Czech Philharmonic • Rudolf Buchbinder

Rudolf Buchbinder is one of the legendary artists of our time. His piano playing is an unparalleled fusion of the authority of a career spanning more than 60 years with spirit and spontaneity. His renditions are celebrated worldwide for their intellectual depth and musical freedom.

Particularly his renditions of Ludwig van Beethovenʼs works are considered to be exemplary. He has performed the 32 piano sonatas 60 times in cycles all over the world and developed the story of their interpretation over decades. He was the first pianist to play all Beethoven sonatas at the Salzburg Festival during a summer festival. A live recording is available on DVD.

On the occasion of Ludwig van Beethovenʼs 250^th birthday in the 2019/2020 concert season, for the first time in its 150-year history, the Vienna Musikverein is giving a single pianist, Rudolf Buchbinder, the honor of performing all five piano concertos by Ludwig van Beethoven in a specially edited cycle. Buchbinderʼs partners in this unprecedented constellation are the Leipzig Gewandhaus Orchestra under Music Director Andris Nelsons, the Vienna Philharmonic Orchestra under Riccardo Muti and the Bavarian Radio Symphony Orchestra, the Munich Philharmonic Orchestra and the Sächsische Staatskapelle Dresden under their chief conductors Mariss Jansons, Valery Gergiev and Christian Thielemann.

Together with the Bavarian Radio Symphony Orchestra and Mariss Jansons, Rudolf Buchbinder returned to the Elbphilharmonie Hamburg, the Philharmonie de Paris, the Philharmonie Luxembourg and the Carnegie Hall New York as part of a tour.

A première is the focus of the Beethoven Year 2020. Based on Beethovenʼs Diabelli Variations Op. 120, Rudolf Buchbinder initiated a new cycle of variations on the same waltz by Anton Diabelli, which also forms the basis of Beethovenʼs epochal masterpiece. With Lera Auerbach, Brett Dean, Toshio Hosokawa, Christian Jost, Brad Lubman, Philippe Manoury, Krzysztof Penderecki, Max Richter, Rodion Shchedrin, Johannes Maria Staud, Tan Dun and Jörg Widmann, it was possible to win twelve leading contemporary composers of different generations and backgrounds. The New Diabelli Variations were commissioned by a variety of concert promoters worldwide and with the support of the Ernst von Siemens Music Foundation.

The world première recording of the New Diabelli Variations marks the beginning of Rudolf Buchbinderʼs exclusive partnership with Deutsche Grammophon. At the same time he also presents a new recording of Beethovenʼs Diabelli Variations, which he last recorded in 1976.

Rudolf Buchbinder is an honorary member of the Vienna Philharmonic, the Society of Friends of Music in Vienna, the Vienna Symphony Orchestra and the Israel Philharmonic Orchestra. He is the first soloist to be awarded the Golden Badge of Honor by the Staatskapelle Dresden.

Buchbinder attaches great importance to source research. His private music collection comprises 39 complete editions of Ludwig van Beethovenʼs piano sonatas as well as an extensive archive of first prints, original editions and copies of the piano scores of both piano concertos by Johannes Brahms.

He has been the artistic director of the Grafenegg Festival since its foundation in 2007. Today, Grafenegg is one of the most influential orchestral festivals in Europe.

Two books by Rudolf Buchbinder have been published so far, his autobiography Da Capo and Mein Beethoven – Leben mit dem Meister. Numerous award-winning recordings on CD and DVD document his career.

For concert dates and further information please visit the homepage www.buchbinder.net

In the 2023/2024 season, Semyon Bychkov’s programmes centred on Dvořák’s last three symphonies, the concertos for piano, violin and cello, and three overtures: In Nature’s Realm, Carnival Overture, and Othello. In addition to conducting at Prague’s Rudolfinum, Bychkov and the Czech Philharmonic took the all Dvořák programmes to Korea and across Japan with three concerts at Tokyo’s famed Suntory Hall. Later, in spring, an extensive European tour took the programmes to Spain, Austria, Germany, Belgium, and France and, at the end of year, the Year of Czech Music 2024 will culminate with three concerts at Carnegie Hall in New York. As well as featuring Dvořák’s concertos for piano, violin and cello, the programmes will include three poems from Smetana’s Má vlast, Mahler’s Symphony No. 5 and Janáček’s Glagolitic Mass for which the orchestra will be joined by the Prague Philharmonic Choir. 

