Schedule

Conrad van Alphen conducts Sinfonia Rotterdam and the Nationaal Vrouwen Jeugdkoor in a performance of Gustav Holst’s The Planets, Op. 32, recorded at De Doelen, Rotterdam, in 2019. Van Alphen founded Sinfonia Rotterdam in 2000. Under his passionate leadership, this orchestra has developed into one of the Netherland’s best-known orchestras. Holst worked on his orchestral suite The Planets, as an expression of his interest in astrology, from 1914 to 1916. The Planets consists of seven movements, each one named after the planet known at that time (excluding Earth), and its corresponding astrological character: “Mars: the Bringer of War”, “Venus: the Bringer of Peace”, “Mercury: the Winged Messenger”, “Jupiter: the Bringer of Jollity”, “Saturn: the Bringer of Old Age”, “Uranus: the Magician”, and “Neptune: the Mystic”. The middle section of Jupiter features a glorious melody that has become widely known. Holst adapted this melody when he set the poem “I Vow to thee to thy Country” to music. The last movement of The Planets includes a women’s choir, lending the music its mysterious, celestial atmosphere.

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.

Arvo Pärt based his ‘Kanon Pokajanen’ (from ‘Canon of Repentance to Our Lord Jesus Christ’, 1995-97) on the canon of repentance as handed down in the earliest Slavic-Christian manuscripts, dating back to the sixth century after Christ. The canon symbolizes the change, the transformation from day to night, the Old and New Testament, prophecy and the fulfillment, the here and now and the hereafter. This deals with the human and the divine, weakness and strength, suffering and redemption, mortality and immortality. In this broadcast, ‘Kanon Pokajanen’ is performed by the chamber choir Aquarius. This Flemish chamber choir is a trailblazer where new music and new concert formats are concerned. ‘Kanon Pokajanen’ is a great example of this: the singers are positioned in a circle in the center of a church. This dark church is only lit by candles and the music stand lights. After the choir has entered in procession, they sing for close to two hours. Performed by the Aquarius Choir led by Michael de Smet in 2008.

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. 8 in F major, Op. 93. Beethoven wrote the work in 1812 upon completion of his Symphony No. 7. The composer conducted the February 27, 1814 première at a concert in Vienna that also included a reprise performance of his Symphony No. 7 and his 15-minute orchestral piece Wellington’s Victory, Op. 91. The shortest of Beethoven’s nine symphonies, Symphony No. 8 lacks a truly slow movement. Instead it has a second movement, Allegretto scherzando, that features a steady ‘ticking’ rhythm maintained by the woodwinds throughout the movement. This is thought to be an imitation of the Andante movement of Joseph Haydn’s ‘Clock’ Symphony. Jordan’s performance was recorded at Opéra Bastille in Paris, France, in 2015.

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.

Franz Welser-Möst conducts the Cleveland Orchestra and Chorus in a concert performing Richard Strauss' Metamorphosen (A Study for 23 Solo Strings) and Mozart's Requiem, K. 626. Soloists are Siobhan Stagg (soprano), Avery Amereau (contralto), Ben Bliss (tenor) and Anthony Robin Schneider (bass). Recorded at Severance Hall, Cleveland in March 2023.

Paul Goodwin conducts the Conjunto Barroco of the Reina Sofía School of Music in Madrid in a Baroque music program featuring works by Georg Muffat, J. S. Bach, and Jean-Philippe Rameau. On the program are Muffat’s Sonata No. 5 in G major, 'Armonico tributo'; Bach’s Orchestral Suite No. 4 in D major, BWV 1069; and Rameau’s Suite from the opera ‘Les Boréades’. This performance was recorded at Auditorio Sony of the Reina Sofía School of Music in Madrid, Spain, on February 8, 2024.

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.

