SCHEDULE

PROGRAME:
Anderson: Symphony No. 2, “Prague Panoramas”
Martinů: Concerto for Two Pianos
Tchaikovsky: Romeo and Juliet Fantasy Overture

PERFORMERS:
Katia Labèque and Marielle Labèque, piano
The Cleveland Orchestra
Semyon Bychkov, conductor

VENUE NOTE:
Always a favorite of Cleveland audiences, the Labèques return to perform the Martinů’s tour de force concerto for two pianos, full of jazzy inflections and high-speed fireworks, pausing only in the slow movement for moments of serene calm. The concert concludes with Tchaikovsky’s iconic Romeo and Juliet, whose sweeping melodies perfectly evoke the breathless passion of the two young lovers.

PROGRAME:
Anderson: Symphony No. 2, “Prague Panoramas”
Martinů: Concerto for Two Pianos
Tchaikovsky: Romeo and Juliet Fantasy Overture

PERFORMERS:
Katia Labèque and Marielle Labèque, piano
The Cleveland Orchestra
Semyon Bychkov, conductor

VENUE NOTE:
Always a favorite of Cleveland audiences, the Labèques return to perform the Martinů’s tour de force concerto for two pianos, full of jazzy inflections and high-speed fireworks, pausing only in the slow movement for moments of serene calm. The concert concludes with Tchaikovsky’s iconic Romeo and Juliet, whose sweeping melodies perfectly evoke the breathless passion of the two young lovers.

PROGRAMME:
Dvořák: Carnival Overture
Saint-Saëns: Violin Concerto No. 3
Brahms: Symphony No. 4

PERFORMERS:
Renaud Capuçon, violin
Chicago Symphony
Semyon Bychkov, conductor

VENUE NOTE:
When Renaud Capuçon and Semyon Bychkov last appeared together with the CSO, sparks flew. The French violinist “made you aware of a searching musical intellect supported by a superb technical arsenal” (Chicago Tribune). The parties reunite in Saint-Saëns’ brilliant Third Violin Concerto. Framing the program are Dvořák’s boisterous portrait of a street carnival and Brahms’ noble and heart-rending Fourth Symphony.

PROGRAMME:
Dvořák: Carnival Overture
Saint-Saëns: Violin Concerto No. 3
Brahms: Symphony No. 4

PERFORMERS:
Renaud Capuçon, violin
Chicago Symphony
Semyon Bychkov, conductor

VENUE NOTE:
When Renaud Capuçon and Semyon Bychkov last appeared together with the CSO, sparks flew. The French violinist “made you aware of a searching musical intellect supported by a superb technical arsenal” (Chicago Tribune). The parties reunite in Saint-Saëns’ brilliant Third Violin Concerto. Framing the program are Dvořák’s boisterous portrait of a street carnival and Brahms’ noble and heart-rending Fourth Symphony.

PROGRAMME:
Dvořák: Carnival Overture
Saint-Saëns: Violin Concerto No. 3
Brahms: Symphony No. 4

PERFORMERS:
Renaud Capuçon, violin
Chicago Symphony
Semyon Bychkov, conductor

VENUE NOTE:
When Renaud Capuçon and Semyon Bychkov last appeared together with the CSO, sparks flew. The French violinist “made you aware of a searching musical intellect supported by a superb technical arsenal” (Chicago Tribune). The parties reunite in Saint-Saëns’ brilliant Third Violin Concerto. Framing the program are Dvořák’s boisterous portrait of a street carnival and Brahms’ noble and heart-rending Fourth Symphony.

Programme
Gustav Mahler: Symphony No. 3 in D minor

Performing with
Fleur Barron, mezzo-soprano
Prague Philharmonic Choir
Czech Philharmonic Orchestra

Mahler’s Symphony No. 3
The Czech Philharmonic Orchestra Prague is one of the great orchestras in Europe. This aspiration is also evident in today’s programme: Mahler’s Third Symphony. At the end of the 19th century, music was seen as the highest of all arts, and this symphony formulates this claim like few others. For his world painting, the composer demands an oversized orchestra, two choirs and a vocal solo. The origin of the world – nothing less is at stake in the six symphony movements.

