire. Highlight of the evening was the world premiere of songs by Franz Schubert arranged for bass and orchestra, including “Prometheus“ D 674 as well as songs from the cycle “Schwanengesang“: Das Fischermädchen, Am Meer, Die Stadt, Der Doppelgänger, Ihr Bild, Der Atlas and An die Musik. Preceeding is Carl Maria von Weber’s overture to his opera “Euryanthe”, which during his lifetime had no easy lot: the music was greatly praised, the libretto however was laughed at. The spring-like first symphony by Robert Schumann was drafted in only four days and written out in three weeks – in a blissful stage of his life shortly after his marriage to Clara Wieck.
Lucerne Festival 2019: Chailly conducts Rachmaninoff
Everything changed for Sergei Rachmaninoff after 1917. As a result of the October Revolution, power impinged directly on his life – and on his art. The new political conditions forced him to leave his Russian homeland and flee into exile in the West. In order to earn a living, he had to perform for the most part as a piano virtuoso, constantly touring Europe and America. Which meant he had hardly any time left over to compose. The program with which Riccardo Chailly and his Lucerne Festival Orchestra open the 2019 Summer Festival orbits around this turning point in Rachmaninoff’s life, pairing the legendary Third Piano Concerto, written in Russia in 1909, with the melancholy Third Symphony, which he created as an émigré in Hertenstein near Lucerne in 1935-36. PROGRAM Rachmaninoff: Piano Concerto Nr. 3; Symphony No. 3; Vocalise op. 34 No. 14
Nelsons conducts Clara and Robert Schumann
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.