Schedule

Baritone Matthias Goerne teams up with violinist Vilde Frang, cellist Nicolas Altstaedt, flutist Stathis Karapanos, and harpsichordist Michaela Hasselt in this program dedicated to the music of J. S. Bach. They perform baritone arias from Bach’s most beautiful cantatas, as well as solo pieces and duets. On the program are Sonata No. 3 in C major for violin solo, BWV 1005; arias ‘Hier, in meines Vaters Stätte’, BWV 32 and ‘Die Welt mit allen Königreichen’, BWV 59; Suite No. 5 in C minor for cello solo, BWV 1011; ‘Wenn Trost und Hülf ermangeln muß’, BWV 117; ‘Ja, ja, ich halte Jesum fest’, BWV 157; Invention No. 7 in E minor, BWV 778; Invention in A major, BWV 783; and ‘Welt ade, ich bin dein müde’, BWV 158. This performance was recorded at St. Mary’s Church in Wittenberg, Germany.

Sir Simon Rattle conducts the London Symphony Orchestra (LSO) in Antonín Dvořák’s spirited Slavonic Dances, Op. 46 (Nos. 1-8). These 16 folk dances earned Dvořák, who was a relative newcomer when he wrote them, great success. Originally composed for piano four hands, the London Symphony Orchestra plays the orchestral version of these brilliant works. This performance was recorded at LSO St. Luke’s on Old Street in London, UK, on September 23, 2020.

Conductor Jan Latham-Koenig leads the Flanders Symphony Orchestra in a performance of Edvard Grieg’s Piano Concerto in A minor, Op. 16. French pianist Pascal Amoyel features as the soloist. Grieg composed the work in 1868, drawing inspiration from Norwegian folk music. It is the composer’s only concerto. The work premiered on April 3, 1869 in Copenhagen, Denmark, with Edmund Neupert as the soloist, and was received enthusiastically. The Norwegian premiere followed a few months later. This performance was recorded at Concertgebouw Brugge, Belgium, on April 21, 2016.

Pianist Jaeden Izik-Dzurko (Canada, 1999) joins the CMIM ensemble, consisting of three principal strings players of the Montreal Symphony Orchestra, in a performance of the first movement, Sostenuto assai – Allegro ma non troppo, of Robert Schumann’s Piano Quartet in E-flat major, Op. 47. This performance took place during the chamber music round of the two-part semi-final of the Piano Edition of the Concours musical international de Montréal 2024 (CMIM). It was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

Few Italian theatres can boast of being an absolute point of reference for national and world culture. The Teatro Regio in Turin is both a symbol of excellence in the national operatic tradition and a prestigious stage hosting operas, ballets, concerts, and musicals of great substance. This short documentary offers a behind-the-scenes tour of the Teatro Regio Torino and bears witness to the enviable reputation that has prevailed since its opening in 1740.

This chamber music concert is part of ‘Preludio’ concert series of the Reina Sofía School of Music in Madrid. The program opens with Joseph Haydn’s Concerto in D major for cello and orchestra, H VIIb: 2 (cello and piano reduction), performed by cellist Alejandro Gómez Pareja and pianist Miguel Ángel Ortega Chavaldas. Next, violinist Cecilia Novella Genovés and pianist Alina Artemyeva present Pyotr Ilyich Tchaikovsky’s Souvenir d'un lieu cher, Op. 42, followed by Eugène-Auguste Ysaÿe’s Sonata for solo violin in D minor, Op. 27, No. 3, played by Genovés. Next on the program is Henry Vieuxtemps’s Capriccio, Op. 55, ‘Hommage à Paganini’, presented by violist Mario Carpintero Martín. Bassist Ramsés Martínez Millán and pianist Marharyta Kozlovska close the program with a performance of Johannes Sperger’s Sonata for double bass and viola in D major (in an arrangement for double bass and piano). This performance was recorded at Auditorio Sony of the Reina Sofía School of Music in Madrid, Spain, on April 30, 2024.

