Name: 8th Symphony Concert
Start: 2023-06-08T00:00:00.000Z
End: 2023-06-18T00:00:00.000Z
Location: Am Mausoleum

Organization

Дирижер

Markus L. Frank

Певец

Anastasia Kobekina

Виолонче́ль

Violoncello

Violin

Anhaltisches Theater Dessau

Orchestra

Anhaltische Philharmonie Dessau

8th Symphony Concert

Дессау

Германия

Am Mausoleum

Public

Serenade No.2, Op.14

Concerto for Cello, Wind Orchestra and Band, Op. 129

Симфония № 2 ре мажор, соч. 36

Одобрено

He was a gifted pianist, and his interpretations of the piano works by Bach, Mozart, Beethoven and Schubert set standards. But Friedrich Gulda (1930-2000), notorious for his eccentricities and his self-portrayal, also played jazz and saw himself as a bridge builder between classic, jazz and pop. The crossover idea is also alive in the compositions of the improvisation artist Gulda. He wrote the Cello Concerto in 1980 for the cellist Heinrich Schiff. With a lack of restraint bordering on impudence, Gulda uses the stylistic reservoir of music history in this work with virtuosity, whereby the associations and allusions range from the classic minuet to Schubert and Mahler to rock & pop and folksy brass music - great fun! At least the finale of Beethoven's 2nd Symphony (1801/02) can also be described as great fun. This music hits hook after hook and is imbued with a witty, somewhat riotous sense of humour. And the short scherzo also lives up to its name. The first two movements of the symphony are weightier and more serious. But even in them, a predominantly cheerful and relaxed tone prevails. So ideal for cultivated entertainment on a warm summer evening! Just like the start of the program: the charming 2nd String Serenade (1876) by Robert Fuchs, who went down in music history as the »Serenade Fox« and as a teacher of numerous Austrian composers from Leo Fall to Gustav Mahler to Alexander Zemlinsky. This music hits hook after hook and is imbued with a witty, somewhat riotous sense of humour. And the short scherzo also lives up to its name. The first two movements of the symphony are weightier and more serious. But even in them, a predominantly cheerful and relaxed tone prevails. So ideal for cultivated entertainment on a warm summer evening! Just like the start of the program: the charming 2nd String Serenade (1876) by Robert Fuchs, who went down in music history as the »Serenade Fox« and as a teacher of numerous Austrian composers from Leo Fall to Gustav Mahler to Alexander Zemlinsky. This music hits hook after hook and is imbued with a witty, somewhat riotous sense of humour. And the short scherzo also lives up to its name. The first two movements of the symphony are weightier and more serious. But even in them, a predominantly cheerful and relaxed tone prevails. So ideal for cultivated entertainment on a warm summer evening! Just like the start of the program: the charming 2nd String Serenade (1876) by Robert Fuchs, who went down in music history as the »Serenade Fox« and as a teacher of numerous Austrian composers from Leo Fall to Gustav Mahler to Alexander Zemlinsky. But even in them, a predominantly cheerful and relaxed tone prevails. So ideal for cultivated entertainment on a warm summer evening! Just like the start of the program: the charming 2nd String Serenade (1876) by Robert Fuchs, who went down in music history as the »Serenade Fox« and as a teacher of numerous Austrian composers from Leo Fall to Gustav Mahler to Alexander Zemlinsky. But even in them, a predominantly cheerful and relaxed tone prevails. So ideal for cultivated entertainment on a warm summer evening! Just like the start of the program: the charming 2nd String Serenade (1876) by Robert Fuchs, who went down in music history as the »Serenade Fox« and as a teacher of numerous Austrian composers from Leo Fall to Gustav Mahler to Alexander Zemlinsky.

English

Er war ein begnadeter Pianist, seine Interpretationen der Klavierwerke von Bach, Mozart, Beethoven oder Schubert setzten Maßstäbe. Doch Friedrich Gulda (1930–2000), berüchtigt für seine Exzentrik und seine Selbstinszenierungen, spielte auch Jazz und verstand sich als Brückenbauer zwischen Klassik, Jazz und Pop. Auch in den Kompositionen des Improvisationskünstlers Gulda ist der Crossover-Gedanke lebendig. Das Cellokonzert schrieb er 1980 für den Cellisten Heinrich Schiff. Mit an Frechheit grenzender Hemmungslosigkeit bedient sich Gulda in diesem Werk virtuos aus dem stilistischen Reservoir der Musikgeschichte, wobei die Assoziationen und Anspielungen vom klassischen Menuett über Schubert und Mahler bis zu Rock & Pop und zur volkstümlichen Blasmusik reichen – ein einziger großer Spaß! Zumindest das Finale von Beethovens 2. Sinfonie (1801/02) kann man durchaus auch als einen großen Spaß bezeichnen. Diese Musik schlägt einen Haken nach dem anderen und ist durchdrungen von einem geistreichen, etwas poltrigen Humor. Und auch das kurze Scherzo macht seinem Namen alle Ehre. Gewichtiger und ernsthafter geben sich die beiden ersten Sätze der Sinfonie. Doch auch in ihnen herrscht ein überwiegend heiterer und entspannter Grundton vor. Also ideal für gepflegte Unterhaltung an einem lauen Sommerabend! Genau wie der Auftakt des Programms: die reizvolle 2. Streicherserenade (1876) von Robert Fuchs, der als »Serenaden-Fuchs« in die Musikgeschichte einging sowie als Lehrer zahlreicher österreichischer Komponisten von Leo Fall über Gustav Mahler bis Alexander Zemlinsky.

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