Programme
Gustav Mahler: Symphony No. 3 in D minor

Performing with
Christa Mayer mezzo-soprano
Prague Philharmonic Choir women’s choir; Lukáš Vasilek choirmaster
Pueri gaudentes boys’ choir; Jan Kyjovský, Libor Sládek choirmasters
Czech Philharmonic

In our recording and concert plans for Mahler’s symphonies, the time has arrived for the Third Symphony—a work that includes voices and is the longest of all his symphonies. According to voting by the world’s top conductors, it is one of the ten greatest symphonies of all time. It is led by a solo part, for which Semyon Bychkov chose Christa Mayer.

Programme
Gustav Mahler: Symphony No. 3 in D minor

Performing with
Christa Mayer mezzo-soprano
Prague Philharmonic Choir women’s choir; Lukáš Vasilek choirmaster
Pueri gaudentes boys’ choir; Jan Kyjovský, Libor Sládek choirmasters
Czech Philharmonic

In our recording and concert plans for Mahler’s symphonies, the time has arrived for the Third Symphony—a work that includes voices and is the longest of all his symphonies. According to voting by the world’s top conductors, it is one of the ten greatest symphonies of all time. It is led by a solo part, for which Semyon Bychkov chose Christa Mayer.

Programme
Gustav Mahler: Symphony No. 3 in D minor

Performing with
Christa Mayer mezzo-soprano
Prague Philharmonic Choir women’s choir; Lukáš Vasilek choirmaster
Pueri gaudentes boys’ choir; Jan Kyjovský, Libor Sládek choirmasters
Czech Philharmonic

In our recording and concert plans for Mahler’s symphonies, the time has arrived for the Third Symphony—a work that includes voices and is the longest of all his symphonies. According to voting by the world’s top conductors, it is one of the ten greatest symphonies of all time. It is led by a solo part, for which Semyon Bychkov chose Christa Mayer.

Programme
Dmitri Shostakovich: Cello Concerto No. 1 in E flat major op. 107
Johannes Brahms: Symphony No. 4 in E minor op. 98

Performing with
Kian Soltani, cello
Tonhalle-Orchester Zürich

Brahms’ Symphony No. 4 is “huge, very strange, completely new, bronze individuality. Breathes unparalleled energy from a to z»: This is how the conductor Hans von Bülow rejoiced after a rehearsal of the work. It will now be conducted by Semyon Bychkov, who also has a lot of energy – not only on the podium. In recent months, as a Russian who emigrated in 1975, he has spoken out against the war at every opportunity. When he performs Shostakovich’s Cello Concerto No. 1 in addition to Brahms’ Fourth, it is undoubtedly about more than just music.

Programme
Dmitri Shostakovich: Cello Concerto No. 1 in E flat major op. 107
Johannes Brahms: Symphony No. 4 in E minor op. 98

Performing with
Kian Soltani, cello
Tonhalle-Orchester Zürich

Brahms’ Symphony No. 4 is “huge, very strange, completely new, bronze individuality. Breathes unparalleled energy from a to z»: This is how the conductor Hans von Bülow rejoiced after a rehearsal of the work. It will now be conducted by Semyon Bychkov, who also has a lot of energy – not only on the podium. In recent months, as a Russian who emigrated in 1975, he has spoken out against the war at every opportunity. When he performs Shostakovich’s Cello Concerto No. 1 in addition to Brahms’ Fourth, it is undoubtedly about more than just music.