Bychkov’s inaugural season with the Czech Philharmonic was celebrated with an international tour that took the orchestra from performances at home in Prague to concerts in London, New York, and Washington. The following year saw the completion of The Tchaikovsky Project – the release of a 7-CD box set devoted to Tchaikovsky’s symphonic repertoire – and a series of international residencies. In his first season with the Czech Philharmonic, Bychkov also instigated the commissioning of 14 new works which have subsequently been premiered by the Czech Philharmonic and performed by orchestras across Europe and in the United States.

As well as the focus on Dvořák’s music, Bychkov and the Czech Philharmonic are exploring the symphonies of Mahler as part of PENTATONE’s ongoing complete Mahler cycle. The first symphonies in the cycle – Symphony No. 4 and Symphony No. 5 were released in 2022, followed in 2023 by Symphony No. 1 and Symphony No. 2 “Resurrection”. Last season’s highlights included performances of Mahler’s Third Symphony in Prague and Baden-Baden, and during the 2024/2025 season, Bychkov will conduct Mahler’s Symphony No. 5 with the orchestra in Prague, New York, and Toronto, and Symphony No. 8 in Prague.

While especially recognised for his interpretations of the core repertoire, Bychkov has built strong and lasting relationships with many extraordinary contemporary composers including Luciano Berio, Henri Dutilleux, and Maurizio Kagel. More recent collaborations include those with Julian Anderson, Bryce Dessner, Detlev Glanert, Thierry Escaich, and Thomas Larcher whose works he has premiered with the Czech Philharmonic, as well as with the Concertgebouworkest, the Vienna, Berlin, New York and Munich Philharmonic Orchestras, Cleveland Orchestra, and the BBC Symphony Orchestra.

In common with the Czech Philharmonic, Bychkov has one foot firmly in the culture of the East and one in the West. Born in St Petersburg in 1952, Bychkov emigrated to the United States in 1975 and has lived in Europe since the mid-1980s. Singled out at the age of five for an extraordinarily privileged musical education, Bychkov studied piano before winning his place at the Glinka Choir School where, aged 13, he received his first lesson in conducting. He was 17 when he was accepted at the Leningrad Conservatory to study with the legendary Ilya Musin and, within three years won the influential Rachmaninoff Conducting Competition. Bychkov left the former Soviet Union when he was denied the prize of conducting the Leningrad Philharmonic.

By the time Bychkov returned to St Petersburg in 1989 as the Philharmonic’s Principal Guest Conductor, he had enjoyed success in the US as Music Director of the Grand Rapids Symphony Orchestra and the Buffalo Philharmonic. His international career, which began in France with Opéra de Lyon and at the Aix-en-Provence Festival, took off with a series of high-profile cancellations which resulted in invitations to conduct the New York and Berlin Philharmonic Orchestras and the Concertgebouworkest. In 1989, he was named Music Director of the Orchestre de Paris; in 1997, Chief Conductor of the WDR Symphony Orchestra Cologne; and in 1998, Chief Conductor of the Dresden Semperoper.

Bychkov’s symphonic and operatic repertoire is wide-ranging. He conducts in all the major opera houses including La Scala, Opéra national de Paris, Dresden Semperoper, Wiener Staatsoper, New York’s Metropolitan Opera, the Royal Opera House, Covent Garden, and Teatro Real. While Principal Guest Conductor of Maggio Musicale Fiorentino, his productions of Janáček’s Jenůfa, Schubert’s Fierrabras, Puccini’s La bohème, Shostakovich’s Lady Macbeth of Mtsensk, and Mussorgsky’s Boris Godunov each won the prestigious Premio Abbiati. In Vienna, he has conducted new productions of Strauss’ Daphne, Wagner’s Lohengrin and Parsifal, and Mussorgsky’s Khovanshchina, as well as revivals of Strauss’ Elektra and Wagner’s Tristan und Isolde; while in London, he made his operatic debut with a new production of Strauss’ Elektra, and subsequently conducted new productions of Mozart’s Così fan tutte, Strauss’ Die Frau ohne Schatten, and Wagner’s Tannhäuser. Recent productions include Wagner’s Parsifal at the Bayreuth Festival, Strauss’ Elektra and Wagner’s Tristan und Isolde in Madrid. He returned to Bayreuth to conduct a new production of Wagner’s Tristan und Isolde in summer 2024.

Bychkov’s combination of innate musicality and rigorous Russian pedagogy has ensured that his performances are highly anticipated. In the UK, the warmth of his relationships is reflected in honorary titles at the Royal Academy of Music and the BBC Symphony Orchestra – with whom he appears annually at the BBC Proms. In Europe, he tours with the Concertgebouworkest and Munich Philharmonic, as well as being a guest of the Vienna and Berlin Philharmonics, the Leipzig Gewandhaus, the Orchestre National de France, and Orchestra dell’Accademia Nazionale di Santa Cecilia; in the US, he can be heard with the New York Philharmonic, Chicago Symphony, Los Angeles Symphony, Philadelphia, and Cleveland Orchestras.

