CONCERTS

Dresdner Philharmonie
Vasily Petrenko, conductor
Alice Coote, mezzo-soprano

Programme:
Othmar Schoeck: Serenade
Joseph Haydn: Arianna a Naxos Cantata
Mendelssohn-Bartholdy: Symphony No. 5 in D major/D minor, Op. 107, “Reformation”

Dresdner Philharmonie note:

Konzerteinführung – live und digital
Kostenfreie Karten für die Konzerteinführungen live können Sie weiter unten buchen.
Alternativ finden Sie unsere Konzerteinführung digital hier als Podcast.

Ariadne findet sich allein und von Theseus verlassen auf der Felseninsel Naxos wieder — diesen antiken Lieblingsstoff der Oper von Monteverdi bis Strauss präsentieren wir in einer selten zu hörenden dramatischen Kantate von Joseph Haydn, bevor — passend zum Reformationstag — Mendelssohns 5. Sinfonie erklingt. Anlässlich des 300. Geburtstags der Augsburger Konfession setzte er damit dem Reformator Martin Luther ein musikalisches Denkmal. Im Zentrum des Werkes stehen Stil- und Melodiezitate vom vokalen Kontrapunkt und dem Dresdner Amen bis zum Lutherchoral ›Ein’ feste Burg‹.

Besondere Informationen zu Ihrem Konzertbesuch aufgrund der aktuellen Lage durch SARS-CoV-2 (Coronavirus) finden Sie hier.

Vasily Petrenko conductor
Julian Bliss clarinet

Arensky Variations on a Theme by Tchaikovsky
Weber Clarinet Concerto No.2
Haydn Symphony No.94 in G major ‘Surprise’ 

Arensky was so taken by the melody of Tchaikovsky’s song ‘Legend’ that he spun seven variations from it as a tribute to the composer. In the finale of his second clarinet concerto, Carl Maria von Weber took the inflections of the Polonaise dance to weave virtuosic runs and jumps into the solo clarinet line. But the rest of the concerto sparkles with brilliance too and Julian Bliss will make it sing and dance effortlessly.

Joseph Haydn had a wicked sense of humour which he often took the liberty of exploiting to catch audiences out – be prepared!

Julian Bliss clarinet
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko conductor

Programme:
Magnus Lindberg: Clarinet Concerto
Mahler: Symphony No.6

RLPO Note:
Mahler imagined his mighty Sixth Symphony as a great musical tragedy – the tale of a hero destroyed by fate. He never expected it to happen to him, and he filled every bar of this immense symphony with his most heartfelt and intimate emotions. This musical experience leaves no listener unmoved, and in the hands of Vasily Petrenko, expect to be stirred to the very depths of your soul. To open, prepare to be amazed, as virtuoso clarinettist Julian Bliss plays Magnus Lindberg’s exciting concerto.

Vasily Petrenko conductor
Julian Bliss clarinet

Arensky Variations on a Theme by Tchaikovsky
Weber Clarinet Concerto No.2
Haydn Symphony No.94 in G major ‘Surprise’ 

Arensky was so taken by the melody of Tchaikovsky’s song ‘Legend’ that he spun seven variations from it as a tribute to the composer. In the finale of his second clarinet concerto, Carl Maria von Weber took the inflections of the Polonaise dance to weave virtuosic runs and jumps into the solo clarinet line. But the rest of the concerto sparkles with brilliance too and Julian Bliss will make it sing and dance effortlessly.

Joseph Haydn had a wicked sense of humour which he often took the liberty of exploiting to catch audiences out – be prepared!

RLPO Note:
Music and Wine:

If you’re interested in learning more about great music and wine, in the intimate surroundings of our Music Room, you won’t want to miss our Music and Wine series!

Each of these evenings features a conductor or scholar giving insight into recordings of their favourite music. These musical extracts are then paired with wines and cheeses chosen to complement each piece.

Chief Conductor Vasily Petrenko will pick a selection of works by Igor Stravinsky, the Russian composer who died 50 years ago in 1971, whose works we’ll perform this season. Each work will be paired to wine and cheese.

Our expert guide to the wine will be Bridget Farr, Wine Development Manager at LWC, the UK’s largest independent drinks wholesaler.

Vasily Petrenko conductor

Stravinsky Suite No.1
Shostakovich Hamlet (Concert Suite from incidental music)
Schreker The Birthday of the Infanta Suite

Arensky was so taken by the melody of Tchaikovsky’s song ‘Legend’ that he spun seven variations from it as a tribute to the composer. In the finale of his second clarinet concerto, Carl Maria von Weber took the inflections of the Polonaise dance to weave virtuosic runs and jumps into the solo clarinet line. But the rest of the concerto sparkles with brilliance too and Julian Bliss will make it sing and dance effortlessly.