Programme:
Antonín Dvořák: In Nature’s Realm, concert overture, Op. 91
Antonín Dvořák: Cello Concerto in B minor, Op. 104
Antonín Dvořák: Symphony No. 8 in G major, Op. 88

Performing with
Pablo Ferrández cello
Czech Philharmonic

The tour of Europe begins in Spain. The Czech Philharmonic last gave a concert in Valencia in 2010, so it is high time to return. This time they will play Dvořák’s Cello Concerto with the young Spanish cellist Pablo Ferrández, and chief conductor Semyon Bychkov will lead them in Dvořák’s concert overture In Nature’s Realm and his Eighth Symphony.

Programme:
Antonín Dvořák: In Nature’s Realm, concert overture, Op. 91
Antonín Dvořák: Cello Concerto in B minor, Op. 104
Antonín Dvořák: Symphony No. 8 in G major, Op. 88

Performing with
Pablo Ferrández, cello
Czech Philharmonic

The first residency of the European tour will take place in Madrid, where the Czech Philharmonic was to have appeared in 2021, but was prevented from doing so by the Covid–19 pandemic. This time, chief conductor Semyon Bychkov has invited the young Spanish cellist Pablo Ferrández to play Dvořák’s great concerto.

Programme:
Antonín Dvořák: Carnival Overture, Op. 92
Antonín Dvořák: Violin Concerto in A minor, Op. 53
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”

Performing with
Augustin Hadelich, violin
Czech Philharmonic

The Czech Philharmonic last appeared at the Auditorio Nacional in 2015 with the conductor Jiří Bělohlávek. Now at its second residency concert, they will have their first encounter with the German-American violinist Augustin Hadelich, and three works by Antonín Dvořák will be heard under the baton of Semyon Bychkov.

Programme:
Antonín Dvořák: In Nature’s Realm, concert overture, Op. 91
Antonín Dvořák: Violin Concerto in A minor, Op. 53
Antonín Dvořák: Symphony No. 8 in G major, Op. 88

Performing with
Augustin Hadelich, violin
Czech Philharmonic

The Czech Philharmonic has had residencies at Vienna’s Konzerthaus several times in a row, so Vienna is an important destination for the orchestra. At its first concert there, the orchestra will play three splendid works by Antonín Dvořák: the concert overture In Nature’s Realm, the Violin Concerto with Augustin Hadelich, and the Eighth Symphony.

Programme:
Antonín Dvořák: Carnival Overture, Op. 92
Antonín Dvořák: Piano Concerto in G minor, Op. 33
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”

Performing with
András Schiff piano
Czech Philharmonic

The second appearance of the Czech Philharmonic’s residency in Vienna will have a festive atmosphere, with Carnival Overture setting the mood. András Schiff, the artist-in-residence for the Czech Philharmonic’s season, will play Antonín Dvořák’s Piano Concerto. Semyon Bychkov will conclude the evening and the residency with Dvořák’s Ninth Symphony.

Programme:
Antonín Dvořák: In Nature’s Realm, concert overture, Op. 91
Antonín Dvořák: Violin Concerto in A minor, Op. 53
Antonín Dvořák: Symphony No. 8 in G major, Op. 88

Performing with
Augustin Hadelich, violin
Czech Philharmonic

Returns by the Czech Philharmonic to Hamburg’s famed concert hall have become a tradition in recent years. This time they are bringing an all-Dvořák programme for a two-day residency. On the first evening, Semyon Bychkov will conduct the concert overture In Nature’s Realm, the Violin Concerto with Augustin Hadelich, and the Eighth Symphony.

Programme:
Antonín Dvořák: Carnival Overture, Op. 92
Antonín Dvořák: Piano Concerto in G minor, Op. 33
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”

Performing with
András Schiff piano
Czech Philharmonic

For the second concert of their residency at Hamburg’s Elbphilharmonie, the Czech Philharmonic’s season artist-in-residence András Schiff will appear. Together, they will play Dvořák’s Piano Concerto, framed by Semyon Bychkov leading the orchestra in Carnival Overture and the Ninth Symphony “From the New World”.

