Till Fellner

Joyce Linde Fellowship, in which capacity he led the TMC Orchestra in Beethoven’s Leonore Overture No. 3 and, as part of the Festival of Contemporary Music, led TMC Fellows and others in music of Veronika Krausas and Conlon Nancarrow. Yu-An Chang made his BSO debut this past August at Tanglewood, leading the orchestra in Mendelssohn’s Overture to A Midsummer Night’s Dream, Ravel’s Piano Concerto in G with soloist Conrad Tao, and Schubert’s Symphony No. 2. Till Fellner Pianist Till Fellner’s international career began in 1993 when he won first prize at the renowned Clara Haskil Piano Competition in Vevey, Switzerland. Since then, he has been a sought-after guest with the major orchestras and music centers of Europe, the United States, and Japan, as well as at numerous festivals. Mr. Fellner has collaborated with such esteemed conductors as Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Semyon Bychkov, Christoph von Dohnányi, Christoph Eschenbach, Bernard Haitink, Nikolaus Harnoncourt, Manfred Honeck, Sir Charles Mackerras, Sir Neville Marriner, Kurt Masur, Kent Nagano, Jonathan Nott, Kirill Petrenko, and Hans Zender. During the 2019-20 season, Mr. Fellner performs with the Boston Symphony Orchestra, Düsseldorf Symphony Orches- tra, Fort Worth Symphony Orchestra, and Utah Symphony. Last season he made his debut with the Tonhalle Orchester Zürich, London Symphony Orchestra, and Bavarian Radio Symphony Orchestra. In autumn 2019 he served as jury president of the 62nd Ferruccio Busoni International Piano Competition in Bolzano, Italy. In the field of chamber music, Mr. Fellner regularly collaborates with British tenor Mark Padmore and with the Belcea Quartet; in spring 2019 he toured the U.S. with cellist Johannes Moser. As a recitalist, in the past few years he has dedicated himself to two pillars of the keyboard repertoire: The Well-Tempered Clavier of J.S. Bach and the thirty-two piano sonatas of Ludwig van Beethoven. The ECM label, for which Mr. Fellner is an exclusive recording artist, has released his recordings of the The Well-Tempered Clavier, Book I; Bach’s Two- and Three- Part Inventions; Beethoven’s piano concertos 4 and 5 with the Montreal Symphony Orchestra and Kent Nagano; chamber music by Harrison Birtwistle, and, most recently, the album week 14 guest artists 61.

Copy Link

Recommended publications

Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Soﬁe von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Soﬁe von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
[Show full text]
Beethoven 32 Plus
FREIES MUSIKZENTRUM STUTTGART FMZ Freies Musikzentrum Am Roserplatz Stuttgarter Str. 15 B e e t h o v e n 3 2 p l u s 0711 / 135 30 10 Die Konzertreihe im FMZ Saison 2008/2009 Die 32 Sonaten von Ludwig van Beethoven sind fester Bestandteil der Konzertliteratur. Immer wieder haben große Pianisten diesen Zyklus aufgeführt und auf unzähligen Schallplatten und CDs eingespielt. Bücher und Publikationen beschäftigen sich mit den Werken und den Interpreta- tionen. Und immer wieder hat es den Reiz, des Besonderen, wenn diese Werke wieder neu er- klingen. Als bekannt wurde, dass der österreichische Pianist Till Fellner sich für die nächsten beiden Kon- zertjahre diesen Zyklus als Projekt vorgenommen hatte, begann Andreas G. Winter, Leiter des FMZ und verantwortlich für die Programmgestaltung, als er Till Fellner dafür gewinnen konnte, diesen Zyklus, den Fellner auch in Wien, London, Paris, Tokio und New York spielt, auch im FMZ üeine Konzeption zu der Reihe „32 “zu entwickeln. Um die 32 Klavier- sonaten von Ludwig van Beethoven, deren erste 3 Abende Fellner in dieser Saison (weitere 4 A- bende in der nächsten) spielen wird, konnte Winter weitere namhafte Interpreten gewinnen, die Werke des großen Komponisten der Aufklärung in Zusammenhang mit Kompositionen von Schubert, Schumann und Brahms stellen werden. Paul Lewis wird die Diabelli-Variationen und Schuberts Impromptus D 935, der Geiger Erik Schu- mann mit Olga Scheps Violinsonaten von Beethoven und Brahms, das Trio Wanderer Klaviertrios von Beethoven und Schubert, der Tenor Marcus Ullmann in einem Liederabend neben „die ferne “Lieder von Schumann und Brahms und in einem Recital mit Mikael Samsonov, der frisch üSolocellist des SWR Radiosinfoieorchesters Stuttgart Sonaten von Beethoven und Schubert und Ben Kim, der dem Publikum bereits aus der letzten Saison in bester Erinnerung ist, mit einem Klavierabend Beethoven und Liszt interpretieren.
