Schedule

In May 2019, the new principal conductor of the Gewandhaus, Andris Nelsons, presented Tchaikovsky’s Symphony No. 5 with his orchestra in combination with Shostakovich’s Violin Concerto No. 1 with outstanding violinist Baiba Skride as the soloist. In this composition, the violin does not allow itself a break, continually tells its dark story and gets into a vicious circle of ostinato Passacaglia bass lines again and again falls into beguilingly beautiful singing. Tchaikovsky initially thought his 'Symphony of Fate' was a failure and believed himself to be at the end of his creative powers. It was probably the composer's nature, plagued by self-doubt, that made it almost impossible for him to develop a self-confident attitude to his own creative power. Between this two works, Skride performs Stravinsky's Elegy for Solo Violin.

Mezzo-soprano Deepa Johnny (Canada/Oman, 1998) performs ‘Parto, parto’ from Wolfgang Amadeus Mozart’s La clemenza di Tito; ‘Ich atmet’ einen linden Duft’ from Gustav Mahler’s Rückert-Lieder; and ‘Di tanti palpiti’ from Gioachino Rossini’s Tancredi, during the first round of the Voice Edition of the Concours musical international de Montréal 2022 (CMIM). This performance was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

Roberto Prosseda (1975) performs Mozart's Piano Sonata No. 5 (KV. 283) and four Impromptus Op. 90 by Franz Schubert. The performance ends with Chopin's technically demanding Ballade No. 4, Op. 52. Prosseda is particularly noted for his performances of newly discovered works by Mendelssohn and has recorded a nine-CD series for Decca of the piano works of Mendelssohn. Since 2012, Prosseda also gives lecture-concerts with the robot pianist TeoTronico, as educational or family concerts, to demonstrate differences between a literal production of music and human interpretation.

The Berliner Philharmoniker is an orchestra based in Berlin, Germany and is ranked as one of the best orchestras in the world. In 1990, orchestra members played beautiful chamber music, such as Ludwig van Beethoven's Octet in E-flat major and Antonin Dvořák's Serenade in D minor. Even though both compositions were written for wind instruments, Beethoven reworked and expanded his String Quartet No. 1 for this composition. The performance was recorded at the famous Jaspis-Hall in the New Chambers, besides Sanssouci, the Summer Palace of Friedrich the Great.

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. In this performance at the Hall of Mirrors in the Köthen Castle, Germany, Luks and his Collegium 1704 present Bach’s Brandenburg Concerto No. 5 in D major, BWV 1050. Remarkably, the harpsichord appears as a solo instrument here, along with the flute and violin, rather than as an accompanying instrument. The piece is therefore considered one of Bach’s very first keyboard concertos.

Renowned French string quartet Quatuor Ébène marked the 250th birth anniversary of Ludwig van Beethoven (1770-1827) with a remarkable project: recording all of the great composer’s sixteen string quartets. For five years, violinists Pierre Colombet and Gabriel Le Magadure, violist Marie Chilemme, and cellist Raphaël Merlin immersed themselves in Beethoven’s 650 pages of sheet music. Their efforts culminated in the performance of the composer’s complete repertoire for string quartet, which covers three decades of Beethoven's musical creativity, during six impressive concerts at Philharmonie de Paris in the autumn of 2020. Quatuor Ébène explored every facet of Beethoven's string quartet repertoire: from the youthful Opus 18 string quartets to the Razumovsky, Harp, and Serioso quartets (Opus 59, 74, and 95) from his middle period, and finally, the depth of his late quartets (Opus 127 to 135). This program features Quatuor Ébène performing Beethoven’s String Quartet No. 5 in A major, Op. 18, No. 5; String Quartet No. 4 in C minor, Op. 18, No. 4; and String Quartet No. 12 in E-flat major, Op. 127. This concert was recorded at Philharmonie de Paris on December 17, 2020.

Baritone Bryan Murray (USA, 1989) performs ‘Mein Sehnen, mein Wähnen’ from Erich Korngold’s opera Die tote Stadt; ‘Papagena Papagena Papagena!’ from Wolfgang Amadeus Mozart’s opera Die Zauberflöte; and ‘E fra quest’ansie in eterno vivrai?’ from Ruggero Leoncavallo’s opera Pagliacci, during the first round of the Voice Edition of the Concours musical international de Montréal 2022 (CMIM). This performance was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

In the summer of 2019, the Utrecht Early Music Festival explored the musical legacy of Naples: a cultural metropolis of contradiction and solidarity. In the documentary 'Napoli – Music’s Forgotten Capital', festival co-curator Thomas Höft unearths riveting tales from this multi-faceted city.