Programme:
Antonín Dvořák: Carnival Overture, Op. 92
Antonín Dvořák: Piano Concerto in G minor, Op. 33
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”

Performing with
András Schiff piano
Czech Philharmonic

The Czech Philharmonic and Semyon Bychkov have played at Munich’s new Isarphilharmonie only once in 2022. Now they return for a residency. At the first concert pianist András Schiff will appear to play Dvořák’s Piano Concerto, framed by Semyon Bychkov leading the orchestra in Carnival Overture and the Ninth Symphony “From the New World”.

Programme:
Antonín Dvořák: Carnival Overture, Op. 92
Antonín Dvořák: Piano Concerto in G minor, Op. 33
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”

Performing with
Bertrand Chamayou, piano
Czech Philharmonic

The Czech Philharmonic has performed in Antwerp only once, in 1937 led by Rafael Kubelík, so their return is eagerly awaited. The orchestra’s first appearance at Queen Elisabeth Hall will present a programme of works by Antonín Dvořák. The French virtuoso Bertrand Chamayou will make his first appearance on the tour to play the Piano Concerto.

Programme:
Gustav Mahler: Symphony No. 8 in E-flat Major “Symphony of a Thousand”

Performing with
Carolyn Sampson, soprano
Lyubov Petrova, soprano
Miriam Kutrowatz, soprano
Tanja Ariane Baumgartner, mezzo-soprano
Jennifer Johnston, mezzo-soprano
Andreas Schager, tenor
Adam Plachetka, bass
David Leigh, bass
NDR Vokalensemble
Rundfunkchor Berlin
Prager Philharmonischer Chor
Knabenchor Hannover
NDR Elbphilharmonie Orchester

Whenever there is mention of Gustav Mahler’s monumental Symphony No. 8, the superlatives begin to fly. The common epithet »Symphony of a Thousand« – which did not originate from the composer – already gives a taste of this. Mahler himself described his largest-scale choral work as »the greatest thing I have ever done«. And he certainly wasn’t just referring to the gigantic apparatus of some 500 performers, which required not only a huge orchestra and numerous choirs but also no less than eight soloists. It was, above all, a tremendous spiritual and religious quality that Mahler associated with this symphony. The passages he chose for inspiration were no less than the holy of holies of German national literature, the final scene from Goethe’s Faust II, and the time-honoured Pentecost hymn »Veni, creator spiritus«.

Its premiere on 12 September 1910 was an overwhelming success. Even the great Thomas Mann was incredibly impressed, writing a letter of thanks to the composer, referring to him as »the man who, as I believe, expresses the art of our time in its profoundest and most sacred form.«

To this day, performances of Mahler’s Eighth remain a rare spectacle. After all, it is not every day that you have top ensembles like the Prague Philharmonic Choir, the Rundfunkchor Berlin, the NDR Vokalensemble, the Knabenchor Hannover and the NDR Elbphilharmonie Orchestra come together with a first-class octet of soloists! And it is not everywhere that the stage can accommodate everyone, but this is no problem in the Elbphilharmonie Grand Hall. After his acclaimed performances of the Symphony No. 3 with the NDR Elbphilharmonie Orchestra, the star conductor Semyon Bychkov now continues his Mahler series, bringing the greatest that the classical and romantic repertoire has to offer to the podium.