[Show full text]
[email protected] CHRISTOPH ESCHENBACH to CO
FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai.
[Show full text]
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
WTUL Classical Listener's Guide
9 WTUL Classical Lisfener s Guide Don9t F orgef Featured pieces will be aired weekly at 7 a.m., and on Sundays at 7 p.m. and 9 p.m. The week of Jan. 31 -Feb. 5 The week of Feb. 7 - 12 The §ymphony1 Sunday - The 20th Century Sunday with Stefan ext season, the symphony will return. While we despair over its absence, the WTUL Classical Classical Show with Lester o J.S. Bach Cello Suite No.6 in D Major, BWV 1012 Department will do its best to continue their sea Focus on Classic Movie Scores: Nikolaus Harnoncourt, cello N son for them. On the radio, that is. o Virgil Thomson o Franz Waxman The River Lost Command o FJ. Haydn Beginning next month, and for the remainder of the reg Cello Concerto in C, Hob. Vllb No. 1 ular season, WTUL will broadcast the music originally Los Angeles Chamber o Jerome Moross English Chamber Orchestra) Edo DeWaart conducting Orchestra) Neville Mar- The Proud Rebel planned for live performance by the New Orleans Sym riner conducting o Gabriel Faure' phony. More details next issue, but if you have any com Cello Sonata No. 1 in D Minor, Op. 109 ments, please don't hesitate to write or call. Monday with Tom And if you have a chance, please drop by the Encore o Benjamin Britten Monday with Suzanne Shop on 7814 Maple Street. It's a store of previously "Occassional Overture," Op, 38 o Hector Berlioz owned clothing where all sales proceeds go to benefit the Symphonie Fantastique, Op.
[Show full text]
Till Fellner | Biography Piano
Till Fellner | Biography Piano "There are pianists who cannot do much with Mozart’s piano works. And there are artists like the Viennese Till Fellner: musicians whose sound and musical understanding seems almost made for Mozart. Fellner's interpretation is slim and light, his cantabile shining with brightness" Till Fellner's international career began in 1993 winning First Prize at the renowned Clara Haskil Competition in Vevey, Switzerland. Since then, he is a sought after guest with major orchestras and in the great music centers of Europe, USA and Japan as well as at numerous renowned festivals. As soloist, he has appeared with orchestras such as the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra and the NHK Symphony Orchestra. The conductors with whom he has performed include Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Semyon Bychkov, Christoph von Dohnányi, Christoph Eschenbach, Bernard Haitink, Nikolaus Harnoncourt, Manfred Honeck, Sir Charles Mackerras, Sir Neville Marriner, Kurt Masur, Kent Nagano, Jonathan Nott, Kirill Petrenko and Hans Zender, among others. In the field of chamber music, Till Fellner regularly collaborates with the British tenor Mark Padmore and the Belcea Quartet. In Fall 2020, he will go on tour with violinist Viviane Hagner. In recent years, Till Fellner has devoted himself intensely to two milestones of the piano repertoire: Bach's Well-Tempered Clavier and Beethoven's 32 piano sonatas. He played a seven-part cycle with all Beethoven sonatas in New York, Washington, Tokyo, London, Paris and Vienna. Till Fellner has premiered works by Kit Armstrong, Harrison Birtwistle, Thomas Larcher, Alexander Stankovski and Hans Zender.
