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Local Broadcast:
All-Beethoven with Radu Lupu and Christoph von Dohnányi

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All-Beethoven with Radu Lupu and Christoph von Dohnányi
This concert is now past.
Location: Avery Fisher Hall  (Directions)
Price Range: $49.00 - $130.00
 
Thu, Jan, 31, 2013
7:30 PM
 
Fri, Feb, 1, 2013
8:00 PM
 
Sat, Feb, 2, 2013
8:00 PM
Christoph Von Dohnanyi

Program

  (Click the red play button to listen)
Overture to The Creatures of Prometheus
LUDWIG VAN BEETHOVEN (1770–1827)
Overture to The Creatures of Prometheus (1801)


None other than the most powerful woman in the world at the time, the Hapsburg Empress, Maria Theresia, commissioned the 30 year-old Ludwig van Beethoven to compose a ballet on the subject of Prometheus. The creator of the scenario and choreographer was the renowned Neopolitan Salvatore Vigamò (1769-1821), master of the ballet at the Viennese court. His third production was The Creatures of Prometheus, an allegory that tells the story of the Greek demigod who stole fire from the gods. The playbill at the premiere provided the story: "Prometheus is a lofty spirit who, finding the human beings of his time in a state of ignorance, refined them through art and knowledge and gave them laws of right conduct... The ballet presents two animated statues who, by the power of harmony, are susceptible to the passions of human existence. Prometheus takes them to Parnassus, to receive instruction from Apollo, god of the arts, who commands Amphion, Arion, and Orpheus to teach them music; Melpomene and Thalia, tragedy and comedy. Terpsichore aids Pan, who introduces them to the Pastoral Dance, which he has invented, and from Bacchus they learn his invention — the Heroic Dance." The two-act ballet consists of an overture, an introduction, fifteen dance numbers, and a finale. Despite some "artistic differences" between the choreographer and Beethoven that were eventually sorted out, their collaboration was hugely successful. While the ballet is no longer performed, Beethoven "recycled" some of the music into other works, and the overture has had a post-ballet life as a popular curtain raiser at symphony concerts.
Piano Concerto No. 1
LUDWIG VAN BEETHOVEN (1770–1827)
Piano Concerto No. 1 (1798)


When Ludwig van Beethoven gave the first public performance of his Piano Concerto No. 1 (actually the second to be composed, but first to be published) in Prague in 1798, a fellow composer, Johann Tomášek, was deeply affected, saying: "Beethoven's grand style of playing, and especially his bold improvisation, stirred me strangely to the depths of my soul; indeed I found myself so profoundly shaken that I did not touch my piano for several days." Beethoven had moved from Bonn to Vienna for good in 1792, and by the time he composed this concerto he was already lionized as a superstar of the piano in the best salons of the Austrian capital-not easy, considering that there were some 300 other professional pianists in the city, all vying for fame and fortune. In such an environment, artist/composers made sure that their concertos remained theirs alone to perform, thus giving them the competitive edge of "uniqueness." In fact, Beethoven composed his first two concertos in 1795 and 1798 but withheld them from publication until 1801 so as to keep them for his own concertizing for as long as possible. He was inspired by Mozart (the first of the great pianist/composers, with 27 concertos to his name), whom he met once in Vienna and with whom he had wanted to study. After "auditioning" the 17-year-old Beethoven, Mozart predicted: "Watch out for him; he will have something to say." The composer dedicated this concerto to his noble student Countess Anna Luise Barbara d'Erba-Odescalchi (1777-1813). Beethoven left us no fewer than three cadenzas for the first movement alone — a reminder that he was aware of his prodigious pianistic abilities and how these would translate into income-producing performances. Noteworthy for listening: the very long orchestral introduction to the first movement, an introspective, poetic slow movement, and a high-spirited concluding rondo.
LUDWIG VAN BEETHOVEN (1770–1827)
Symphony No. 5 (1808)


"Thus fate knocks at the door!" Whether this attribution to Ludwig van Beethoven about the four opening chords of his grand Fifth is true or not, no one really knows, but the pulse "ba-ba-ba-BAH" is practically embedded in our DNA. No other symphony has such instant recognition. Rising from this unmistakable four-note motif, its euphoric path transports the listener from tragedy to triumph, from darkness into the light. The creation of the Fifth extended over five years, a period when Beethoven was confronting his growing deafness, unhappy love affairs, and other personal crises. Its Viennese premiere took place under less than favorable circumstances: a marathon benefit concert sponsored by Beethoven himself, in the depth of winter, in an unheated concert hall, with a program totaling about four hours. A musician playing that night quipped: "There we continued, in the bitterest cold from half past six to half past ten, and experienced the truth that one can easily have too much of a good thing-and still more of the loud." The symphony's birth was difficult, as Leonard Bernstein observed: "The man rejected, rewrote, scratched out, tore up, and sometimes altered a passage as often as twenty times. Beethoven's manuscript looks like a bloody record of a tremendous inner battle." Nevertheless, its transition from C Minor to C Major during its mighty course — shouted out joyfully and repeatedly at the climax — brings the immortal Fifth to a glorious ending.(Pop culture note: parts of the Fifth were used in movies as diverse as The Longest Day, Saturday Night Fever, Howard's End, and Fight Club.)