Programme:
Gustav Mahler: Symphony No. 8 in E-flat Major “Symphony of a Thousand”

Performing with
Carolyn Sampson, soprano
Lyubov Petrova, soprano
Miriam Kutrowatz, soprano
Tanja Ariane Baumgartner, mezzo-soprano
Jennifer Johnston, mezzo-soprano
Andreas Schager, tenor
Adam Plachetka, bass
David Leigh, bass
NDR Vokalensemble
Rundfunkchor Berlin
Prager Philharmonischer Chor
Knabenchor Hannover
NDR Elbphilharmonie Orchester

Whenever there is mention of Gustav Mahler’s monumental Symphony No. 8, the superlatives begin to fly. The common epithet »Symphony of a Thousand« – which did not originate from the composer – already gives a taste of this. Mahler himself described his largest-scale choral work as »the greatest thing I have ever done«. And he certainly wasn’t just referring to the gigantic apparatus of some 500 performers, which required not only a huge orchestra and numerous choirs but also no less than eight soloists. It was, above all, a tremendous spiritual and religious quality that Mahler associated with this symphony. The passages he chose for inspiration were no less than the holy of holies of German national literature, the final scene from Goethe’s Faust II, and the time-honoured Pentecost hymn »Veni, creator spiritus«.

Its premiere on 12 September 1910 was an overwhelming success. Even the great Thomas Mann was incredibly impressed, writing a letter of thanks to the composer, referring to him as »the man who, as I believe, expresses the art of our time in its profoundest and most sacred form.«

To this day, performances of Mahler’s Eighth remain a rare spectacle. After all, it is not every day that you have top ensembles like the Prague Philharmonic Choir, the Rundfunkchor Berlin, the NDR Vokalensemble, the Knabenchor Hannover and the NDR Elbphilharmonie Orchestra come together with a first-class octet of soloists! And it is not everywhere that the stage can accommodate everyone, but this is no problem in the Elbphilharmonie Grand Hall. After his acclaimed performances of the Symphony No. 3 with the NDR Elbphilharmonie Orchestra, the star conductor Semyon Bychkov now continues his Mahler series, bringing the greatest that the classical and romantic repertoire has to offer to the podium.

Programme:
Gustav Mahler: Symphony No. 8 in E-flat Major “Symphony of a Thousand”

Performing with
Carolyn Sampson, soprano
Lyubov Petrova, soprano
Miriam Kutrowatz, soprano
Tanja Ariane Baumgartner, mezzo-soprano
Jennifer Johnston, mezzo-soprano
Andreas Schager, tenor
Adam Plachetka, bass
David Leigh, bass
NDR Vokalensemble
Rundfunkchor Berlin
Prager Philharmonischer Chor
Knabenchor Hannover
NDR Elbphilharmonie Orchester

Whenever there is mention of Gustav Mahler’s monumental Symphony No. 8, the superlatives begin to fly. The common epithet »Symphony of a Thousand« – which did not originate from the composer – already gives a taste of this. Mahler himself described his largest-scale choral work as »the greatest thing I have ever done«. And he certainly wasn’t just referring to the gigantic apparatus of some 500 performers, which required not only a huge orchestra and numerous choirs but also no less than eight soloists. It was, above all, a tremendous spiritual and religious quality that Mahler associated with this symphony. The passages he chose for inspiration were no less than the holy of holies of German national literature, the final scene from Goethe’s Faust II, and the time-honoured Pentecost hymn »Veni, creator spiritus«.

Its premiere on 12 September 1910 was an overwhelming success. Even the great Thomas Mann was incredibly impressed, writing a letter of thanks to the composer, referring to him as »the man who, as I believe, expresses the art of our time in its profoundest and most sacred form.«

To this day, performances of Mahler’s Eighth remain a rare spectacle. After all, it is not every day that you have top ensembles like the Prague Philharmonic Choir, the Rundfunkchor Berlin, the NDR Vokalensemble, the Knabenchor Hannover and the NDR Elbphilharmonie Orchestra come together with a first-class octet of soloists! And it is not everywhere that the stage can accommodate everyone, but this is no problem in the Elbphilharmonie Grand Hall. After his acclaimed performances of the Symphony No. 3 with the NDR Elbphilharmonie Orchestra, the star conductor Semyon Bychkov now continues his Mahler series, bringing the greatest that the classical and romantic repertoire has to offer to the podium.

