Schedule

Soprano Alisa Fedorenko (Russia, 1999) and pianist Evgenii Sergeev (Russia, 1986) perform ‘Mandoline’ and ‘À Clymène’ from Gabriel Fauré’s Cinq melodies “de Venise”, Op. 58; ‘Lied der Delphine’ from Franz Schubert’s Zwei Szenen aus dem Schauspiel ‘Lacrimas’, D. 857; ‘Son’ (A dream) from Sergei Rachmaninoff’s Six Romances, Op. 38; ‘Elfenlied’ from Hugo Wolf’s Mörike-Lieder; ‘Staccato’ from Rodion Shchedrin’s Three solfege exercises; and Bart Visman’s Vermeer’s Gold, 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.

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.

Gerd Albrecht conducts the Deutsche Kammerphilharmonie in a performance of W. A. Mozart’s “Prague” Symphony No. 38 (K. 504). The work was composed by Mozart in late 1786 and premiered in January 1787, during the composer’s first visit to Prague, hence the nickname “Prague”. An unusual feature of the symphony is that it consists of only three movements, making it the only major symphonic work from the Classical period without a minuet or scherzo movement. The symphony opens with an Adagio introduction followed by a hugely powerful Allegro, with dramatic qualities that foreshadow Mozart’s opera Don Giovanni. Directed by János Darvas.

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.

Director Carlus Padrissa created an astonishing avant-garde production of Joseph Haydn’s oratorio The Creation (Die Schöpfung), Hob. XXI:2 with internationally acclaimed Catalan theatre group La Fura dels Baus. This multimedia production presents the viewer with a continuous stream of imagery, text and spectacle, transforming the composer’s masterpiece into an immersive theatrical experience. The show utilizes huge helium-filled balloons, a stage crane, and singers submerged in an aquarium. In this performance, French conductor Laurence Equilbey leads her own insula orchestra and choir accentus. Vocal soloists are soprano Mari Eriksmoen, baritone Daniel Schmutzhard, and tenor Martin Mitterrutzner. This performance was recorded at La Seine Musicale in Paris, France, on May 12, 2017.

Baritone Arvid Fagerfjäll (Sweden, 1991) and pianist Hikaru Kanki (Japan, 1993) perform Franz Schubert’s An mein Herz, D. 860; ‘Die Aufgeregten’ from Arnold Schönberg’s Sechs Lieder, Op. 3; ‘A poison tree’ from Benjamin Britten’s The red cockatoo and other songs; Bart Visman’s Vermeer’s Gold; ‘La mer est plus belle’ from Claude Debussy’s Trois mélodies de Paul Verlaine, L. 81; Gabriel Fauré’s Prison, Op. 83, No. 1; and ‘Die Geister am Mummelsee’ from Hugo Wolf’s Mörike-Lieder, 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.

Watch the series ‘Discovering Masterpieces’, your audio-visual concert guide to the great masterpieces of classical music. The series brings you 20 half-hour documentaries on 20 classical masterpieces: acclaimed experts, famous soloists and outstanding conductors take you on a journey back to the time and place of composition. In today’s documentary, Ludwig van Beethoven’s ‘Symphony No. 5’ is discussed. The piece has the character of an appeal from the very start, when the four-note “fate” motif casts a spell on listeners. The German musicologist Armin Koch analyses the work, while the German Beethoven expert Wulf Konold illustrates the ingenious variations of the “fate” motif on piano, and also explains other features of this magnificent work.

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.

The Messiah (HWV 56) by Georg Frederich Handel, also known as “A New Sacred Oratorio”, tells the life and suffering of Christ: a story of passion, fire, and sacrifice. This is one of Handel's best-known works, which took only three weeks to compose this oratorio and its famous "Hallelujah". The work has immense popularity since its premiere in Dublin in 1742, and is often presented at Easter. This performance of the Dutch ensemble Ribattuta Musica under the direction of conductor Dick Duijst was filmed in the grand church of the city of Ermelo, the Netherlands, in 2016. The soloists are Elvire Beekhuizen (soprano), Rosina Fabius (viola), Oscar Verhaar (counter-tenor) Satriya Krisna (tenor), and Hans Voschezang (bass). Ribattuta Musica is a professional ensemble that delivers authentic performances based on current musical practices at the time of the composers.

Japanese violinist Naoya Nishimura and Italian pianist Andrea Bacchetti perform an intimate recital recorded at the Munetsugu Hall in Nagoya, Japan. On the program are Arcangelo Corelli’s Violin Sonata in D minor, Op. 5 No. 12, “La Folia”; Ludwig van Beethoven’s Violin Sonata No. 5 in F major, Op. 24, “Spring”; Manuel de Falla’s 7 Canciones populares españolas; Maurice Ravel’s Sonata for violin and piano; Camille Saint-Saëns’ Introduction and Rondo Capriccioso in A minor, Op. 28; Niccolò Paganini’s Cantabile in D major, Op. 17; and Antonio Bazzini’s Scherzo fantastique, Op. 25, “La Ronde des Lutins”. This performance was recorded on June 22, 2019.

Throughout the centuries, the Italian city of Naples has proved to have a remarkably favorable climate for artistic innovation. The presence of the royal or vice royal courts, the practice of music in churches, fraternities, and charitable institutions, financial support from well-to-do citizens, and the popularity of song and dance in public life made for an extraordinarily diverse musical landscape.

