|Christian Tetzlaff (Photo by Giorgia Bertazzi)|
Carlos Miguel Prieto conducts Ludwig van Beethoven's Fifth Symphony, and Christian Tetzlaff plays Johannes Brahms' impassioned Violin Concerto. Of Tetzlaff, The Boston Globe raves, "what moves people is the emotional openness and deep sincerity of Tetzlaff's playing. At once immensely virtuosic and deeply personal".
Friday, December 7
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Saturday, December 8
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Johannes Brahms (1833 - 1897)
♪ Violin Concerto in D major, Op.77 (1878) *
i. Allegro non troppo
iii. Allegro giocoso, ma non troppo vivace
Ludwig van Beethoven (1770-1827)
♪ Symphony No.5 in C minor, Op.67 (1807-1808)
i. Allegro con brio
ii. Andante con moto
iii. Scherzo: Allegro
Christian Tetzlaff, violin *
Detroit Symphony Orchestra
Conductor: Carlos Miguel Prieto
Live from Orchestra Hall, Max M. Fisher Music Center, Detroit
Friday, December 7, 2018, 10:45 AM EST (GMT-5) / 05:45 PM EET (GMT+02:00)
Live on Livestream
|Photo by Giorgia Bertazzi|
Christian Tetzlaff has been one of the most sought-after violinists and most exciting musicians on the classical music scene for many years. "The greatest performance of the work I've ever heard", wrote Tim Ashley (The Guardian, May 2015) of his interpretation of the Beethoven Violin Concerto with the London Symphony Orchestra and conductor Daniel Harding.
Concerts with Christian Tetzlaff often turn into an existential experience for both the interpreter and the audience; suddenly old familiar works appear in a completely new light. In addition, he frequently turns his attention to forgotten masterpieces such as Joseph Joachim's Violin Concerto which he successfully championed, and he also attempts to bring important new works into the repertoire such as Jörg Widmann's Violin Concerto, which he premiered in 2013. He has an unusually extensive repertoire and performs approximately 100 concerts every year.
Christian Tetzlaff is regularly invited to be the Artist in Residence with orchestras and at events in order to be able to present his musical interpretations over a longer period of time, which has been the case with the Berliner Philharmoniker, at Wigmore Hall in London and at Perspectives series at Carnegie Hall New York with the Metropolitan Opera Orchestra. In the 2018-2019 season he will be the Artist in Residence of the Seoul Philharmonic Orchestra and the Dresdner Philharmonie at the same time.
During his career Christian Tetzlaff has appeared as a guest with major orchestras around the world, such as the Wiener Philharmoniker, the New York Philharmonic, the Royal Concertgebouw Orchestra and all of London's leading orchestras, working with conductors including Christoph Eschenbach, Manfred Honeck, Andris Nelsons, Antonio Pappano, Robin Ticciati, Paavo Järvi and Vladimir Jurowski, to name but a few.
Highlights of the 2018-2019 season include concerts in the USA with the Boston Symphony Orchestra under Thomas Adès at the Tanglewood Festival, with The Cleveland Orchestra and the Detroit Symphony Orchestra as well as an extensive tour with the San Francisco Symphony under Michael Tilson Thomas. He will also go on tour to Vietnam with the NHK Symphony Orchestra and in Europe he will perform with orchestras such as the Bergen and Helsinki Philharmonic Orchestras, the Orquesta Nacional de España, the London Symphony Orchestra, the Deutsches Symphonie-Orchester Berlin, the Münchner Philharmoniker and the Rundfunk-Sinfonieorchester Berlin with conductors including Barbara Hannigan, Susanna Mälkki, Vladimir Jurowski, Robin Ticciati and John Storgårds.
Born in Hamburg in 1966 and now living in Berlin with his family, there are three things that make this musician unique, aside from his astounding skill on the violin. He interprets the musical manuscript in a literal fashion, perceives music as a language, and views great works as narratives which reflect existential experiences. As obvious as it may sound, he brings an unusual approach in his daily concert routine.
Christian Tetzlaff tries to follow the manuscript as closely as possible – without regard for "performance tradition" and without indulging in the usual technical short-cuts on the violin – often allowing a renewed clarity and richness to arise in well-known works. As a violinist Tetzlaff tries to disappear from the music – paradoxically this makes his interpretations very personal.
Secondly, Christian Tetzlaff "speaks" through his violin. Like human speech, his playing comprises a wide range of expressive means and is not aimed solely at achieving harmoniousness or virtuosic brilliance.
Above all, however, he interprets the masterpieces of musical history as stories about first-hand experiences. The great composers have focused on intense feelings, great happiness and deep crises in their music; as a musician Christian Tetzlaff also explores the limits of feelings and musical expression. Many pieces deal with none other than life and death. Christian Tetzlaff's aim is to convey this to his audience.