Programme
Ludwig van Beethoven: Piano Concerto No. 5 in E flat major, Op. 73 “Emperor”
Johannes Brahms: Symphony No. 2 in D major, Op. 73

Performing with
Steven Osborne piano
Czech Philharmonic

The Chief Conductor Semyon Bychkov has chosen two composers who are very close to him musically for the April subscription week. Beethoven and Brahms also have something in common in their style, as can be seen from the programme combining the piano concerto of the former performed by the pianist Steven Osborne and the symphony of the latter.

Programme
Ludwig van Beethoven: Piano Concerto No. 5 in E flat major, Op. 73 “Emperor”
Johannes Brahms: Symphony No. 2 in D major, Op. 73

Performing with
Steven Osborne piano
Czech Philharmonic

The Chief Conductor Semyon Bychkov has chosen two composers who are very close to him musically for the April subscription week. Beethoven and Brahms also have something in common in their style, as can be seen from the programme combining the piano concerto of the former performed by the pianist Steven Osborne and the symphony of the latter.

Programme
Ludwig van Beethoven: Piano Concerto No. 5 in E flat major, Op. 73 “Emperor”
Johannes Brahms: Symphony No. 2 in D major, Op. 73

Performing with
Steven Osborne piano
Czech Philharmonic

The Chief Conductor Semyon Bychkov has chosen two composers who are very close to him musically for the April subscription week. Beethoven and Brahms also have something in common in their style, as can be seen from the programme combining the piano concerto of the former performed by the pianist Steven Osborne and the symphony of the latter.

Programme
Ludwig van Beethoven: Piano Concerto No. 5 in E flat major, Op. 73 “Emperor”
Johannes Brahms: Symphony No. 2 in D major, Op. 73

Performing with
Steven Osborne piano
Czech Philharmonic

The Chief Conductor Semyon Bychkov has chosen two composers who are very close to him musically for the April subscription week. Beethoven and Brahms also have something in common in their style, as can be seen from the programme combining the piano concerto of the former performed by the pianist Steven Osborne and the symphony of the latter.

Programme
Ludwig van Beethoven: Symphony No. 9 in D minor, Op. 125

Performing with
Lyubov Petrova, soprano
Lucie Hilscherová, alto
Norbert Ernst, tenor
Florian Boesch, bass
Prague Philharmonic Choir, Lukáš Vasilek choirmaster
Czech Philharmonic

The Czech Republic joined the European Union in early May 2004. The Czech Philharmonic is celebrating that act by performing the composition from which the EU has borrowed its anthem. Ludwig van Beethoven’s Ninth Symphony with its concluding Ode to Joy will be heard under the baton of Semyon Bychkov with soloists and the Prague Philharmonic Choir.

Programme
Ludwig van Beethoven: Symphony No. 9 in D minor, Op. 125

Performing with
Lyubov Petrova, soprano
Lucie Hilscherová, alto
Norbert Ernst, tenor
Florian Boesch, bass
Prague Philharmonic Choir, Lukáš Vasilek choirmaster
Czech Philharmonic

The Czech Republic joined the European Union in early May 2004. The Czech Philharmonic is celebrating that act by performing the composition from which the EU has borrowed its anthem. Ludwig van Beethoven’s Ninth Symphony with its concluding Ode to Joy will be heard under the baton of Semyon Bychkov with soloists and the Prague Philharmonic Choir.

Programme
Ludwig van Beethoven: Symphony No. 9 in D minor, Op. 125

Performing with
Lyubov Petrova, soprano
Lucie Hilscherová, alto
Norbert Ernst, tenor
Florian Boesch, bass
Prague Philharmonic Choir, Lukáš Vasilek choirmaster
Czech Philharmonic

The Czech Republic joined the European Union in early May 2004. The Czech Philharmonic is celebrating that act by performing the composition from which the EU has borrowed its anthem. Ludwig van Beethoven’s Ninth Symphony with its concluding Ode to Joy will be heard under the baton of Semyon Bychkov with soloists and the Prague Philharmonic Choir.

