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Tickets for the public open rehearsal are available from 15th day of the month preceding to the the open rehearsal (in case of weekends and public holidays on the first working day following this date).
In demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, Christoph Eschenbach began his tenure in September 2010 as Music Director of the National Symphony Orchestra as well as Music Director of the John F. Kennedy Center for the Performing Arts in Washington D.C.
Highlights of 2014/15 season as a conductor includes engagements in the United States with the Chicago Symphony, the Los Angeles Philharmonic Orchestra, the Philadelphia Orchestra, the Boston Symphony Orchestra. Throughout this season, Mr. Eschenbach appears as Music Director of the National Symphony Orchestra, conducting a variety of programs in the Kennedy Center, including a special performance of Die Rosenkavalier with Renée Fleming in Spring 2014. He also returns to the Houston Symphony for a performance of Mahlerʼs Symphony No. 8, the “Symphony of a Thousand”. In Europe he will perform with the Leipzig Gewandhaus Orchestra, the Münchner Philharmoniker, the Dresden Staatskapelle at the occasion of the Salzburg Easter Festival, the Deutsche Symphonie Orchester Berlin, the Filarmonica della Scala in Milan and the Czech Philharmonic in Prague.
The Orchestre de Paris he led as Music Director between 2000 and 2010, the Norddeutscher Rundfunk Sinfonieorchester, where he was also Music Director from 1998 to 2004, the Bamberger Symphoniker, the National Spanish Orchestra, l’Orchestre National de France, the orchestra of the Academia Nazionale di Santa Cecilia in Rome will also welcome Maestro Eschenbach this season. In December 2014 he will have the pleasure to come back to China to conduct in Beijing the NCPA orchestra.
In the Opera repertoire Mr. Eschenbach will conduct the Mozart Magic Flute and Idomeneo at the Vienna State Opera and, with Don Giovanni, he will continue the Mozart Da Ponte cycle he initiated the previous season at the Salzburg Summer Festival.
He will tour in Europe with the Wiener Philharmoniker, the London Philharmonic Orchestra and the Gustav Mahler Jugendorchester and take part, as every season since 1999, to the Schleswig Holstein Musik Festival.
As a pianist, he continues his fruitful collaboration with baritone Matthias Goerne. The duo has recorded Schubertʼs three song cycles – Die Schöne Müllerin, Die Winterreise and Schwanengesang – for the Harmonia Mundi label, the first installment of which was released in May 2009 to critical acclaim. In 2014 and 2015, the duo will appear in recital at Symphony Center in Chicago, the Kennedy Center, and Carnegie Hall, also in Europe at Baden Baden, Hamburg, Paris and Cologne.
A prolific recording artist over five decades, Christoph Eschenbach has an impressive discography as both a conductor and a pianist on a number of prominent labels. His recordings include works ranging from Bach to music of our time and reflect his commitment to not just canonical works but the music of the late 20th and early 21st-century as well. Over the past five years, Ondine has released sixteen critically acclaimed recordings featuring Mr. Eschenbach with the Orchestre de Paris and the Philadelphia Orchestra, a number of which have received prestigious honors including BBC Magazine “Disc of the Month”, Gramophone “Editors Choice”, and the German Record Critics’ Award, among others. His recent Hindemith recording (Ondine) with the violinist Midori and the NDR Sinfonieorchester won the 2014 Grammy Award for Best Classical Compendium.
Mentored by George Szell and Herbert von Karajan, Mr. Eschenbach held the posts of Chief Conductor and Artistic Director of the Tonhalle Orchestra from 1982 to 1986; Music Director of the Houston Symphony from 1988 to 1999; Music Director of the Ravinia Festival from 1994 to 2003; and Artistic Director of the Schleswig-Holstein Music Festival from 1999 to 2002.
Winner of the Queen Elisabeth (2009) and Yehudi Menuhin Competitions (2008), Ray Chen is among the most compelling young violinists today. “Ray has proven himself to be a very pure musician with great qualities such as a beautiful youthful tone, vitality and lightness. He has all the skills of a truly musical interpreter,” said the great Maxim Vengerov.
Ray has released two critically acclaimed albums on Sony: a recital program Virtuoso of works by Bach, Tartini, Franck, and Wieniawski, and the Mendelssohn and Tchaikovsky concertos with Swedish Radio Orchestra and Daniel Harding. Following the success of these recordings, Ray was profiled by The Strad and Gramophone magazines as “the one to watch”. Virtuoso was distinguished with the prestigious ECHO Klassik award. His third recording, an all-Mozart album with Christoph Eschenbach and the Schleswig-Holstein Festival Orchestra, was released in January 2014.