Joseph Haydn had a wicked sense of humour which he often took the liberty of exploiting to catch audiences out – be prepared!

Vasily Petrenko conductor

Stravinsky Suite No.1
Shostakovich Hamlet (Concert Suite from incidental music)
Schreker The Birthday of the Infanta Suite

Arensky was so taken by the melody of Tchaikovsky’s song ‘Legend’ that he spun seven variations from it as a tribute to the composer. In the finale of his second clarinet concerto, Carl Maria von Weber took the inflections of the Polonaise dance to weave virtuosic runs and jumps into the solo clarinet line. But the rest of the concerto sparkles with brilliance too and Julian Bliss will make it sing and dance effortlessly.

Joseph Haydn had a wicked sense of humour which he often took the liberty of exploiting to catch audiences out – be prepared!

Augustin Hadelich, violin
Danish National Symphony Orchestra
Vasily Petrenko, conductor

Programme:
Sibelius: Violin Concerto in D minor, Op. 47
Shostakovich: Symphony No. 4 in C minor, Op. 43

DRSO Note (translation):
The DR Symphony Orchestra presents two strong works together with world-class guest artists, conductor Vasily Petrenko and violinist Augustin Hadelich. Sibelius’ Violin Concerto is obsessively intense music, and Shostakovich’s 4th Symphony is a musical showdown that came close to costing the composer his life.

Shostakovich’s 4th Symphony was so explosive that it could not be performed in its time. Shortly before the premiere in 1936, the symphony was withdrawn. Officially, this was because Shostakovich was not happy with his music. But the true explanation was that Stalin’s government felt the music was an attack on the state. The symphony is one of the composer’s major works, and it requires a very large orchestra. The performance will be led by one of the world’s most acclaimed Shostakovich conductors, Vasily Petrenko.

Augustin Hadelich, violin
Danish National Symphony Orchestra
Vasily Petrenko, conductor

Programme:
Sibelius: Violin Concerto in D minor, Op. 47
Shostakovich: Symphony No. 4 in C minor, Op. 43

DRSO Note (translation):
The DR Symphony Orchestra presents two strong works together with world-class guest artists, conductor Vasily Petrenko and violinist Augustin Hadelich. Sibelius’ Violin Concerto is obsessively intense music, and Shostakovich’s 4th Symphony is a musical showdown that came close to costing the composer his life.

Shostakovich’s 4th Symphony was so explosive that it could not be performed in its time. Shortly before the premiere in 1936, the symphony was withdrawn. Officially, this was because Shostakovich was not happy with his music. But the true explanation was that Stalin’s government felt the music was an attack on the state. The symphony is one of the composer’s major works, and it requires a very large orchestra. The performance will be led by one of the world’s most acclaimed Shostakovich conductors, Vasily Petrenko.

Royal Liverpool Philharmonic Orchestra
Ellie Slorach *conductor
Vasily Petrenko, conductor

Programme:
Grace-Evangeline Mason Mahler’s Letters for a cappella choir (world premiere)*
Mahler Symphony No.9

RLPO Note:
Classic Intro – 6.15pm, Music Room
Norman Lebrecht, prominent cultural commentator and author of Why Mahler? How One Man and Ten Symphonies Changed Our World, talks about Mahler’s Ninth Symphony.
The very first notes of Mahler’s Ninth seem to droop with sadness. But that’s just the beginning, not the end, and in this extraordinary symphony Mahler wrings every last drop of sweetness and sorrow from a life of total emotional commitment. All this prefaced by a brand new tribute to the composer, inspired by the letter writing of Gustav Mahler, and written for our choir by the young British composer and 2017 Christopher Brooks prize-winner Grace-Evangeline Mason.

Vasily Petrenko conductor
Jennifer Johnston mezzo-soprano

Ginastera Variaciones concertantes
Respighi Il Tramonto
Bizet (arr. Shchedrin) Carmen for percussion and strings 

Concluding her time as Artist-in-Residence, Jennifer Johnston brings us the hauntingly beautiful Il Tramonto (The Sunset) based on words by Shelley. Respighi’s music depicts a young love cut off in its prime, an operatic drama in miniature.

Carmen is one of opera’s most vibrant characters and in this version of the music, arranged by Shchedrin, the percussion team of the Orchestra have all the fun. Ginastera gives the rest of the orchestra a virtuosic workout to start.

Vasily Petrenko conductor
Jennifer Johnston mezzo-soprano

Ginastera Variaciones concertantes
Respighi Il Tramonto
Bizet (arr. Shchedrin) Carmen for percussion and strings 

Concluding her time as Artist-in-Residence, Jennifer Johnston brings us the hauntingly beautiful Il Tramonto (The Sunset) based on words by Shelley. Respighi’s music depicts a young love cut off in its prime, an operatic drama in miniature.