Programme
Antonín Dvorák: Carnaval Overture
Dmitri Shostakovich: Violin Concerto No. 1
Serge Rachmaninov: Symphonic Dances

Performing with
Vilde Frang, violin
Royal Concertgebouw Orchestra

The sensational Norwegian violinist Vilde Frang will join the Concertgebouw Orchestra in a performance of Shostakovich’s First Violin Concerto, one of the most dramatic solo concertos ever written. The composer wisely waited until Stalin was dead before releasing the work, which violates every Soviet doctrine. Fear, sorrow, hysterical mirth, and a fighting spirit: Vilde Frang captures all the nuances within Shostakovich’s rich emotional palette. Unforgettable, even before the first note is heard.

Veteran conductor Semyon Bychkov is an all-rounder with a unique flair for Russian repertoire. He pairs the tragedy of Shostakovich with the astonishing vitality of an elderly Rachmaninoff. Rachmaninoff was living in the United States, torn from his Russian routes, when he composed the Symphonic Dances, reflecting on his youthful loves and exorcising his demons.

Banishing demons and celebrating life are two things Antonín Dvořák accomplished in his Carnival Overture, with which Semyon Bychkov opens the concert.

Programme
Antonín Dvorák: Carnaval Overture
Dmitri Shostakovich: Violin Concerto No. 1
Serge Rachmaninov: Symphonic Dances

Performing with
Vilde Frang, violin
Royal Concertgebouw Orchestra

The Concertgebouw Orchestra is looking forward to the return of veteran conductor Semyon Bychkov, this time with works by Dvořák, Shostakovich and Rachmaninoff. And the icing on the cake: violinist Vilde Frang.

The sensational Norwegian violinist Vilde Frang will join the Concertgebouw Orchestra in a performance of Shostakovich’s First Violin Concerto, one of the most dramatic solo concertos ever written. The composer wisely waited until Stalin was dead before releasing the work, which violates every Soviet doctrine. Fear, sorrow, hysterical mirth, and a fighting spirit: Vilde Frang captures all the nuances within Shostakovich’s rich emotional palette. Unforgettable, even before the first note is heard.

Veteran conductor Semyon Bychkov is an all-rounder with a unique flair for Russian repertoire. He pairs the tragedy of Shostakovich with the astonishing vitality of an elderly Rachmaninoff. Rachmaninoff was living in the United States, torn from his Russian routes, when he composed the Symphonic Dances, reflecting on his youthful loves and exorcising his demons.

Banishing demons and celebrating life are two things Antonín Dvořák accomplished in his Carnival Overture, with which Semyon Bychkov opens the concert.

Programme
Antonín Dvorák: Carnaval Overture
Serge Rachmaninov: Symphonic Dances

Performing with
Royal Concertgebouw Orchestra

Semyon Bychkov leads the Concertgebouw Orchestra in a performance of Rachmaninoff’s final orchestral work, the astonishingly vibrant Symphonic Dances.

The Essentials series introduces you to the masterpieces you will be happy to know, performed by the world-famous Concertgebouw Orchestra and complete with a lively introduction by the incomparable Thomas Vanderveken. At Essentials we welcome a new generation of music lovers, and the concerts typically have a pleasant informal atmosphere.

Rachmaninoff was living in the United States, torn from his Russian routes, when he composed the Symphonic Dances, reflecting on his youthful loves and exorcising his demons. With this piece, the composer took his revenge on his critics. Rachmaninoff’s Symphonic Dances are modern and classical, worldly and spiritual, nostalgic and astonishingly vibrant. Veteran conductor Semyon Bychkov is another Russian who, like Rachmaninoff, left Russian at an early age for the freedom of the west. This conductor continues to have a unique flair for Russian repertoire.