Artists

Christoph von Dohnanyi

Christoph von Dohnányi, one of the world's pre-eminent orchestral and opera conductors, regularly appears as a guest with the major opera houses and orchestras of Europe and North America. His appointments have included opera directorships in Frankfurt and Hamburg; principal orchestral conducting posts in Germany, London, and Paris; and his 20-year tenure as music director of The Cleveland Orchestra. During his years in Cleveland, he led the orchestra in 1,000 concerts, 15 international tours, 24 premieres, and the recording of more than 100 works.

Mr. Dohnányi's longstanding partnership with the Philharmonia Orchestra in London — where he is honorary conductor for life — began in 1994, when he was appointed principal guest conductor and, from 1997 onwards, served as principal conductor and artistic adviser. Together they developed a successful collaboration with the Théâtre du Châtelet in Paris, where their many performances have included productions of operas by Richard Strauss, Schoenberg, Stravinsky, and Humperdinck's.

In the 2011–2012 season, he returns to North America to lead subscription concerts with the Boston and Kansas City Symphony Orchestras and The Cleveland Orchestra. Highlights of recent seasons include concerts with New York and Israel Philharmonic orchestras, Cleveland Orchestra, Boston and Chicago Symphony Orchestras, Los Angeles Philharmonic (where he led the four Brahms symphonies over two weeks), Amsterdam's Royal Concertgebouw Orchestra, and Orchestre de Paris. He frequently leads the Chicago Symphony at Ravinia and the Boston Symphony at Tanglewood, and last season was the music director for the Tanglewood Music Center's production of Ariadne auf Naxos.

Christoph von Dohnányi conducts frequently at the world's great opera houses, including Royal Opera House, Covent Garden, Milan's Teatro alla Scala, and Vienna Staatsoper, as well as in Berlin and Paris. He has been a frequent guest conductor with the Vienna Philharmonic at the Salzburg Festival, leading the world premieres of Hans Werner Henze's Die Bassariden and Cerha's Baal. He also regularly appears with the Zurich Opera.

Mr. Dohnányi has made many critically acclaimed recordings for London/Decca with The Cleveland Orchestra and the Vienna Philharmonic. With The Cleveland Orchestra, his large and varied discography includes the complete symphonies of Beethoven, Brahms, and Schumann.

Radu Lupu by Zdenek Chrapek

Pianist Radu Lupu is widely acknowledged as a leading interpreter of the works of Beethoven, Brahms, Mozart, and Schubert. Since winning the Van Cliburn (1966) and Leeds Piano Competitions (1969), Mr. Lupu has regularly performed as soloist and recitalist in the musical capitals and major festivals of Europe and the United States.

Mr. Lupu's first major American appearances were in 1972 with The Cleveland Orchestra under Daniel Barenboim in New York, and with the Chicago Symphony Orchestra led by Carlo Maria Giulini. Concerts with the New York Philharmonic soon followed and Mr. Lupu has since appeared with all of the foremost American orchestras. This season his annual winter tour includes concerts with the orchestras of Cleveland, Boston, and the National Arts Centre (Ottawa) as well as the National Symphony Orchestra and the New York Philharmonic; he also gives recitals for Friends of Chamber Music in Kansas City and the Gilmore International Keyboard Festival in Michigan. Recent orchestral engagements include the London Symphony Orchestra with Sir Colin Davis, Berlin Philharmonic with Bernard Haitink, and a tour of Germany with Zurich's Tonhalle Orchestra and David Zinman.

Mr. Lupu has made more than 20 recordings for London/Decca, including the complete Beethoven concertos with the Israel Philharmonic Orchestra and Zubin Mehta, the complete Mozart violin and piano sonatas with Szymon Goldberg, and numerous solo recordings of works by Beethoven, Brahms, and Schubert. His recording of Schubert sonatas received a Grammy Award in 1995. He has also recorded for the Sony Classical, EMI, and Teldec labels.

Born in Romania in 1945, Radu Lupu began studying the piano at the age of six, and made his public debut with a complete program of his own music at twelve. He won first prize in the 1967 Enescu International Competition. In 1989 and in 2006 he was awarded the prestigious "Abbiati" prize given by the Italian Critics' Association. He is also the recipient of the 2006 Premio Internazionale Arturo Benedetti Michelangeli award.

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Concert Duration

1 hour 45 minutes

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Special Thanks

Christoph von Dohnányi's appearance is made possible through the Daisy and Paul Soros Endowment Fund. 

This concert is dedicated to Arnold Chavkin and Laura Chang for their participation in the Leonard Bernstein Circle.

Photo of Christoph Von Dohnanyi: Chris Lee

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