Schedule

Mikhail Pletnev leads the Russian National Orchestra (RNO) in a performance of Maurice Ravel's Piano Concerto No. 1 with Lucas Debargue as the soloist. The concert opens with a selection of music by Georges Bizet based on Alphonse Daudet's play 'L'Arlésienne'. The music is compiled by Mikhail Pletnev. The first movement of Ravel's Piano Concerto No. 1 contains five distinctive themes, of which three are reminiscent of jazz. Debargue's performance of Ravel's concerto is followed by Gabriel Fauré's Barcarolle No. 4. The performance was recorded at Tchaikovsky Concert Hall in Moscow as part of the Ninth RNO Grand Festival.

Pianist Jakub Kuszlik (Poland, 1996) performs Barbara Assiginaak’s Mzizaakok Miiniwaa Mzizaakoonsak (Horseflies and Deerflies); Wolfgang Amadeus Mozart’s Fantasia No. 3 in D minor, K. 397; and Johannes Brahms’s Sonata No. 3 in F minor, Op. 5, during the solo recital of the two-part semi-final 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.

Mexican conductor Carlos Miguel Prieto leads the Orquesta Sinfónica de Minería in a performance of Camille Saint-Saëns’s musical suite The Carnival of the Animals (Le carnaval des animaux, 1886). This suite consists of 14 movements, each depicting a different animal. The work was published posthumously in 1922, as Saint-Saëns was concerned that his animal miniatures, full of delightful jokes, might damage his reputation as a serious composer. Scored for cello and two pianos, ‘The Swan’ is the only movement that Saint-Saëns allowed to be published during his lifetime. This iconic movement features a beautiful flowing cello melody and gentle piano accompaniment, evoking the image of a swan gliding gracefully over the water. Each movement is introduced by Prieto. This performance was recorded at Auditorio Nacional in Mexico City, in 2021.

Soprano Sara Gouzy (France, 1991) and pianist Seri Dan (South Korea, 1992) perform ‘Chevaux de bois’ from Claude Debussy’s Ariettes oubliées, L. 63; Franz Schubert’s An den Mond, Op. 57, No. 3, D. 193; ‘Le collier’ from Olivier Messiaen’s Poèmes pour Mi; ‘Margaritki’ (Daisies) from Sergei Rachmaninoff’s Six Romances, Op. 38; ‘Quelle aventure!’, and ‘La reine de coeur’ from Francis Poulenc’s La courte paille; Bart Visman’s Vermeer’s Gold; and ‘Wie Lange schon war immer mein Verlangen’, and ‘Ich hab’ in Penna einen Liebsten wohnen’ from Hugo Wolf’s Italienisches Liederbuch, during the semi-finals of the International Vocal Competition 2021 – Lied Duo. This performance was recorded at Het Noordbrabants Museum in ’s-Hertogenbosch, the Netherlands.

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.

The extraordinarily talented pianist Elena Bashkirova has been president of the Felix Mendelssohn-Bartholdy Foundation in Leipzig since October 2020, succeeding legendary conductor Kurt Masur. In this concert at the Mendelssohn House in Leipzig, Bashkirova is joined by soprano Juliane Banse, flutist Emmanuel Pahud, cellist Claudio Bohórquez, clarinettist Karl-Heinz Steffens, and pianist Ohad Ben-Ari in a chamber music program dedicated to the music of Mendelssohn and his sister Fanny Hensel. The program opens with Mendelssohn’s Piano Trio in D minor, Op. 49. This is followed by a selection of songs: Mendelssohn’s Schilflied ‘Auf dem Teich, dem regungslosen’, Op. 71 No. 4, and Reiselied ‘Der Herbstwind rüttelt die Bäume’, Op. 34 No. 6; Hensel’s Vorwurf, Op. 10 No. 2; Verlust, Op. 9 No. 10; and Sehnsucht, Op. 9 No. 7; Mendelssohn’s ‘Allnächtlich im Traume seh ich dich’, Op. 86 No. 4; ‘Die Liebende schreibt’, Op. 86 No. 3; and Nachtlied ‘Vergangen ist der lichte Tag’, Op. 71 No. 6. The program continues with Mendelssohn’s Seven Songs without Words, for piano four-hands (Op. 62 Nos. 1-6, and Op. 67 No. 1), and comes to a close with Mendelssohn’s Three pieces for clarinet, violoncello and piano (arr. Ernst Naumann), comprising Prelude, Op. 35 No. 4, Songs without Words, Op. 53 No. 2, and Duet, Op. 38 No. 6. This performance was recorded in November 2020.