Carmen is one of opera’s most vibrant characters and in this version of the music, arranged by Shchedrin, the percussion team of the Orchestra have all the fun. Ginastera gives the rest of the orchestra a virtuosic workout to start.

Michael Alber, choir director
Liv Redpath, soprano
Iris van Wijnen, mezzo-soprano
Claudia Huckle, alto
Alessandro Fisher, tenor
Andreas Wolf, bass
Netherlands Radio Philharmonic and Choir
Vasily Petrenko, conductor

Programme
Joseph Haydn: Symphony No. 96 in D major, Hoboken I/96 “The Miracle”
Franz Schubert: Mass in G Major, D167
Camille Saint-Saëns:Oratorio de Noël

AVROTROS Vrijdagconcert AVROTROS Radio

Netherlands Radio Philharmonic Note:
In 1860, Camille Saint-Saëns composed his Oratorio de Noël for five vocal soloists, mixed choir, strings, organ and harp. The work, sung in Latin, is based on texts from the Old and New Testament, the Psalms and Gospels, as well as the Catholic Christmas liturgy. This Christmas oratorio has become one of Saint-Saëns’ most performed works thanks to its pastoral atmosphere, chamber-like instrumentation and lyrical solo parts. Opening work is Haydn’s London Symphony No. 96, which owes its nickname to the premiere when a candlestick set a fire that could be ‘miraculously extinguished’. This was followed by Franz Schubert’s Second Mass, which he deposited on paper in a week at the age of eighteen for a funeral service in the village church of Liechtental near Vienna.

In 1860 componeerde Camille Saint-Saëns zijn Oratorio de Noël voor vijf vocale solisten, gemengd koor, strijkers, orgel en harp. Het werk, gezongen in het Latijn, is gebaseerd op teksten uit het Oude en Nieuwe Testament, de psalmen en evangeliën, evenals de katholieke kerstliturgie. Dit kerstoratorium is uitgegroeid tot een van de meest uitgevoerde werken van Saint-Saëns dankzij de pastorale sfeer, de kamermuziekachtige instrumentatie en de lyrische solopartijen. Openingswerk is Haydns Londense Symfonie nr. 96, die haar bijnaam dankt aan de première toen een kandelaar een brandje veroorzaakte dat ‘op miraculeuze wijze’ kon worden gedoofd. Aansluitend de Tweede mis van Franz Schubert, die hij op zijn achttiende in een week tijd op papier stortte ten behoeve van een rouwdienst in de dorpskerk van Liechtental nabij Wenen.

Michael Alber, choir director
Liv Redpath, soprano
Iris van Wijnen, mezzo-soprano
Claudia Huckle, alto
Alessandro Fisher, tenor
Andreas Wolf, bass
Netherlands Radio Philharmonic and Choir
Vasily Petrenko, conductor

Programme
Joseph Haydn: Symphony No. 96 in D major, Hoboken I/96 “The Miracle”
Franz Schubert: Mass in G Major, D167
Camille Saint-Saëns:Oratorio de Noël

AVROTROS Vrijdagconcert AVROTROS Radio

Netherlands Radio Philharmonic Note:
In 1860, Camille Saint-Saëns composed his Oratorio de Noël for five vocal soloists, mixed choir, strings, organ and harp. The work, sung in Latin, is based on texts from the Old and New Testament, the Psalms and Gospels, as well as the Catholic Christmas liturgy. This Christmas oratorio has become one of Saint-Saëns’ most performed works thanks to its pastoral atmosphere, chamber-like instrumentation and lyrical solo parts. Opening work is Haydn’s London Symphony No. 96, which owes its nickname to the premiere when a candlestick set a fire that could be ‘miraculously extinguished’. This was followed by Franz Schubert’s Second Mass, which he deposited on paper in a week at the age of eighteen for a funeral service in the village church of Liechtental near Vienna.

In 1860 componeerde Camille Saint-Saëns zijn Oratorio de Noël voor vijf vocale solisten, gemengd koor, strijkers, orgel en harp. Het werk, gezongen in het Latijn, is gebaseerd op teksten uit het Oude en Nieuwe Testament, de psalmen en evangeliën, evenals de katholieke kerstliturgie. Dit kerstoratorium is uitgegroeid tot een van de meest uitgevoerde werken van Saint-Saëns dankzij de pastorale sfeer, de kamermuziekachtige instrumentatie en de lyrische solopartijen. Openingswerk is Haydns Londense Symfonie nr. 96, die haar bijnaam dankt aan de première toen een kandelaar een brandje veroorzaakte dat ‘op miraculeuze wijze’ kon worden gedoofd. Aansluitend de Tweede mis van Franz Schubert, die hij op zijn achttiende in een week tijd op papier stortte ten behoeve van een rouwdienst in de dorpskerk van Liechtental nabij Wenen.