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The Czech Phil: Live in your living room II
This concert will pay tribute to Ludwig van Beethoven, who was born 250 years ago. Austrian conductor will lead the Czech Philharmonic in performance of Symphony No. 1. Legendary pianist Rudolf Buchbinder will play Mozart's Piano Concerto No. 20 in D Minor. Selection from Peer Gynt by Evard Grieg is also on the programme.
Peer Gynt, selection from suites No. 1 and No. 2 (15')
Morning Mood, Solveig’ s song, Anitra’ s dance, In the Hall of the Mountain King
Wolfgang Amadeus Mozart
Piano Concerto No. 20 in D Minor, K 466 (30')
Ludwig van Beethoven
Symphony No. 1 in C Major, Op. 21 (26')
Rudolf Buchbinder piano
Manfred Honeck conductor
Marek Eben presenter
Concert will be broadcasted on ČT art and streamed on facebook pages of the Czech Philharmonic and other partners on 6th December at 8.15pm. In Germany, Austria and Switzerland it will be available only on Takt1.
Concert will be broadcast on ČT art and streamed on facebook pages of the Czech Philharmonic and other partners on 6th December at 8.15pm. In Germany, Austria and Switzerland it will be available only on Takt1.
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 250th 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
Renowned for his distinctive interpretations, Manfred Honeck has served as Music Director of the Pittsburgh Symphony Orchestra since the 2008/2009 season. Consistently recognized for their performances, he and the orchestra are celebrated both in Pittsburgh and abroad and regularly perform in major European music capitals as well as at Carnegie Hall and Lincoln Center in New York, and leading festivals such as BBC Proms, Musikfest Berlin, Lucerne Festival, Rheingau Musik Festival, Beethovenfest Bonn and Grafenegg Festival. Honeck and the Pittsburgh Symphony Orchestra have also built a close relationship with the Musikverein in Vienna. The next tour of European cities will take place in autumn 2019.
Manfred Honeck’s successful work with the Pittsburgh Symphony Orchestra has been extensively documented on recordings with the Reference and Exton labels. All SACDs released by Reference Recordings, amongst them Strauss tone poems and suites, Bruckner’s Symphony No. 4, Beethoven Symphonies No. 5 and 7, Bruckner’s Symphony No. 4 and Tchaikovsky’s Symphony No. 6 have received a multitude of rave reviews and honours. Following two earlier Grammy nominations, the most recent recording, Shostakovich’s Symphony No. 5, won the Grammy for “Best Orchestral Performance” in January 2018.
Born in Austria, Manfred Honeck received his musical training at the Academy of Music in Vienna. Many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have given his conducting a distinctive stamp. He began his career as assistant to Claudio Abbado and as artistic leader of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was bestowed the prestigious European Conductor’s Award in 1993. Other early posts include Leipzig, where he was one of three main conductors of the MDR Symphony Orchestra and Oslo, where he assumed the post of Music Director at the Norwegian National Opera on short notice for a year and was engaged as Principal Guest Conductor of the Oslo Philharmonic Orchestra for several years. From 2000 to 2006 he was Music Director of the Swedish Radio Symphony Orchestra in Stockholm and, from 2008 to 2011 and again from 2013 to 2016, Principal Guest Conductor of the Czech Philharmonic Orchestra.
From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart where he conducted premieres including Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’s Dialogues des Carmélitesand Wagner’s Lohengrin and Parsifal, as well as numerous symphonic concerts.
His operatic guest appearances include Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival. Moreover, he has been Artistic Director of the International Concerts Wolfegg in Germany for more than twenty years.
As a guest conductor Manfred Honeck has worked with the world’s leading orchestras including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. Orchestras he conducted in the United States include New York Philharmonic, The Cleveland Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra and San Francisco Symphony. He is also a regular guest at the Verbier Festival.
Manfred Honeck has received honorary doctorates from several North American universities. Most recently, he was awarded the honorary title of Professor by the Austrian Federal President. The expert jury of the International Classical Music Awards selected him as “Artist of the Year” 2018.
Ludwig van Beethoven gave musical Classicism its crowning achievement in the pathos of his music, the selection of heroic themes and the use of unconventional means of expression, heralding in many ways the upcoming period of Romanticism. His symphonic debut – Symphony No. 1 in C major – still belongs to the Classical style and shows strong traces of the influence exerted upon Beethoven by his great predecessors, Joseph Haydn and Wolfgang Amadeus Mozart. Unlike these two composers, however, Beethoven began to deal with symphonies later in his career, considering them to be an extremely important form to be approached with the utmost responsibility. This is testified by the total number of symphonic works composed by the individual representatives of Viennese Classicism – while Beethoven produced “only” nine symphonies, Mozart wrote 54 of them and Haydn nearly doubled this number. Beethoven started to work on his first symphony at the age of 29 (although he had noted some of the themes for it five years earlier), i.e., at the time when his hearing began to deteriorate.
The long, slow introduction of the first movement of this symphony eventually leads to a typically Classical main theme of a marching character. It is immediately followed by the more lyrical second theme played by oboes and flutes, interwoven with the strings. The movement develops further based on these two themes. In short, the entire first movement is composed in an exemplary and clearly recognizable sonata form with introduction, exposition, development, recapitulation and coda. The second dance-like movement Andante cantabile con moto has a sonata character as well. Here, Beethoven is returning to the mannerisms of the Mannheim School, i.e., to the ultimate musical source of the Classical period. Traditionally, composers placed minuet in the third movement of their symphonies. Beethoven proceeded in the same way in his First Symphony, but later, when composing his Second and Third, he replaced the minuet with scherzo. The third movement of his Symphony No. 1 in C major is actually an original symphonic scherzo as well (there is a lot more of classic minuet in the preceding movement). The unsettling excitement and the rather non-dancing character of the third movement contrast with its marking, which can be interpreted as Beethoven’s ironical comment on the established convention. In the final movement, after a timid introduction, a jubilant topic bursts out, to which the composer returns several times in the form of a rondo, while working with this theme in a way similar to the sonata form. Beethoven’s Symphony No. 1 is a child of the 18th century. However, with some of its features, it already anticipates Beethoven’s original musical language expressing grave content, which he fully developed especially in his other symphonies, composed in the following century.