Bychkov has recorded extensively for Philips with the Berlin Philharmonic, Bavarian Radio, Concertgebouworkest, Philharmonia, London Philharmonic and Orchestre de Paris. His 13‑year collaboration (1997–2010) with WDR Symphony Orchestra Cologne produced a series of benchmark recordings that included works by Strauss (Elektra, Daphne, Ein Heldenleben, Metamorphosen, Alpensinfonie, Till Eulenspiegel), Mahler (Symphonies No. 3, Das Lied von der Erde), Shostakovich (Symphony Nos. 4, 7, 8, 10, 11), Rachmaninoff (The Bells, Symphonic Dances, Symphony No. 2), Verdi (Requiem), a complete cycle of Brahms Symphonies, and works by Detlev Glanert and York Höller. His 1992 recording of Tchaikovsky’s Eugene Onegin with the Orchestre de Paris was recommended by BBC’s Radio 3’s Building a Library (2020); Wagner’s Lohengrin was BBC Music Magazine’s Record of the Year (2010); and Schmidt’s Symphony No. 2 with the Vienna Philharmonic was BBC Music Magazine’s Record of the Month (2018). Of The Tchaikovsky Project released in 2019, BBC Music Magazine wrote, “The most beautiful orchestra playing imaginable can be heard on Semyon Bychkov’s 2017 recording with the Czech Philharmonic, in which Decca’s state-of-the art recording captures every detail.”

In 2015, Semyon Bychkov was named Conductor of the Year by the International Opera Awards. He received an Honorary Doctorate from the Royal Academy of Music in July 2022 and the award for Conductor of the Year from Musical America in October 2022.

Bychkov was one of the first musicians to express his position on the outbreak of the war in Ukraine, since when he has spoken in support of Ukraine in Prague’s Wenceslas Square; on the radio and television in the Czech Republic, France, Germany, Austria, the UK, and the USA; written By Invitation for The Economist; and appeared as a guest on BBC World’s HARDtalk.

At the turn of the nineteenth and twentieth centuries, from the summer of 1899 until April 1901, Mahler composed his Symphony No. 4, the most classical of his monumental symphonies. The composition has roots that reach back even further in time, however. During the frigid February of 1892, Mahler composed the song Der Himmel hängt voll Geigen for voice and piano to a text from the poetry collection The Youth’s Magic Horn, which contains more than seven hundred texts of old German folksongs and popular songs. The collection had been published nearly a century earlier in 1806–1808 by the young poets Achim von Arnim and Clemens Brentano. Mahler discovered it by chance in 1887 while visiting the grandson of the composer Carl Maria von Weber, and he drew on it for subject matter for his compositions for another fourteen years. A month after composing the song, in March 1892 Mahler finished orchestrating it with the characteristic use of harp and sleigh bells, and he gave it his own title, Das himmlishe Leben (Heavenly Life). He took a special liking for the song, and he often included it on concert programmes of his music. It was originally to have been the conclusion of this Third Symphony, but ultimately that colossal work would have “just” six movements, and Heavenly Life instead became the finale, intellectual focus, and climax of the Fourth Symphony.

It might seem that the Fourth Symphony is just a continuation and completion of the Third, but already in the first movement we hear unmistakeable fanfares that foreshadow Mahler’s Fifth Symphony, which was yet to come. In Mahler’s music, everything is closely tied together.The second movement, although dancelike, makes an oppressive impression – it is, after all, also a dance of death played on the fiddle by the skeleton Freund Hein! The solo violin is to be tuned a step higher to give it a harsher, shriller tone, making the soloist sound like a street musician instead of a concertmaster of a symphony orchestra. Mahler is said to have taken inspiration from Arnold Böcklin’s 1872 painting titled Self-Portrait with Death Playing the Fiddle. (In 1894, the same painting also inspired Jaroslav Vrchlický’s poem, in which a painter is creating a self-portrait but constantly feels something disturbing behind his back. When he turns around, he sees Death with a fiddle.)The third movement is the longest. It is a magnificent series of variations inspired by the vision of a tombstone on which there is a carved image of the departed in eternal sleep. The music leads us to a vision of heaven’s gates.

Beyond the gates we are welcomed by a “child’s” voice – a soprano – in heaven, where peace reigns supreme, where there is no bustle of the secular world, where everyone can rejoice and dance. And with this image of childlike naivety, Mahler completes his journey from the complex to the simple, from experience to innocence, and from earthly life to heavenly bliss.