Conductor Eduard Topchjan leads the Armenian National Philharmonic Orchestra in a performance of Hector Berlioz’s Symphonie fantastique, Op. 14. Berlioz wrote the piece of program music in 1830 while still a conservatory student. Inspired on the composer’s unrequited love for Irish actress Harriet Smithson, the five-movement piece portrays the dreams of a young artist who has taken an overdose of opium in the aftermath of a failed love affair. Berlioz used one melody in each movement of the work representing the artist’s beloved, an ‘idée fixe’ (a fixed idea or obsession). The work is scored for a large orchestra and features an astonishing array of instrumental colors, including church bells, an off-stage oboe, and strings playing col legno (using the wood of their bow). This performance was recorded at the Aram Khachaturian Concert Hall in Yerevan, Armenia, in 2021.

Regarded as one of the finest interpreters of Romantic repertoire, Francesco Attesti (*1975) gave his first recital at age 11 and by the time he was 23, had earned the highest honours in piano from Florence’s Conservatorio Luigi Cherubini. In this recording of his 2016 Deeply Mozart concert tour, Attesti performs Wolfgang Amadeus Mozart’s piano concertos KV 449 and KV 488 with the Italian OIDA Orchestra and conductor Paolo Belloli.

Franz Liszt (1811 - 1886) composed 13 symphonic poems, largely inspired by literary texts. The composer himself wrote piano duet arrangements for these pieces, showcasing his incredible ability of imitating a full orchestra on the piano. Liszt, one of the 19th century’s most important piano virtuosos, strongly influenced the further development of piano music. The Romantic period was the era of the virtuoso pianists: the piano was the instrument of choice for countless musicians and listeners alike. No house of standing could do without a piano: it was a status symbol. Piano music was played in concert halls, palaces, salons, churches and public houses alike. Liszt’s symphonic poem no. 4, ‘Orpheus’, breathes a meditative atmosphere. No. 3, ‘Les Préludes’, is best known in its symphonic version – the piano version presented here is rarely heard. The work dates back to the period 1848 – 1854 and was initially meant to serve as introduction to a choral cycle to be based on the texts of the poet Joseph Autran, ‘Les quatre éléments’: earth, air, water and fire. In this broadcast, the Italian piano duo of Marco Sollini and Salvatore Barbatano performs these Liszt piano works. These recordings were made at the beautiful 12th century church of San Marco in the small but picturesque village of Ponzano di Fermo, as part of the 2015 edition of the annual, itinerant festival ‘Armonie della sera’ in the Italian province of Le Marche.

Celebrated German violinist Isabelle Faust performs J. S. Bach’s Sonata No. 3 in C major (BWV 1005). The work is part of the composer’s well-known Sonatas and Partitas for Solo Violin (BWV 1001-1006). Sonata No. 3 includes an extensive fugue in which Bach employs many contrapuntal techniques. In this wonderful performance, Faust shows her mastery of Bach’s technically challenging piece. This performance was recorded at St. Thomas Church in Leipzig, Germany, in 2020.

Maestro Zubin Mehta leads the Orchestra and Chorus of the Maggio Musicale Fiorentino in a performance of Wolfgang Amadeus Mozart’s comic opera Così fan tutte (1790). Following the successful operas Le nozze di Figaro (1786) and Don Giovanni (1787), Così fan tutte was the third and last collaboration between Mozart and the Venetian librettist and poet Lorenzo Da Ponte. The opera tells the story of two young officers, Ferrando and Guglielmo, who are convinced of the fidelity of their fiancées, the sisters Fiordiligi and Dorabella. However, their older friend Don Alfonso contends that women cannot be trusted. He proposes a plan to test his theory: the young men must pretend to be called away to the front but then return disguised as Albanian soldiers to try to seduce their lonely fiancées. The young men reluctantly agree to Alfonso’s test. Will the sisters succumb to the advances of the disguised suitors? Among the soloists are Valentina Naforniţa (Fiordiligi), Vasilisa Berzhanskaya (Dorabella), Mattia Olivieri (Guglielmo), Matthew Swensen (Ferrando), Benedetta Torre (Despina), and Thomas Hampson (Don Alfonso). This performance was recorded at Teatro del Maggio Musicale Fiorentino in Florence, Italy, on March 28, 2021.