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, Jordan conducts Beethoven’s Symphony No. 5 in C minor, Op. 67. Beethoven composed his Symphony No. 5 between 1804 and 1808, completing the work around the same time as his Symphony No. 6, ‘Pastorale’. Both symphonies saw their premieres in a legendary, all-Beethoven concert on December 22, 1808. Symphony No. 5 has become one of the best-known compositions in western classical music. It opens with the famous four-note motif, often interpreted as the musical manifestation of ’fate knocking at the door’. This rhythmic figure returns in various guises in the other three movements of the symphony. This performance was recorded at Opéra Bastille in Paris, France, in 2014.

Claude Debussy’s symphonic sketches for orchestra known collectively as ‘La Mer’ evoke a richly varied vision of the sea. The first part (‘De l’aube á midi sur la mer’) calls up a morning and afternoon at sea, the second (‘Jeux de vagues’) echoes the play of the waves, and the third and final part (‘Dialogue du vent et de la mer’) conjures the communing voices of wind and waves. Debussy knew his sea, the Mediterranean, intimately both from childhood visits to Cannes and from his Italian travels later in life.

On 18 December 2017, the Valerius Ensemble played a Christmas concert in Concordia, Enschede. The ensemble consists of Robert Windak (violin), Annemarie van Vliegen (violin), Eva Šušliková (viola) and Réne Geesing (cello). The program consists of “Das neugeborne Kindelein” from Bachs Cantata BWV 122, the Largo from Vivaldi’s Winter, the Allegro from Mozart’s Divertimento in D (KV. 136), Méditation from Massenet’s opera “Thaïs,” The Entertainer by Scott Joplin, the Vilja song from Léhars “Die Lustige Witwe” and the animated Romanian folk-tune Geampara. The Ensemble closes with Piazzolla’s Ave Maria (Tanti anni prima).

Enjoy a genuine musical marathon as a prelude to the Utrecht Early Music Festival 2018. During three concerts, the Huelgas Ensemble sing an entire alphabet of Burgundian composers, one for every letter. It concerns composers who were employed by the Burgundian court, with a special exception for Josquin, prince of polyphony. The singers perform arm-in-arm with Paul Van Nevel, visiting mass movements, motets and chansons by known and masters-to-be-discovered like Champion, Divitis, Binchois, de Orto, van Weerbeke, and many others. With “anonymous” to “incognito” they bring a double ode to the many nameless polyphonists who nonetheless made breathtaking contributions to the polyphonic repertoire of the 15th century.

For the Easter Festival 2017 in Baden-Baden, Sir Simon Rattle and the Berliner Philharmoniker draw their inspiration from Tosca, the most well-known and most brilliant of all the Puccini operas. And that is deservedly so since Tosca is not merely a work of art, but also a gripping suspense-packed story. The opera premiered in 1900 at the Teatro Costanzi in Rome. The three-act opera is based on an Italian libretto by Luigi Illica and Giuseppe Giacosa. For this performance, Philipp Himmelmann created a spectacular staging that offers a new view of this beloved classic. With Kristine Opolais as Tosca and Marcelo Álvarez as Mario Cavaradossi.

Fabio Luisi conducts the Danish National Symphony Orchestra in a performance of Gustav Mahler's Symphony No. 8. The work is one of the largest-scale choral works in the classical concert repertoire and is frequently called the "Symphony of a Thousand." The work was composed at Mahler's Maiernigg villa in southern Austria in the summer of 1906 and is the last work which was premiered in Mahler's lifetime. Soloists include Ricarda Merbeth (soprano), Henriette Bonde-Hansen (soprano), Sofia Fomini (soprano), Marianne Beate Kielland (alto), Olesya Petrova (alto), Stefan Vinke (tenor), Russel Braun (baritone), and Günther Groissböck (bass). Among the participating choirs are the Danish National Concert Choir, MDR Leipzig Radio Choir and Copenhagen Royal Chapel Choir. Recorded at the DR Koncerthuset in Copenhagen, Denmark, in 2017.