In the twenty-first century, Mahler’s music and its message are still attractive to listeners. The form, content, and intellectual and emotional power of the music make it surprisingly relevant to our post-modern epoch.

The biographers of Ludwig van Beethoven usually divide his works into three stylistic periods. The middle one has come to be described as the “heroic period”. That ten-year era of the composer’s life is framed symbolically by a pair of letters that were never sent, in which Beethoven gave vent to his innermost feelings and thoughts. The first of them dates from the autumn of 1802 while the composer was staying in Heiligenstadt, then a quiet suburb of Vienna, where he had taken refuge about half a year earlier. The unsatisfactory results of attempts to reverse his worsening tinnitus and advancing loss of hearing caused him to fall into a deepening state of depression, and it was in this state of mind that he wrote what is known as the Heiligenstadt Testament. The moving letter, originally intended for Beethoven’s two younger brothers, expresses the worries of the 32-year-old composer and pianist over his worsening health and over his earlier contemplation of ending his own life, but writing it had a cathartic effect. Beethoven banished his dark thoughts, returned to Vienna, and devoted himself fully to composing. The period that followed brought major works of the composer’s oeuvre: the Eroica, the Fifth Symphony, the Pastoral Symphony, the Violin Concerto in D major, the Triple Concerto for violin, piano, and cello, and great piano sonatas like the Appassionata and Les Adieux. The second of the letters in question was written ten years later in Teplice, a town in northern Bohemia, while Beethoven was staying at the local spa. “Good morning on 7 July. Already while still in bed, my thoughts turn to you, my immortal beloved. Now and then happily, and then sadly waiting to see whether fate will hear our pleas. I can live only wholly with you or not at all”, the composer wrote to his “immortal beloved”, whose identity remains the subject of speculation.

Another product of Beethoven’s “heroic period” was his Piano Concerto No. 5 in E flat major (1809). It is not entirely clear how the last of his five piano concertos got the nickname “Emperor”. The probable source was the English publisher Johann Baptist Cramer, and it is far more likely that the designation refers to the work’s musical grandiosity than to any particular emperor. While Beethoven was completing work on the concerto, which he dedicated to Archduke Rudolf, his friend and patron for many years, he was certainly being influenced by dramatic external circumstances. Vienna had been under siege by Napoleon’s troops for several months, and matters came to a head in early July with the bloody Battle of Wagram, Austria’s defeat, and the subsequent signing of a peace treaty that had far-reaching financial consequences for Austria and meant an enormous loss of territory. At the end of July, Beethoven wrote to his publisher: “The entire course of events has affected me body and soul. How disturbing and wild life is around me; nothing but drums, cannons, men, and every kind of misery.” While the city was under siege, Beethoven hid in the cellar of his brother’s house, and to keep from losing the rest of his already poor hearing, he used pillows to protect his ears from the noise of the battle.

Beethoven’s worsening hearing did not at all hinder his composing, but appearing in public in the role of a performer became more and more difficult for him. The Piano Concerto in E flat major is his first and only piano concerto that he did not himself premiere. The whole work’s character is truly grand, and the very first movement reveals how meaningfully Beethoven influenced the entire piano concerto genre, whether in terms of the dominance given to the piano, which asserts itself at full power from the very first bars, or the final cadenza, which Beethoven himself composed, contrary to what had been previously customary, insisting that it always be performed in precisely that form. In his concertos, Beethoven perfectly mastered the classical forms, opening the door to the gradual arrival of the world of Romanticism, where a musical work is conceived as the perfect reflection of the composer’s imagination, which the performer is to convey to the listener. The opening bars of the concerto sound forth like monumental fanfares, followed immediately by solo piano entrances in runs of scales and arpeggios. Following the opening fanfares are military motifs symbolised by a dotted rhythm or the emphatic sound of the timpani and a march theme played by the French horns. The majestic first movement is followed by a slow Adagio that sounds in places like a touching nocturne. The gentle solo piano line is accompanied by the soft sound of the strings, woodwinds, and muted French horns. As the chord dies away at the end of the second movement, the soloist plays a pianissimo entrance with a new theme. For two more bars, the movement’s slow pulse is maintained, but then a fortissimo solo entrance announces the virtuosic and energetic Rondo, which follows the previous movement without a pause. The end of the third movement also exhibits Beethoven’s imaginativeness. The composer first allows the final cadenza to die away, then in the last bars, runs of scales played forte offer contrast, and the finale is capped off decisively by repeated chords played by the full orchestra.