[Show full text]
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
[Show full text]
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season April 23, 2017 MANFRED MARIA HONECK, CONDUCTOR TILL FELLNER, PIANO FRANZ SCHUBERT Selections from the Incidental Music to Rosamunde, D. 644 I. Overture II. Ballet Music No. 2 LUDWIG VAN BEETHOVEN Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro Mr. Fellner Intermission WOLFGANG AMADEUS Symphony No. 41 in C major, K. 551, “Jupiter” MOZART I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro PROGRAM NOTES BY DR. RICHARD E. RODDA FRANZ SCHUBERT Overture and Ballet Music No. 2 from the Incidental Music to Rosamunde, D. 644 (1820 and 1823) Franz Schubert was born in Vienna on January 31, 1797, and died there on November 19, 1828. He composed the music for Rosamunde during the years 1820 and 1823. The ballet was premiered in Vienna on December 20, 1823 at the Theater-an-der-Wein, with the composer conducting. The Incidental Music to Rosamunde was first performed by the Pittsburgh Symphony on November 9, 1906, conducted by Emil Paur at Carnegie Music Hall. Most recently, Lorin Maazel conducted the Overture to Rosamunde on March 14, 1986. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani and strings. Performance tine: approximately 17 minutes Schubert wrote more for the stage than is commonly realized. His output contains over a dozen works for the theater, including eight complete operas and operettas. Every one flopped. Still, he doggedly followed each new theatrical opportunity that came his way.
[Show full text]
Itunes Store and Spotify Recordings
A+ Music Memory 2016-2017 iTunes Store and Spotify Recordings Bach Pachelbel Canon and Other Baroque Favorites, track 12, Suite No. 2 in B Minor, BWV1067: Badinerie (James Galway, Zagreb Soloists & I Solisti di Zagreb, Universal International BMG Music, 1978). iTunes: https://itunes.apple.com/us/album/pachelbel-canon-other- baroque/id458810023 Spotify: https://open.spotify.com/track/4bFAmfXpXtmJRs2t5tDDui Bartók Bartók: Hungarian Pictures – Weiner: Hungarian Folk Dance – Enescu: Romanian Rhapsodies, track 2, Magyar Kepek (Hungarian Sketches), BB 103: No. 2. Bear Dance (Neeme Järvi & Philharmonia Orchestra, Chandos, 1991). iTunes: https://itunes.apple.com/us/album/bartok-hungarian-pictures/id265414807 Spotify: https://open.spotify.com/track/5E4P3wJnd2w8Cv1b37sAgb Beethoven Beethoven: Piano Sonatas Nos. 8, 14, 23 & 26, track 6, Piano Sonata No. 8 in C Minor, Op. 13 – “Pathétique,” III. Rondo (Allegro), (Alfred Brendel, Universal International Music B.V., 2001) iTunes: https://itunes.apple.com/us/album/beethoven-piano-sonatas- nos./id161022856 Spotify: https://open.spotify.com/track/2Z0QlVLMXKNbabcnQXeJCF Brahms Best of Brahms, track 11, Waltz No. 15 in A-Flat Minor, Op. 59 [Note: This track is mis-named: the piece is in A-Flat Major, from Op. 39] (Dieter Goldmann, SLG, LLC, 2009). iTunes: https://itunes.apple.com/us/album/best-of-brahms/id320938751 Spotify: https://open.spotify.com/track/1tZJGYhVLeFODlum7cCtsa A+ Mu Me ory – Re or n s of Clarke Trumpet Tunes, track 2, Suite in D Major: IV. The Prince of Denmark’s March, “Trumpet Voluntary” (Stéphane Beaulac and Vincent Boucher (ATMA Classique, 2006). iTunes: https://itunes.apple.com/us/album/trumpet-tunes/id343027234 Spotify: https://open.spotify.com/track/7wFCg74nihVlMcqvVZQ5es Delibes Flower Duet from Lakmé, track 1, Lakmé, Act 1: Viens, Mallika, … Dôme épais (Flower Duet) (Dame Joan Sutherland, Jane Barbié, Richard Bonynge, Orchestre national de l’Opéra de Monte-Carlo, Decca Label Group, 2009).