Jeditah is an experimental songwriter, producer and singer from Amsterdam. She works with Brendan Jan Walsh on cello and Jordy Pama on synths and electronics. From an early age on, Jeditah has been immersed in the world of music, travelling with her parents as a music collective. She finds inspiration in the works of acclaimed artists like Björk, James Blake, Laurie Anderson and PJ Harvey. When she began experimenting with making her own music, she first only utilized her own voice, lowering and altering it, and eventually adding electronic beats and synths. With Electric AlleyCat, Jeditah has established her position as a singer and songwriter. In between performing and recording with the band, she creates layered soundscapes from old recordings and homemade samples. It's here where she develops her very own sound: playful, melancholic and adventurous – music that speaks to the imagination of the listener. In this concert from 2019's Classical:NEXT!, she performs "Horseman" "You & Me, "Lay Down", "The Night", "Differently" and "Private Space".

Misha Mengelberg, the forgetting has begun. He is waiting for a taxi he didn’t call to go to a performance that won’t take place. Dutch composer/pianist and grand duke of jazz Misha Mengelberg (1935) has been submerged in the shadow of dementia, ending his life as a musician. At the London jazz club Vortex in 2013 he impressively says his goodbyes to the international stage. It’s also his last major performance with his band, the Instant Composers Pool Orchestra. The musicians find it hard to let him go, but Misha’s decline is constant, and he slowly fades away from their midst. A film about exceptional loyalty, dilemmas, respect and dedication. And about music, the music of Misha Mengelberg.

The Quarteto Radamés Gnattali performs Heitor Villa-Lobos' String Quartet No. 13. The quartet, existing of Carla Rincón (violin), Francisco Roa (violin), Fernando Thebaldi (viola) and Hugo Pilger (cello), was founded in 2006 and is specialised in Brazilian music and educational activities. Their recording of the complete set of Villa-Lobos string quartets is a major achievement and was very well received by the international music press. Except for the Bachianas Brasileiros Heitor Villa-Lobos is little known outside Latin America. Not only a composer but also a highly regarded conductor and educationist in his native Brazil, Villa-Lobos has operas, symphonies, concertos, piano and choral music as well as 17 String Quartets to his credit. Recorded at the Theatro Municipal, Rio de Janiero, Brasil.

Les Dissonances is a collective of artists founded by violinist David Grimal in 2004. The conductorless ensemble consists of musicians from the most prestigious European orchestras, international soloists, and young talents. In this performance, Les Dissonances play Wolfgang Amadeus Mozart’s Violin Concerto No. 5 in A major, K. 219, also known as the ‘Turkish Concerto’. Leading violinist Grimal features as the soloist. With the exception of the first violin concerto, Mozart composed his other four violin concertos in 1775 at a time when he was concertmaster at the Salzburg court. It is the third and final movement that gives Concerto No. 5 its nickname, the ‘Turkish Concerto’. This movement features a striking middle section of ‘Turkish music’, which the composer achieves not only by changing the meter, and the mode to minor, but also by letting the cellos and basses play col legno - creating a percussive sound with the wood of their bow. This performance was recorded at Cité de la Musique, France, in 2014.

Choreographed by Charles Jude, the ballet Giselle by Jean Coralli and Jules Perrot, with music by Adolphe Adam, tells the story of a lovely peasant girl by the same name. Giselle was first presented at Théâtre de l'Académie Royale de Musique in Salle Le Peletier in Paris on June 28, 1841. The story is set in the Rhineland of the Middle Ages during the grape harvest. Giselle falls in love with Albrecht, the Duke of Silesia. Hilarion, a gamekeeper, is also in love with Giselle and warns the girl against trusting a stranger, but she refuses to listen. Albrecht and Giselle dance a love duet, with Giselle picking the petals from a daisy to divine her lover's sincerity. When Giselle discovers Albrecht is going to marry Bathilde, she dies of a broken heart. Performed at the Opéra national de Bordeaux in 2011, this ballet features dancers Oxana Kucheruk (Giselle) and Igor Yebra (Albrecht).

Italian pianist Andrea Bacchetti appears both as conductor and soloist in this concert recorded at Teatro Chiabrera in the Italian city of Savona. He is accompanied by I Musici di Parma. On the program are J. S. Bach’s Prelude and Fugue in E major, BWV 878 (The Well-Tempered Clavier, Book II, No. 9), Joseph Haydn's Piano Concerto No. 11 in D major (Hob. XVIII: 11), Bach's Prelude and Fugue in A minor, BWV 889 (The Well-Tempered Clavier, Book II, No. 20), Wolfgang Amadeus Mozart's Piano Concerto No. 24 in C minor, K. 491, and Bach's Prelude and Fugue in C minor, BWV 871 (The Well-Tempered Clavier, Book II, No. 2). This performance was recorded on January 17, 2025.