Christian Tetzlaff played in various youth orchestras for many years. His teacher at the Lübeck University of Music was Uwe-Martin Haiberg, for whom musical interpretation was the key to mastering violin technique, rather than the other way round.
Christian Tetzlaff founded his own string quartet in 1994, and until now chamber music is still as important to him as his work as a soloist with and without the orchestra. Every year he takes on at least one extensive tour with the quartet; in the 2018-19 season they will perform concerts in the Gewandhaus Leipzig and the Pierre-Boulez-Saal Berlin.
The Tetzlaff Quartet received the Diapason d'or in 2015, and his trio with sister Tanja Tetzlaff and pianist Lars Vogt was nominated for a Grammy award. In this season he will appear in this trio at the festivals in Hitzacker and Klosters, in the Alte Oper Frankfurt, as well as on a tour around eight cities in the USA.
Christian Tetzlaff has also received numerous awards for his CD recordings, including the "Diapason d'or" in July 2018, the Midem Classical Award in 2017 und the "Preis Der Deutschen Schallplattenkritik" in 2015. Of special significance is his solo recording of Bach's Sonatas and Partitas, which he has recorded for the third time and was released in September 2017 on the Ondine label. The Strad magazine praised this recording as "an attentive and lively answer to the beauty of Bach's solos".
Christian Tetzlaff plays a violin made by the German violin maker Peter Greiner and teaches regularly at the Kronberg Academy.
|Carlos Miguel Prieto (Photo by Benjamin Ealovega)|
Carlos Miguel Prieto was born in 1965 into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterised by its dynamism and the expressivity of his interpretations. Prieto is recognised as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the Music Director of the Orquesta Sinfónica Nacional de México, the country's most important orchestra, since 2007. Prieto has also been Music Director of the Louisiana Philharmonic Orchestra (LPO) since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed Music Director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two month long series of summer programmes in Mexico City.
Prieto's 2018-2019 season includes his debuts with the National Symphony Orchestra, Washington, Orquesta Sinfónica de Castilla y León and the BBC National Orchestra of Wales. Amongst other engagements he returns to the Frankfurt Radio Symphony, the Hallé, Detroit Symphony, Royal Scottish National Orchestra, Bilbao Symphony and the Valencia Orchestra. He will also return to work with the National Youth Orchestra of Great Britain.
Other recent highlights include his debuts with the London Philharmonic Orchestra, the Minnesota Orchestra and the Los Angeles New Music Group and his returns to the NDR Elbphilharmonie, Royal Liverpool Philharmonic, Bournemouth Symphony Orchestra, Strasbourg Philharmonic and the Auckland Philharmonia. Prieto is in great demand as a guest conductor with many of the top North American orchestra including Cleveland, Dallas, Toronto and Houston Symphony orchestras and has enjoyed a particularly close and successful relationship with the Chicago Symphony Orchestra.
Since 2002, alongside Gustavo Dudamel, Prieto has conducted the Youth Orchestra of the Americas, which draws young musicians from the entire American continent. A staunch proponent of music education, Prieto served as Principal Conductor of the YOA from its inception until 2011 when he was appointed Music Director. In early 2010 he conducted the YOA alongside Valery Gergiev on the occasion of the 40th anniversary of the World Economic Forum at Carnegie Hall. In 2018 he conducted the orchestra on a tour of European summer festivals, which included performances at the Rheingau and Edinburgh festivals as well as Hamburg's Elbphilharmonie.
Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him.
Prieto has an extensive discography that covers labels including Naxos and Sony. Recent Naxos recordings include Rachmaninov Piano Concerto No.2 & Études-tableaux Op.33, with Boris Giltburg and the RSNO, which won a 2018 Opus Klassik award and was listed as a Gramophone's Critics' Choice, 2017, and a recording of Korngold's Violin Concerto, with violinist Philippe Quint and the Orquesta Sinfónica de Minería, which received two Grammy nominations. His recording of the Elgar and Finzi Violin Concertos with Ning Feng will be released on Channel Classics in November 2018.
A graduate of Princeton and Harvard universities, Carlos Miguel Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.
|Photo by Giorgia Bertazzi|
Johannes Brahms: Violin Concerto in D major, Op.77
Brahms composed his Violin Concerto during the summer of 1878, and led the first performance, with its dedicatee Joseph Joachim as soloist, in Leipzig on January 1, 1879.