Italian pianist Andrea Molteni (1998) performs Alban Berg’s Piano Sonata in B minor, Op. 1. Molteni began studying the piano at the age of six. He graduated with honors and honorable mention at the Conservatorio di musica Giuseppe Verdi di Como, and was awarded a master’s degree Magna cum Laude in Advanced Performance Studies by the Conservatorio della Svizzera Italiana in Lugano. He has appeared at the Wiener Saal of the Mozarteum University in Salzburg, Scriabin Museum in Moscow, National Opera Center in New York, and several other international venues. This performance was recorded at the Verbrugghen Hall of the Sydney Conservatorium of Music, Australia, in 2023.

Karita Mattila (soprano), Violeta Urmana (alto), Thomas Moser (tenor), Eike Wilm Schulte (bass), Swedish Radio Choir, Eric Ericson Chamber Choir, Berlin Philharmonic Orchestra, conductor: Claudio Abbado. Ludwig van Beethoven (1770-1827): Symphony No. 9 in D minor, Op. 125. The European Concert has been a tradition of the Berliner Philharmoniker since 1991. The musicians commemorate the anniversary of the orchestra's founding on May 1st, 1882, playing in different European cities. In 2000, the orchestra played at home in the Berlin Philharmonic Hall.

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.

This episode presents the Brandenburg Concertos by Johann Sebastian Bach (1685-1750). Musical excerpts played by the Freiburger Barockorchester conducted by Gottfried von der Goltz. Bach's six Brandenburg Concertos rank among the undisputed favorites of all baroque fans. They have become a firm fixture in music education and an integral part of our international musical heritage. So what's their secret? The internationally acclaimed pianist and Bach expert Robert Levin provides an answer.

Pianist Anthony Ratinov (USA, 1997) 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.

Mexican conductor Carlos Miguel Prieto leads the Orquesta Sinfónica de Minería in a performance of Sergei Prokofiev’s Peter and the Wolf, Op. 67. Written in 1936, Peter and the Wolf is a short, narrated orchestral suite, telling the story of a brave boy named Peter, who lives with his grandfather on the edge of a forest. With the help of his animal friends, Peter outsmarts a villainous wolf and captures it, eventually leading it to the zoo. Maestro Prieto gives an introduction to the different parts of the suite. In each part, each character is represented by a different instrument or instrument section, offering a vivid introduction to the orchestra's instrumental families. This performance was recorded at Auditorio Nacional in Mexico City, in 2021.

Pianist Vadim Repin and Violist Murad Hüseynov perform Gara Garayev's Violin Sonata and 24 Preludes for Piano. Recorded at La Grange au Lac. Written and directed by Juliette Swierczewski and recorded at La Grange au Lac. Although Garayev is a 20th century composer, his music nonetheless carries allusions to romantic music. Murad, the main actor, will represent one of those characters carried by solitude that can be found in the romantic paintings of Friedrich. The overall atmosphere of the musical program is rather melancholic, tending either towards a certain musical lightness, or, on the contrary, towards drama. The production is a cinematographic accompaniment of the music and its performers.

Swiss conductor Philippe Jordan and the Orchestre de l’Opéra national de Paris recorded all of Ludwig van Beethoven’s symphonies in 2014-2015. In this program, maestro Jordan presents Beethoven’s final symphony: Symphony No. 9 in D minor, Op. 125. He conducts the Orchestre and Choeurs de l’Opéra national de Paris and four vocal soloists Ricarda Merbeth (soprano), Daniela Sindram (mezzosoprano), Robert Dean Smith (tenor), and Günther Groissböck (bass). Beethoven composed his last Symphony when his hearing had all but gone, between 1822 and 1824. Symphony No. 9 is the longest and most ambitious of Beethoven’s symphonies. Most striking is the piece’s finale movement, which includes a choir and four vocal soloists singing a setting of Friedrich Schiller’s poem ‘An die Freude’ (Ode to Joy). This performance was recorded at Opéra Bastille in Paris, France, in 2015.

This very special concert event celebrates the diversity and richness of Canada through the eyes and ears of its people. Ensemble Made in Canada’s Mosaique Project features a commissioned suite of piano quartets by 14 Canadian composers, each inspired by a region of our vast country. Their album release and two-year National tour culminate in St. Catharines’ stunning Partridge Hall! The ensemble consists of Elissa Lee (violin) Sharon Wei (viola), Rachel Mercer (cello) and Angela Park (piano) and is rapidly gaining recognition as Canada’s premier piano quartet.

After recording all 32 Ludwig van Beethoven piano sonatas to celebrate the composer's 250th birth anniversary, celebrated Italian pianist Riccardo Schwartz decided to record solo piano works by Robert Schumann. Schumann composed his Fantasie in C, Op. 17 in 1836, revising it prior to publication in 1839. Bearing a dedication to Franz Liszt, it is one of Schumann's greatest works for solo piano, and a central work of the early Romantic period. Written in a loose sonata form, the first movement is rhapsodic and passionate, the middle movement is a grandiose rondo, and the finale is slow and meditative. Acclaimed pianist Riccardo Schwartz (1986) has performed as a soloist with many world-renowned conductors, including Gustav Kuhn and Yuri Temirkanov. His acclaimed performances include recitals and concertos for piano and orchestra in many prestigious concert halls.

