Schedule

The opera ‘Mariken in the Garden of Earthly Delights,’ to music by Calliope Tsoupaki, is based on the miracle play 'Mariken van Nieumeghen' (c. 1515). Over five centuries, this old story hasn’t lost a bit of its power and is unquestionably part of the canon of Dutch culture. In this opera, we follow the curious but vulnerable Mariken on a journey through a dark world. She encounters intriguing characters, such as a witchlike aunt, a seductive devil, and an inquisitorial pope. The ASKO|Schönberg and the Tetraktys Ensemble are under the musical direction of Hernán Schvartzman. Main soloists are Hannah Hoekstra (Mariken), Harry van der Kamp (Uncle), Jill Feldman (Aunt), Julian Podger (Moenen), and Michael Chance (Pope). Staged by Serge van Veggel, and directed by Sonia Herman Dolz. Recorded at the Royal Theater in The Hague, in 2015.

Gidon Kremer’s return to J. S. Bach’s partitas is a major event. Kremer’s first recording of these works was released almost a quarter of a century ago. In this recording from 2006, Kremer once again takes on the greatest challenge for any violinist: Bach’s magnificent “Sonatas and Partitas for Solo Violin” (BWV 1001-1006), which Kremer himself calls the “Himalayas” of violin music. With these pieces, Bach firmly established the technical capability of the violin as a solo instrument. The partitas served as archetypes for solo violin pieces by later generations of composers. This rendition of the collection displays Kremer’s very personal sense of spontaneity and a readiness to take risks. Yet it is also marked by the structural awareness of an exceptional musician who, in a unique way, does justice both to the polyphonic wealth of the compositions and to their juxtaposition of dance elements and reflective profoundness.

Jean Paul’s novel ‘Titan’, in which an artistically gifted young man, driven by his failure to find his way in society, eventually commits suicide in despair, inspired Gustav Mahler to compose his Symphony No. 1. The work did not come easily to Mahler: he composed it between 1887 and 1888 when he, in his twenties, was working as a conductor at the Oper Leipzig. The first version of the work was considered as a symphonic poem in two parts, as its titles told a specific musical story. This original version premiered in Budapest in 1898, but it did not go down well. Mahler decided to revise his work: he left out the expressionist titles and cut the second part (Blumine). This results in a wonderful symphony, full of musical references. The opening part quotes one of Mahler's earlier compositions (Ging heut' morgens übers Feld from Lieder eines Fahrenden Gesellen), the second movement is an Austrian ländler (a folk dance), and the third part refers to a very well-known melody: ‘Brother John'. All in all, this Symphony No. 1 marks an incredible achievement for a composer this young.

At the behest of Argentinian pianist Martha Argerich, several classical music stars took part in this concert in aid of the Erasmus Fund for medical research in intensive care, recorded at the Royal Conservatory of Brussels, Belgium, on October 21, 2023. The concert pays tribute to the renowned cellist Aleksandr Khramouchin (1979) who suddenly passed away on May 13, 2023. As part of this concert, pianist Martha Argerich, violinists Tedi Papavrami and Yossif Ivanov, violist Lyda Chen-Argerich, and cellist Jing Zhao perform Robert Schumann’s Piano Quintet in E-flat major, Op. 44.

In this exquisite 2016 concert from Moscow's Tchaikovsky Concert Hall, the Russian National Orchestra and star-pianist Boris Berezovsky are led by conductor Mikhail Pletnev in a performance of magnificent works by Nikolai Rimsky-Korsakov. Winner of the 1990 International Tchaikovsky Competition in Moscow, Berezovsky interprets the works of Rimsky-Korsakov with a virtuosic power. The programme features The Tale of the Invisible City of Kitezh and the Maiden Fevroniya, suite for orchestra, as well as The Tale of Tsar Saltan, musical pictures for orchestra. It is produced by the Moscow Philharmonic Society, which Saint Petersburg-born composer Dmitri Shostakovich himself once described as playing a significant role "in the development of musical life [in Russia]. It is a kind of university which is attended by millions of music lovers and thousands of musicians.” The Moscow Philharmonic Society was founded in 1922 by then-Commissar for Culture, Anatoly Lunacharsky, and has over the years come to be Russia's leading concert organizing institution.

The German Brass is one of the most original and distinctive brass ensembles in the world. This group of talented musicians performs classical arrangements, dance versions of standards, and popular tunes that reflect an exceptional musical spirit. Inspired by an animated show presented by the ensemble, Hunting Brass: A Musical Joke paints a colorful portrait of the German Brass: during a rehearsal, his musicians are suddenly confronted with doubles who steal their instruments and form their wild orchestra!

Claudio Abbado conducts the Lucerne Festival Orchestra in Gustav Mahler’s Symphony No. 1. The principal motif of this symphony, “Like a cry of Nature”, gave the Lucerne Festival 2009 its central theme. To Mahler, nature and art are not opposed but are rather symbiotic, with one informing the other. Abbado and the orchestra are joined by a special guest for a spectacular début: twenty-two-year-old Chinese pianist Yuja Wang performs Sergei Prokofiev's Piano Concerto No. 3. In her Lucerne performance, Wang steps into the spotlights to display the full range of her artistry - the piano concerto demands not only lyricism and intimacy, but also brilliancy and virtuosity.

