For one last time, Mariss Jansons – who will bear the title of conductor emeritus as of now – descends down the red carpeted stairs of the Great Hall as Principal Conductor of the Royal Concertgebouw Orchestra. After his resignation, this concert turnes out to be his last in this capacity. The final performance assisted by Thomas Hampson is part of the AAA Festival based on the theme “Origins – Folk Art as Inspiration”, an adventurous series exploring composers inspired by folk music. PROGRAM Mahler: “Des Knaben Wunderhorn”; Copland: “Old American Songs”; Bartók: Concerto for Orchestra; Padding: Ick seg adieu (World premiere)
Gatti conducts Shostakovich, Tschaikovsky & Stravinsky
This remarkable concert led by designated Chief Conductor Daniele Gatti marks the return of master cellist Yo-Yo Ma’s (after twenty years) to the Concertgebouw Orchestra. In this season opening night they perform Shostakovich’s intense First Cello Concerto, which bears witness to the strained relationship between the composer and the Soviet authorities. Maestro Gatti juxtaposes the concerto with two successful works from the great Russian dance tradition: The three-part suite from Tchaikovsky’s ballet “The Nutcracker” being enormously popular, partly as a result of the Disney film “Fantasia” and Stravinsky’s “Firebird”, which, with his phenomenal orchestration, is evoking an exotic and often brooding atmosphere. “After twenty years, this is a unique opportunity to work together with the wonderful RCO again – very special indeed!” (Yo-Yo Ma)
Nelsons conducts Shostakovich & Bartók
In this concert evening the Royal Concertgebouw Orchestra and Andris Nelsons turn their attention to the Seventh Symphony of Shostakovich. The work, which Shostakovich wrote during the Germans’ siege of Leningrad, is a symbol of resistance against the Nazi regime and a musical testament to the millions of Soviet citizens who died during the Great Patriotic War. Furthermore, star violinist Janine Jansen performs Bartók’s Violin Concerto No. 1, a work which had to wait fifty years after it was written, in 1958, for its first performance.
RCO: Bach: Christmas Oratorio; Cantatas I – III (Kerstmatinee 2015)
The Royal Concertgebouw Orchestra’s annual Kerstmatinee (Christmas Day matinee) has become a beloved holiday tradition, yet this concert was the first matinee the occasion has been dedicated entirely to Bach’s inspirational Christmas Oratorio. In presenting this historically informed performance of the first three parts, Baroque specialist Jan Willem de Vriend adopts suitably buoyant tempi and opts for the jubilant opening chorus’s original and more apt text, “Tönet, ihr Pauken” (Timpani resound! Trumpets ring out!). The elite orchestra’s players are joined by a superb 28-voice chamber choir, Cappella Amsterdam, and international soloists. As the Evangelist, Swiss tenor Fabio Trümpy “was a fabulously beautiful story-teller” (Het Parool).
RCO: John Adams conducts John Adams
European premiere of his new “dramatic symphony for violin and orchestra”, Scheherazade.2, with the Royal Concertgebouw Orchestra and Leila Josefowicz as soloist. Composer–conductor John Adams is known the world over as a pioneering composer of operas based on current and recent historical events. Adams has distilled a turbulent symphony from his opera Doctor Atomic, in which Robert Oppenheimer, the ‘father of the atomic bomb’, filled with excitement and doubt, anticipates the very first atomic bomb test in 1945. He also draws inspiration from current events in his instrumental works, as in his new violin concerto Scheherazade.2, written for Leila Josefowicz. Moved by TV footage of oppressed and abused women, Adams juxtaposes the masculine power of the orchestra with a strong woman, an empowered Scheherazade: ‘This one hits back!’ Tromba Lontana is a short, gentle fanfare marking the 150th anniversary of the declaration of independence with which Texas seceded from Mexico in 1836.
Martha Argerich & Daniel Barenboim – Piano Duos at the Teatro Colon
The return to their native city of Martha Argerich and Daniel Barenboim – two childhood friends from Buenos Aires, born just a year apart, who both grew up to become global superstars – proved an unforgettable evening of pianistic magic. “Coexistence”, as symbolisation of the festival motto, was in terms not just of two musical parts coming together in the hands of two very different yet equally distinctive artistic personalities – “the mercurial Martha and Daniel the master-architect” (Buenos Aires Herald) PROGRAM Schumann: Six Studies in the Form of Canons for Pedal Piano; Debussy: En blanc et noire; Bartok: Sonata for Two Pianos and Percussion
Barenboim conducts Beethoven & Tchaikovsky
In the course of their Buenos Aires residency Barenboim and his West-Eastern Divan Orchestra together with “honorary member of the Divan” Martha Argerich, gave “a concert that proved to be the hottest ticket in the festival.” Opening with Beethoven’s Piano Concerto No. 2, the orchestra confirmed that “it is, simply, one of the great orchestras in the world today” while “Argerich proved again that she has lost none of her magical tone or perfect articulation” (Buenos Aires Herald). In Tchaikovsky’s emotionally tempestuous Symphony No. 4, Barenboim’s reading “rose to all the big moments” (Buenos Aires Herald). As a surprise encore, Argerich and Barenboim played a two-piano arrangement of the sweetly nostalgic Bailecito by their compatriot Carlos Guastavino.
Buchbinder plays Mozart
The Austrian piano virtuoso Rudolf Buchbinder, widely acclaimed for his technical perfection, is also a known expert for Mozart. Together with the Staatskapelle Dresden, where he was the first pianist to hold the title of “Capell-Virtous”, he plays and conducts three of Mozarts most beloved Piano Concertos, the concertos Nos 20, 21 and 27. The concert was recorded in Dresden in an unique setting, which matched not only the musical perfection, but also the first ultra-high definition recording of this work: right inside the Gläserne Manufaktur, a luxury car manufactory in the heart of Dresden, a stage was set up next to the assembly line with glass walls and oak floors.
Thielemann conducts Bruckner No. 4
Conductor Christian Thielemann lives up to his name yet again as a “Bruckner specialist” (Klassik Akzente). The Fourth Symphony is given in the presumed original version recovered by Robert Haas. This version differs considerably from the first, effectively published score, which Bruckner had only accepted as a stopgap so that the work could easily be performed. Thielemann brings out the tone painting very vividly in Baden-Baden: “These are tone paintings of the finest quality”, wrote one reviewer enthusiastically.
Thielemann conducts Bruckner No. 9
Bruckner’s Ninth – presented in the unfinished version in three movements – calls for no fewer than four “Wagner tubas” at the beginning and end of the Adagio, an instrument which Richard Wagner had specially made for his Ring of the Nibelung. As an avowed fan of Wagner, Bruckner included them in several of his works. Thielemann now lets them sound at full volume. The press verdict: “a musical and spiritual event”.