For the 2016 edition of the Waldbühne, the Georgian violinist Lisa Batiashvili and the Québécois conductor Yannick Nézet-Séguin join the Berliner Philharmoniker for a beautiful concert. They present an all Czech program! We always think of Germany, Austria, and Italy when we name great classical composers, but the Czech Republic also delivered some master composers such as Antonin Dvorák, Bedrich Smetana, Leos Janacek, and Bohuslav Martinu. This concert starts with Smetana’s famous Vltava from Má Vlast. Lisa Batiashvili plays Dvorák’s Violin Concerto in A minor, and the concerts centerpiece is Dvorák’s Symphony No. 6.

In May 2019, the new principal conductor of the Gewandhaus, Andris Nelsons, presented Tchaikovsky’s Symphony No. 5 with his orchestra in combination with Shostakovich’s Violin Concerto No. 1 with outstanding violinist Baiba Skride as the soloist. In this composition, the violin does not allow itself a break, continually tells its dark story and gets into a vicious circle of ostinato Passacaglia bass lines again and again falls into beguilingly beautiful singing. Tchaikovsky initially thought his 'Symphony of Fate' was a failure and believed himself to be at the end of his creative powers. It was probably the composer's nature, plagued by self-doubt, that made it almost impossible for him to develop a self-confident attitude to his own creative power. Between this two works, Skride performs Stravinsky's Elegy for Solo Violin.

Sergey Belyavskiy (1993, Russia) performs Rapsodie hongroise No. 9 ‘Carnival in Pest’, S244/9 and Grandes Études de Paganini, S141 during semi-final I (transcription) of the 11th International Franz Liszt Piano Competition, held in TivoliVredenburg, Utrecht, in 2017. The competition actively presents, develops, and promotes piano talents from around the world. In doing so, it has become one of the prominent gateways to the international professional classical music scene for young musicians. The International Franz Liszt Piano Competition was founded in 1986 in the Netherlands and has since built a reputation as one of the world’s most prestigious piano competitions.

In La Grande-Duchesse de Gérolstein by Jacques Offenbach, the authors of this comic opera mock the war on France's threshold. The charge against the powers, the army and the nobility is pointed but, to satisfy censorship, it is skilfully camouflaged by the grotesque costumes of an imaginary duchy and by some musical buffoonery of sparkling gaiety. And yet, at the time, no-one was fooled! Only Offenbach could pull off the trick of being adulated by those by whom he was so cynically inspired! A production by Opéra Royal de Wallonie-Liège. With conductor Cyril Englebert, Solists: Patricia Fernandez, Sébastien Droy, Lionel Lhote, Sophie Junker, Jean-Philippe Corre, Giovanni Iovino, Patrick Delcour, Roger Joakim and the Opéra Royal de Wallonie-Liège Orchestra and Chorus.

Marin Alsop conducts the Britten-Pears Orchestra in a performance of Benjamin Britten’s The Young Person's Guide to the Orchestra. This performance took place at Snape Maltings Concert Hall, Snape Bridge in the UK in 2017. The Britten-Pears Young Artist Programme was founded over 40 years ago by the composer and Peter Pears, to provide high-level performance training for the world’s best emerging professional musicians. Ever since the 1946 the educational film ‘Instruments of the Orchestra’, generations have been inspired by Britten’s much-loved classic. It is one of the best-known pieces by the composer and is often associated with two other works in the context of children's music education: Saint-Saëns' The Carnival of the Animals and Prokofiev's Peter and the Wolf.

Renowned French string quartet Quatuor Ébène marked the 250th birth anniversary of Ludwig van Beethoven (1770-1827) with a remarkable project: recording all of the great composer’s sixteen string quartets. For five years, violinists Pierre Colombet and Gabriel Le Magadure, violist Marie Chilemme, and cellist Raphaël Merlin immersed themselves in Beethoven’s 650 pages of sheet music. Their efforts culminated in the performance of the composer’s complete repertoire for string quartet, which covers three decades of Beethoven's musical creativity, during six impressive concerts at Philharmonie de Paris in the autumn of 2020. Quatuor Ébène explored every facet of Beethoven's string quartet repertoire: from the youthful Opus 18 string quartets to the Razumovsky, Harp, and Serioso quartets (Opus 59, 74, and 95) from his middle period, and finally, the depth of his late quartets (Opus 127 to 135). This program features Quatuor Ébène performing Beethoven’s String Quartet No. 2 in G major, Op. 18, No. 2; String Quartet No. 16 in F major, Op. 135; and String Quartet No. 14 in C-sharp minor, Op. 131. This concert was recorded at Philharmonie de Paris on December 16, 2020.