In the 1860s, Brahms toured as Joachim's pianist. Despite the kilometers separating them otherwise – the violinist lived in Berlin, while Brahms settled permanently in Vienna after 1867 – their mutual regard as well as affection flourished. Until 1881, that is, when "Jussuf", a pathologically jealous husband, accused his wife of adultery, naming his and Brahms' publisher, Fritz Simrock, as correspondent. Knowing Joachim's mania, Brahms consoled the lady privately in a letter that she made public during divorce proceedings – one that the judge agreed with publicly, adding injury to insult in the fiddler's mind. For the next six years there was silence between them. Brahms, atypically, broke the ice by writing his "Double" Concerto in 1887 for Joachim and a cellist of choice – the composer's last work for orchestra, although he lived a decade longer. Even so, Joachim was never as close as in 1878, when Brahms put aside sketches for a new piano concerto (the B flat, Op.83, finished later) to make one for him instead.
A summer composer, he wrote the music in Pörtschach, a small resort community on the Wörther-see in south-central Austria that he found both charming and congenial (until "lady admirers" annoyed him beyond tolerance in 1879). Brahms created a large work, in the Beethoven tradition, though he gave up the idea of two movements in the middle; in their place he put an F major Adagio, with a seraphic oboe solo but a stormier central section in F sharp minor before calm returns.
The opening movement, marked not too fast, has a sonorous orchestral introduction in 3/4 time amounting to a first exposition of the main theme. When the violin enters, it is with an extended display over horns in octaves and a timpani roll before playing the main theme and a "secondary" group, from which one melody is outright gorgeous. Brahms begins his development section in A minor; a cadenza that Joachim contributed comes after the recapitulation.
Next comes the filigreed Adagio already discussed, then a rondo-finale with a "Hungarian" main theme (marked joyous but not too lively). Most agree that Brahms was saluting Joachim's origin; he was born near Pressburg, later called Poszony – today Bratislava in the Czech Republic. The music teems with challenges yet never becomes the circus-piece that so many nineteenth century fiddle concertos were.
Source: Roger Dettmer (allmusic.com)
Ludwig van Beethoven: Symphony No.5 in C minor, Op.67
Beethoven worked on the Fifth Symphony for more than four years, completing it in 1808, and introducing it on December 22 of that year at what must have been one of the most extraordinary concerts in history. The marathon program included the Fifth and Sixth Symphonies; the Choral Fantasy, Op.80; the Fourth Piano Concerto; and parts of the Mass in C. Vienna was in the grip of exceptionally cold weather, the hall was unheated, and the musicians woefully under-prepared. As Schindler noted, "the reception accorded to these works was not as desired, and probably no better than the author himself had expected. The public was not endowed with the necessary degree of comprehension for such extraordinary music, and the performance left a great deal to be desired".
Following early indifference, the public only gradually began to come to terms with the Fifth. One of its earliest proponents, the poet and composer E.T.A. Hoffmann wrote, "How this magnificent composition carries the listener on and on in a continually ascending climax into the ghostly world of infinity!... the human breast, squeezed by monstrous presentiments and destructive powers, seems to gasp for breath; soon a kindly figure approaches full of radiance, and illuminates the depths of terrifying night". In his Howard's End, E.M. Forster writes of the work, suggesting that it satisfies "all sort and conditions". The characters of Helen and Tibby know the work well, the latter even describing "the transitional passage on the drum" before the finale. That Forster dwelt at such length on the work shows the extent to which it had become absorbed into the Romantic consciousness.
Hermann Kretzschmar wrote of the "stirring dogged and desperate struggle" of the first movement, one of the most concentrated of all Beethoven's symphonic sonata movements. It is derived almost exclusively from the rhythmic cell of the opening, which is even felt in the accompaniment of the second subject group. There follows a variation movement in which cellos introduce the theme, increasingly elaborated and with shorter note values at every reappearance. A second, hymn-like motif is heard as its counterfoil.
The tripartite scherzo follows; the main idea is based on an ominous arpeggio figure, but we hear also the omnipresent "Fate" rhythm, exactly as it is experienced in the first movement. The central section, which replaces the customary trio, is a pounding fugato beginning in the cellos and basses, and then running through the rest of the orchestra. Of particular structural interest is the inter-linking bridge passage which connects the last two movements. Over the drumbeat referred to by Forster's Tibby, the music climbs inexorably toward the tremendous assertion of C major triumph at the start of the finale. The epic grandeur of the music, now with martial trombones and piccolo added (the Fifth also calls for contrabassoon), has irresistible drive and sweep, though that eventual victory is still some way off is suggested by the return of the ominous scherzo figure during the extended development.
Source: Michael Jameson (allmusic.com)
|Photo by Giorgia Bertazzi|
Johannes Brahms: Violin Concerto in D major – Hilary Hahn, hr-Sinfonieorchester, Paavo Järvi
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