[Show full text]
Concertgebouw Future in Doubt Representative Soft -Pedaled the Dy- Go Off in the 1812 Overture We'd Bet- Namic Range Attribute of Digital
39 Classical Radio Facing New Digital Woes Disks' Extended Dynamic Range Creates Problems By IS HOROWITZ justly proud of the cleanliness of when it takes up the topic "Signal their broadcast signals and their fi- Processing for Broadcasting." NEW YORK--Hybrid digital - delity to the original programs now The meeting will be held at the analog recordings that manage to face an increasing need to compro- WQXR Auditorium, 229 West 43rd pack in a few more dBs of dynamic mise dynamics. If the permissible Street, Oct. 5 at 7 p.m. Classical sta- range than conventional LPs are peak is exceeded, the signal im- tions will be represented by Richard creating some new problems for pinges on a dial neighbor's territory, Koziol and Matt Biberfeld of quality conscious classical radio. something the FCC frowns upon to WNCN, and Doc Masoomian and The very attribute that is consid- the point of imposing sanctions. Too Robert Sherman of WXQR. They ered one of digital recording's quiet a signal. on the other hand. will be joined on the panel by Herb strongest selling points- extended places the program "down in the Squire and Dene Hallum of country dynamic range -is the one that gives mud" of near inaudibility. station WHN -AM, and Bob Deitsch radio the most trouble. Broadcasters are glad that rela- and Larry Berger of local rocker Compression of the signal, or sub- tively few classical recordings so far WPLJ. jective gain riding, becomes a fact of tax the practical limits, although Biberfeld says WNCN's approach radio life when up to 68dB of dy- they wonder to what extent the to the dynamics problem is to rely HOT OFF THE PRESS -A first copy of Deutsche Grammophon's new "Turan- namic range.
[Show full text]
Fellner Till
Till Fellner PIANO 9:30 HORAS Martes, 7 de mayo de 20 AUDITORio NACionaL DE MÚSICA 6 SALA SinfÓniCA Obras de HAYDN, ARMSTRONG, SCHUMANN y LISZT Pedimos el máximo silencio posible en la sala, en especial en las pausas entre los movimientos, y no aplaudir hasta el final de cada bloque de obras. 2 Programa I FRANZ JOSEPH HAYDN (732-809) Sonata nº 60 en do mayor, Hob. XVI: 50 (800) Allegro Adagio Finale: Allegro molto KIT ARMSTRONG (992) Half of One, Six Dozen of the Other (200) ROBERT SCHUMANN (80-856) Kinderszenen, op. 5 (838) (Escena de niños) Von fremden Ländern und Menschen (sol mayor) Kuriose Geschichte (re mayor) Hasche-Mann (si menor) Bittendes Kind (re mayor) Glückes genug (re mayor) Wichtige Begebenheit (la mayor) Träumerei (fa mayor) Am Kamin (fa mayor) Ritter von Steckenpferd (do mayor) Fast zu ernst (sol sostenido menor) Fürchtenmachen (sol mayor) Kind im Einschlummern (mi menor) Der Dichter spricht (sol mayor) II FERENC LISZT (8-866) Années de Pèlerinage. Deuxième Année: Italie, S 6 (858-59) (Años de peregrinaje. Segundo año: Italia) Sposalizio (Andante - Andante quieto - Più lento - Quasi allegretto mosso - Adagio) Il penseroso (Lento) Canzonetta del Salvator Rosa (Andante marziale) Soneto 47 del Petrarca (Preludio con moto - Ritenuto - Sempre moso con intimo sentimento) Soneto 104 del Petrarca (Agitato assai - Adagio) Soneto 123 del Petrarca (Lento placido - Sempre lento - Più lento) Après une lecture de Dante. Fantasia quasi sonata 3 FOTO: JEAN-BAPTISTE MILLOT Músicas poéticas ELENA QUEIPO DE LLano F.J. HAYDN Sonata nº 60 en do mayor, Hob. XVI: 50 Cuando Haydn compone esta sonata, a finales de siglo, ya conoce desde hace años el pianoforte con sus posibilidades dinámicas y expresivas.
[Show full text]
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
[Show full text]