Banishing demons, celebrating life – this is precisely what Antonín Dvořák also accomplished in his Carnival Overture, with which Semyon Bychkov opens the concert.

Programme
Dmitri Shostakovich: Concerto No. 1 for Violin and Orchestra in A minor op. 77 (rev. op. 99)
Richard Strauss: An Alpine Symphony op. 64

Performing with
Karen Gomyo violin
Gewandhaus Orchester

CONCERTANTE CLIMBING
Between the 9th and 10th symphonies there is a curious gap in the orchestral oeuvre of the fast writer Dmitri Shostakovich. While he usually let one symphony follow the other, he fell silent for eight years after the subversively undermining expectations Ninth in this field. Once again, he was caught in the crossfire of criticism and lost the teaching posts that were so important for his livelihood. However, a great orchestral work was written during this dark time: the 1st Violin Concerto. From July 1947 to March 1948, Shostakovich worked on it. Then it disappeared into the drawer.

ONLY THE ABYSS YAWNS
When Shostakovich prepared the score for performance and printing after Stalin’s death in the mid-1950s, he assigned a new opus number. Did he want to avoid associating the music with the time of its creation? The sinister tones make no secret of it. The first movement is a night piece. Broodingly, deep strings, bassoon, contrabassoon and the moonlit bass clarinet revolve around a thought. Against this dark background of sound, the solo violin stands out brightly; like twinkling stars, celesta tones light up. The fast-paced scherzo in second place was described by the premiere violinist and dedicatee David Oistrakh as a demonic dance of despair. As Passacaglia, the Bach admirer Shostakovich designed the 3rd movement. The soloist hardly has a break in this concert. It does not play a voice, but a role. She celebrates her loneliness in the endlessly long cadence.

SYMPHONIC HIGH MOUNTAINS
In the fog of the night, the Alpine Symphony by the enthusiastic mountaineer and Nietzsche reader Richard Strauss also begins and ends. Between symbolic ascent and turbulent descent in a thunderstorm, the music brings sublime summit moments of overwhelming radiance.

Programme
Dmitri Shostakovich: Concerto No. 1 for Violin and Orchestra in A minor op. 77 (rev. op. 99)
Richard Strauss: An Alpine Symphony op. 64

Performing with
Karen Gomyo violin
Gewandhaus Orchester

CONCERTANTE CLIMBING
Between the 9th and 10th symphonies there is a curious gap in the orchestral oeuvre of the fast writer Dmitri Shostakovich. While he usually let one symphony follow the other, he fell silent for eight years after the subversively undermining expectations Ninth in this field. Once again, he was caught in the crossfire of criticism and lost the teaching posts that were so important for his livelihood. However, a great orchestral work was written during this dark time: the 1st Violin Concerto. From July 1947 to March 1948, Shostakovich worked on it. Then it disappeared into the drawer.

ONLY THE ABYSS YAWNS
When Shostakovich prepared the score for performance and printing after Stalin’s death in the mid-1950s, he assigned a new opus number. Did he want to avoid associating the music with the time of its creation? The sinister tones make no secret of it. The first movement is a night piece. Broodingly, deep strings, bassoon, contrabassoon and the moonlit bass clarinet revolve around a thought. Against this dark background of sound, the solo violin stands out brightly; like twinkling stars, celesta tones light up. The fast-paced scherzo in second place was described by the premiere violinist and dedicatee David Oistrakh as a demonic dance of despair. As Passacaglia, the Bach admirer Shostakovich designed the 3rd movement. The soloist hardly has a break in this concert. It does not play a voice, but a role. She celebrates her loneliness in the endlessly long cadence.

SYMPHONIC HIGH MOUNTAINS
In the fog of the night, the Alpine Symphony by the enthusiastic mountaineer and Nietzsche reader Richard Strauss also begins and ends. Between symbolic ascent and turbulent descent in a thunderstorm, the music brings sublime summit moments of overwhelming radiance.