The Maggio Musicale Fiorentino (Florence Musical May) is Italy’s oldest opera and arts festival. It was founded in 1933 with the aim of presenting contemporary and forgotten operas. Over the years, the scope widened, and orchestral concerts have long been an integral part of the festival. As part of the festival’s 2021 edition, maestro Daniel Harding leads the Orchestra del Maggio Musicale Fiorentino in a performance of Johannes Brahms’s Tragic Overture in D minor, Op. 81. Brahms composed his concert overture during the summer of 1880. With its dark and tumultuous character, it could be regarded as the serious counterpart of his more joyful Academic Festival Overture, Op. 80. This performance was recorded at Teatro del Maggio Musicale Fiorentino in Florence, Italy, in 2021.

It's going to be fast, really fast! All your favourite characters from the world of cartoons and animated films in the Concert Hall - together with a strong fusion of musicians and singers from DR's choirs and orchestras. Cartoons are for children and adults alike - and the music in them is at least as entertaining as the pictures! It will be fun, touching, crazy and dramatic when the Concert Hall is filled with living lines drawn in tones in the big room. The DR Symphony Orchestra, DR Big Band and DR Vocal Ensemble have joined forces to take you to a party in the cartoon universes.

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.

Maestro Myung-Whun Chung leads the Orchestra and Chorus of the Maggio Musicale Fiorentino, along with two vocal soloists, in this impressive performance of Gustav Mahler’s Symphony No. 2 in C minor, ‘Resurrection’. Soprano Christiane Karg and alto Claudia Huckle are the soloists. Written between 1888 and 1894, this five-movement symphony is scored for a large orchestra, chorus, and soprano and alto soloists. Mahler explores themes of life, death, and resurrection throughout the symphony. Its first movement resembles a funeral march, while the second, a graceful Ländler, creates a stark contrast with the somber character of the first. The third movement is a Scherzo based on Mahler’s musical setting of ‘Des Antonius von Padua Fischpredigt’ from the collection Des Knaben Wunderhorn. The composer also used another Wunderhorn poem, ‘Urlicht’ (Primal Light), for the fourth movement, incorporating both text and music, sung by the alto. The chorus makes its entrance in the second part of the fifth and final movement with the ‘Resurrection’ chorale. This performance was recorded at Teatro del Maggio Musicale Fiorentino in Florence, Italy, in 2021.

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.

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. 6 in B-flat major, Op. 18 No. 6; and String Quartet No. 15 in A minor, Op. 132. This concert performance was recorded at Philharmonie de Paris on November 24, 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. 3 in E-flat major, Op. 55, ‘Eroica’. Composed in 1803 and 1804, this symphony is regarded as a major turning point in Beethoven’s oeuvre as well as Western music history. Symphony No. 3 is longer in duration than any previous symphony. The customary long introduction is replaced by two powerful chords, followed by the introduction of the main theme by the lower strings. The slow second movement is a Funeral March, followed by a quick Scherzo. The fourth and final movement is dominated by a theme from Beethoven’s ballet music for ‘The Creatures of Prometheus’. This performance was recorded at Opéra Bastille in Paris, France, in 2014.

In multidisciplinary project ‘Preludes - Danze al pianoforte’, dance and music come together in a wonderful and sophisticated show. Recognized Italian choreographer Massimo Moricone choreographed some of the most beautiful piano pieces by Frédéric Chopin, Claude Debussy, J. S. Bach, and Sergei Rachmaninoff, played by Italian pianist Costanza Principe. The protagonists are three Italy’s finest dancers: Anbeta Toromani, Alessandro Macario, and Amilcar Moret Gonzales. This performance was recorded at Teatro Romano di Verona, Italy, on July 25, 2023.

Celebrated German violinist Isabelle Faust performs J. S. Bach’s Partita No. 2 in D minor (BWV 1004). The work is part of the composer’s well-known Sonatas and Partitas for Solo Violin (BWV 1001-1006). Partita No. 2 is made up of four dance movements, concluded by its famous Chaconne, a monumental piece within the violin repertoire. In this Chaconne, Bach develops a series of continuous variations from a theme, exploring a complex range of harmonic possibilities. This performance was recorded at St. Thomas Church in Leipzig, Germany, in 2020.

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.