Sir Simon Rattle leads the London Symphony Orchestra (LSO) and Chorus in a performance of Ludwig van Beethoven’s Symphony No. 9 in D minor, Op. 125. The soloists are Iwona Sobotka (soprano), Anna Stephany (mezzo-soprano), Robert Murray (tenor), and Florian Boesch (baritone). Engineered with unmatched symphonic finesse, Beethoven set aside ruminations on fate and heroism to compose his utterly musical and wholly satisfying Ninth Symphony. It is a monumental work, renowned for its innovative use of a chorus and vocal soloists in the final movement, singing a setting of Friedrich Schiller's poem "Ode to Joy". Premiered in 1824, it remains one of the most performed and recognizable pieces of classical music. This performance was recorded at Barbican Hall in London, on February 16, 2020.

Olivier Latry is the current holder of the Great Organ of Notre Dame. Between its original religious function and the interest of composers of all times, the great organ Cavaillé-Coll reveals its absolute modernity. Latry is considered one of the greatest organists of his generation, both in France and internationally. He sees himself as an ambassador of French music from the 17th through the 20th centuries as well as an advocate for the art of improvisation. Pieces played in the film are: Pierre Cochereau’s Boléro, Louis Vierne’s Carillon of Westminster and Scherzo from Symphony No. 2, Alexandre Guilmant’s Sonata No. 1, Charles-Marie Widor’s Gothic Symphony, Marcel Dupre’s Cortège, Litanie and J. S. Bach’s Passacaille & Fugue.

Musical critics from North America, Europe, and Russia praise Nalchik-born pianist Misha Fomin for his subtlety of touch and phrasing. He graduated cum laude from the Gnessin’s Russian Academy of Music, Moscow, where he studied with Lina Bulatova, a former student of professor Helen Gnessina and legendary Heinrich Neuhaus, and later continued his musical studies at the Hochschule für Musik “Franz Liszt” in Weimar. Today, he enjoys the praise from audiences around the world for outstanding performances and is known to teach piano to young musicians through frequent masterclasses and educational events. For this 2018 concert, Fomin returned to Amsterdam´s Concertgebouw to interpret Beethoven's Piano Sonata No. 8, Op. 13 Pathétique and Piano Sonata No. 14, Op. 27, Nr. 2 Moonlight, as well as Tchaikovsky's The Four Seasons, Op. 37b.

J. S. Bach’s six Brandenburg Concerto’s belong to his best-known works. The composer wrote these concertos between 1711 and 1720 and dedicated them in 1721 to Christian Ludwig, Margrave of Brandenburg. In celebration of the pieces’ 300th anniversary, Czech harpsichordist and conductor Václav Luks and the renowned Baroque ensemble Collegium 1704 recorded all six Brandenburg Concertos on historical instruments in 2021. The concertos are based on the Italian concerto grosso form, in which a group of solo instruments is set against a large ensemble. Bach’s Brandenburg Concertos feature remarkable combinations of solo instruments and virtuoso solos. This performance was recorded at the Hall of Mirrors in the Köthen Castle, Germany.

Italian cellist Silvia Chiesa and Italian pianist Maurizio Baglini perform Franz Liszt’s Two Elegies for cello and piano. This performance was recorded at Sala Verdi of the Conservatorio Giuseppe Verdi in Milan, Italy, on November 4, 2024.

Italian conductor Gianandrea Noseda leads the London Symphony Orchestra (LSO) in a performance of Ludwig van Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, famously known as the ‘Emperor’ Concerto. Italian pianist Beatrice Rana features as the soloist here. The New York Times describes her as ‘one of the most insightful and prodigiously gifted artists of the new generation’. Beethoven’s Fifth Piano Concerto opens with a grand, majestic chord followed by a brilliant flourish from the piano, setting the tone for one of the most celebrated works in the piano repertoire. Composed between 1809 and 1811, it reflects Beethoven’s heroic spirit during a turbulent period in European history and is admired for its boldness, lyricism, and virtuosic demands. This concert was recorded at London’s Barbican Hall, UK, on February 2, 2022.