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. This program features Quatuor Ébène performing Beethoven’s String Quartet No. 2 in G major, Op. 18, No. 2. This concert was recorded at Philharmonie de Paris on December 16, 2020.

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. 3 in G major, BWV 1048. This concerto was composed for three violins, three violas, three cellos, and basso continuo. Remarkable is the concerto’s form: the two fast movements are separated by an Adagio consisting of a single measure of just two chords.

The Berliner Philharmoniker and Lang Lang under the baton of Sir Simon Rattle

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. 4 in G major, BWV 1049. This concerto features solos from two recorders and a violin. The recorders play a prominent role in the concerto’s second movement, while the violin dominates the fast first and third movements.

For years, tension between the group and the individual has been a central theme of Platel’s performances. In C(H)ŒURS, his biggest project yet, he examines how dangerously beautiful a group can be. What is the relationship between the progressive 19th-century nationalism of Verdi and Wagner and the current tendency for countries to close themselves off? Platel looks at the emotions that arise from the assembly of individuals within groups, reflects on the dynamics of collective movements, and explores the boundary between the public and the individual. C(H)ŒURS features magnificent choral scenes with over 80 singers, dancers and musicians and was premiered on March 12, 2012 at the Teatro Real Madrid.

The soloists from the Lucerne Festival Orchestra present Ludwig van Beethoven’s Septet in E-flat major, Op. 20, which is scored for clarinet, horn, bassoon, violin, viola, cello and double bass. This 1799 piece achieved great popularity during Beethoven’s lifetime. It was arranged for many various instrumental ensembles, including versions for two guitars, and piano four-hands, but also a trio for clarinet (or violin), cello, and piano, arranged by Beethoven himself. This performance was recorded at the Lucerne Culture and Congress Center (KKL), Switzerland, in 2020.

Iván Fischer leads his Budapest Festival Orchestra in an exciting concert program consisting of works by J. S. Bach, Béla Bartók, and Johannes Brahms. The program opens with Bach’s Brandenburg Concerto No. 3 in G major, BWV 1048. This is followed by one of Bartók’s best-known pieces: Music for strings, percussion and celesta. Remarkable is the work’s instrumentation: Bartók divided the strings into two groups that are placed on opposite sides of the stage, to create antiphonal effects. The program ends with Brahms’s Symphony No. 3 in F major, Op. 90. This performance was recorded at the Béla Bartók National Concert Hall in Budapest, Hungary, on December 4, 2017.

This documentary by Christoph Keller follows various participants and teachers participating in the International Summer Piano Academy.

Yonghwan Jeong (1991, South Korea) performs Epithalam zu Eduard Reményis Vermählungsfeier (S129) and Grand Duo concertant sur la Romance de 'Le Marin' (S128) during semi-final II (chamber music) of the 11th International Franz Liszt Piano Competition, held in TivoliVredenburg, Utrecht 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 since has built a reputation as one of the world’s most prestigious piano competitions.

Chamber music ensemble The Philharmonics pays tribute to the music of Vienna in this March 9, 2011 concert from Vienna's Café Sperl. The ensemble, which consists of musicians from the Vienna Philharmonic and the Berlin Philharmonic, performs arrangements of five popular waltzes by Johann Straus II. Among them are Kaiser-Walzer, Op. 437, and Schatz-Walzer, Op. 418, from the operetta The Gypsy Baron. In May 1921, the likes of Arnold Schönberg, Alban Berg, and Anton Webern wrote these chamber music arrangements to raise funds for their Society for Private Musical Performances. Although both the concert and the auction of the scores were very successful, the Society eventually went under. In addition to these pieces by Strauss, The Philharmonics perform works by Fritz Kreisler, Leopold Godowsky, as well as The Philharmonics's first violinist, Tibor Kováč. The program comes to an end with Godowsky’s tribute to the city: Alt Wien.

Latvian conductor Andris Nelsons leads the Gewandhausorchester Leipzig in a performance of Antonín Dvořák’s Symphony No. 9 in E Minor, Op. 95, ‘From the New World’. Dvořák wrote this famous symphony in 1893, during his three-year term as Director of the National Conservatory of Music in New York. The Conservatory had hired the nationalist composer to create a new, national style of art music for the United States. Dvořák took elements of African American and Native American music, including pentatonic melodies and syncopated rhythms, and applied them to his symphony. This performance was recorded at the Gewandhaus in Leipzig, Germany, in 2017.

The Valerius Ensemble, consisting of Carola Ligt (flute), Robert Windak (violin), Eva Šušlíková (viola) and René Geesing (cello) played a concert in Concordia, Enschede on April 23, 2018. The program consists of Mozarts Flute Quartet No. 1, K. 285 and the Romanzo from Von Dohnányi’s Serenade Op. 10. Caroli Ligt follows with her own composition “Moods.” The ensembles closes with Thomas-Mifune’s and Joseph Haydn’s “Südamerikanische Saitensprünge.”

Manfred Honeck conducts Yo-Yo Ma and the Berlin Philharmonic in a performance of Schumann's Cello Concerto in A minor, Op. 129 from the Festspielhaus in Baden-Baden 2016.