In September 2016, we celebrated the birthday of one of Japan's best-known conductors: Seiji Ozawa. Renowned for his advocacy of modern composers, Ozawa founded the Saito Kinen Festival Matsumoto in 1992. As of 2015, it is better known as the Seiji Ozawa Festival. Seiji Ozawa appeared on stage himself with 63 Saito Kinen Orchestra members, passionately conducting Beethoven's Symphony No. 2 and No. 7. Beethoven's Second Symphony was mostly written during the composer's stay at Heiligenstadt, at a time when his deafness was becoming more pronounced. The work premiered in the Theater an der Wien in Vienna on April 5, 1803. The Seventh Symphony premiered with Beethoven himself conducting in Vienna in 1813 at a charity concert for wounded soldiers. The Allegretto was the most popular movement and had to be encored.

Pianist Élisabeth Pion (Canada, 1996) performs Étude No. 26 in G major, and Étude No. 111 in G minor from Hélène de Montgeroult’s Études; Robert Schumann’s Sonata No. 2 in G minor, Op. 22; Wilhelm Kempff’s transcription of Siciliano from J. S. Bach’s Flute Sonata No. 2, BWV 1031; and Sofia Gubaidulina’s Chaconne, during the first round of the Piano Edition of the Concours musical international de Montréal 2024 (CMIM). This performance was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

On the occasion of her 80th birthday, Argentinian pianist Martha Argerich explored repertoire for piano and violin in this wonderful concert, recorded at Château de Chantilly, France. The ‘Grande Dame’ of the piano is joined by various renowned artists, including pianists Evgeny Kissin, Theodosia Ntokou, and Cristina Marton-Argerich, and violinist Maxim Vengerov. On the program are Dmitri Shostakovich’s Concertino for two pianos, Op. 94; Frédéric Chopin’s Impromptu No. 3, Op. 51, Polonaise No. 6, Op. 53 “Heroic”, and Waltz No. 6, Op. 64 No. 1; Camille Saint-Saëns’s Polonaise for two pianos, Op. 77; César Franck’s Sonata for violin and piano in A major; and Fritz Kreisler’s Liebesleid and Schön Rosmarin. This performance was recorded on June 12, 2021.

On November 14, 1987, a promising conductor made his Berlin Philharmonic debut with Gustav Mahler’s Symphony No. 6: Simon Rattle. In retrospect Rattle says, “I felt that I was finding my voice on that day.” Mahler’s multifaceted work is now again on the program when Sir Simon appears for the last time as chief conductor of the Berliner Philharmoniker in the Philharmonie in 2018. The wheel comes full circle. Mahler's Symphony No. 6 is often referred to by the nickname Tragische ("Tragic"). Mahler composed work during a happy time in his life, as he had married his wife Alma in 1902 and became father of his second daughter. This contrasts with the tragic and even nihilistic last movement of the symphony.

In this splendid 2013 concert from the Church of Verbier, Switzerland, Greek violinist Leonidas Kavakos and Chinese pianist Yuja Wang join forces to interpret three sonatas by Johannes Brahms. Leonidas Kavakos rose to fame in 1985, when he became the youngest musician to ever win the first price of the prestigious Sibelius Competition. With Yuja Wang, an accomplished artist at young age herself, he forms a masterful duo of chamber music interpretation. The programme features Brahm's Sonata for Piano and Violin, No. 1 in G major, Op. 78, also known as the "Regensonate," Sonata for Piano and Violin, No. 2 in A major, Op. 100, the "Thuner Sonata," a portrait of the Swiss lake of Thun's peaceful scenery. It comes to a fiery and passionate finale with Brahm's Sonata for Piano and Violin, No. 3 in D minor, Op 108.

The 2019 documentary ‘Approaching the Maelström’ follows the process leading up to a recording of American composer Philip Glass’s composition ‘A Descent into the Maelström’. The work is based on American writer Edgar Allan Poe’s 1841 short story of two fishermen caught in torrents raging between the mountainous islands of Lofoten, Norway. Glass’s work, originally a choral piece for the Australian Dance Theatre, was only ever performed at the Adelaide Festival of Arts in 1986. Over thirty years later, in 2019, Beacon Isle Films recorded a symphonic arrangement of Glass’s work, performed by the Arctic Philharmonic Orchestra and Choir conducted by Tim Weiss with soprano Berit Norbakken Solset as the soloist. Their recording was made against the backdrop of Lofoten’s spectacular landscape: the very surroundings that inspired Poe’s story. Moreover, this inspiring documentary features a rare interview with Glass.

Mikhail Pletnev leads the Russian National Orchestra in a performance of Maurice Ravel's Piano Concerto in G major, featuring Lucas Debargue as the soloist. The composer completed this lively three-movement Piano Concerto in 1931. He incorporated several jazz elements in the work, especially in the two outer movements. This performance was recorded at Tchaikovsky Concert Hall in Moscow, Russia, in 2017, as part of the Ninth RNO Grand Festival.