The Boston Symphony Orchestra under the baton of Andris Nelsons opens its 139th season with Poulenc, Beethoven and a world premiere of Eric Nathan's Concerto for Orchestra.
For modern ears, Beethoven’s Choral Fantasy is a curious beast, a hybrid of orchestral, concertante and choral genres and thus quite difficult to programme in a regular concert.
The monumental sound and the forcefulness in character that Gustavo Dudamel manages to imprint on the orchestras he has conducted has been long discussed. It is almost a signature; a revolution in an orchestral world more generally interested in what is correct and traditional.
Thursday December 22nd, 1808 was a bitterly cold day in Vienna. Beethoven took the stage in what was to be his last public performance as soloist with orchestra. The crammed programme lasted some four hours. Due to lack of rehearsal time, the evening didn’t go smoothly, with the final Choral Fantasy having to be stopped and started again.
Mozart’s Requiem – Piety, mythical murder, and mystery. Completed at the time of Mozart’s death and popularized by the 1984 movie Amadeus, this piece has since become the curiosity piece of audiences seeking the signature sensationalism of today’s state-of-the-arts media.
Die Münchner Philharmoniker boten unter Michael Sanderling ein packendes Programm mit Beethoven und Schostakowitsch. Die Symphonie Nr. 13 "Babij Jar" konnte dabei den nachhaltigsten Eindruck hinterlassen.
Im Rahmen des zweiten internationalen Musikfestes spielten die Philharmoniker Hamburg unter ihrem Dirigenten Kent Nagano seltener gespielte Werke zweier großer Komponisten.
L'intégrité de la musique de Beethoven a été atteinte par ce concert "symphoniconumérique" loin de servir son objectif de désacralisation de la musique classique.