“It’s hard to say something new with these celebrated works; however, Ray Chen performs them with the kind of authority that puts him in the same category as Maxim Vengerov.” (Corriere della Sera)
Ray continues to win the admiration of fans and fellow musicians worldwide. In 2012, he became the youngest soloist ever to perform in the televised Nobel Prize Concert for the Nobel Laureates and the Swedish Royal Family. His Carnegie Hall debut with the Royal Stockholm Philharmonic and Sakari Oramo, as well as his sold-out Musikverein concert with the Gewandhaus Orchestra and Riccardo Chailly were met with standing ovations. Since the 2012/13 season, Ray has been invited to join Konzerthaus Dortmundʼs series Junge Wilde, which presents young and groundbreaking artists in Germany. Later this season, Ray will make his San Francisco recital debut at the SF Jazz Center. He also looks forward to his upcoming recital tour of Australia and his debuts with the Orchestre National de France and the London Philharmonic Orchestra.
Followed by over 1.5 million people people on SoundCloud, Ray Chen looks to expand the classical music audience by increasing its appeal to the young generation via all available social media platforms. He is the first ever classical musician to be invited to write a regular blog about his life as a touring soloist for the largest Italian publishing house, RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). In his unstinting efforts to break down barriers between classical music, fashion and pop culture, he is supported by Giorgio Armani and was recently featured in Vogue magazine.
Born in Taiwan and raised in Australia, Ray was accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 Joachim Stradivarius violin on loan from the Nippon Music Foundation.
The Mondscheinmusik is a four-minute-long orchestral intermezzo which Richard Strauss (1864–1948) placed before the final scene – a monologue of the main character – in his fourteenth and last opera, Capriccio (1944). The work first develops as a poetic image of a dark castle hall flooded with moonlight; gradually, it gains in strength and warmth of expression, making us understand that beyond the seemingly noncommittal conversational witticisms of the events witnessed so far a sensitive and vulnerable human heart is hiding.
The composition of Pyotr Ilyich Tchaikovsky’s (1840–1893) only Violin Concertowas preceded by the break-up of his marriage to a beloved pupil; marrying had been the composer’s means of coping with his sexuality. A stay in Clarens, Switzerland was to help him to overcome his deep personal crisis, but solace only came with the arrival of the young violinist Iosif Kotek, whom Tchaikovsky had found to be a very likeable pupil: within a month he had composed the score of the Concerto for Violin and Orchestra. However, it was only three years later that the work began its ascent to the pinnacle of the world concert repertory.
It is also worth mentioning that back in Clarens Tchaikovsky replaced the original second movement with a new composition. Its idyllic designationof Canzonetta cannot disguise its deeply personal message: the plaintive theme with which the soloist responds to the gracious orchestral introduction is an expression of a deep depression, which is temporarily dispelled by the warm emotional surge of the middle section, but its real resolution is left to the finale. It is thanks to the Canzonetta that the concerto has become part of the series of great compositions that reflect the composer’s inner life.
Strauss composed his most famous opera, Der Rosenkavalier, in 1913 as a huge waltz fantasy and indeed as a critique of the metropolitan, elegant, hedonistic life-style, the musical expression of which is the Viennese waltz of the Strauss name. However, according to all indications the arrangement of the Suite from Der Rosenkavalier is the work of the conductor Artur Rodziński, who also conducted its premiere with the New York Philharmonic. From the orchestral introduction, the composition presents an unbroken succession of the key scenes and personalities of the characters and their relationships, replacing vocal with instrumental parts. Brought to an ecstatic climax, it continues and concludes with one of the many waltzes.
Sergei Prokofiev (1891–1953) wrote the first of his seven symphonies at the age of twenty-six, in the historic year 1917. No novice to composing symphonic music, by that time he already had a respectable number of substantial and successful works behind him; at this point he decided temporarily to abandon his musical provocations and to write a supremely symphonic form in the classical spirit: “When it began to take real shape, I called it the Classical Symphony, first, because it makes things easier, second, to ride a tiger, and third, with a secret hope that I stand to gain if in time the symphony should really become classical…”
And it did. In the classical balance and symmetry of the whole, Prokofiev’s wit and impish gaiety is both irresistible and programmatic: that year, towards the close of the War and on the eve of the Revolution, was far from idyllic in Petrograd, and it would fatefully influence Prokofiev’s turbulent life. In the first of his imposing series of symphonies he manifested his legendary vital optimism, so rare among the great twentieth-century composers.
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