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Piotr Anderszewski plays Schumann
Bamberg, Konzerthalle, Joseph-Keilberth-Saal
Mendelssohn Bartholdy was inspired by a wide variety of ideas and experiences. During his 1829 trip to Scotland, the 20-year-old Mendelssohn embarked upon an adventurous steamboat trip, reporting: »The ladies keeled over like flies, as did one or two gentlemen.« He was particularly impressed by the Hebridean island of Staffa, with its famous cave of the mythic Gaelic king Fingal. Fingal’s Cave inspired Mendelssohn’s ingenious concert overture op. 26, which he said he wanted to »taste of salt air, cod-liver oil and gulls.« Besides naturalistic sound painting, including elements of Scottish folk music, the overture’s more profound concern is the loneliness experienced on this »legendary archipelago«.
Next, our former featured artist Piotr Anderszewski will dive into the pianistic wonder world of Schumann's romantic A minor Concerto of 1845. Schumann immortalized his beloved wife in its music – in an anagram representing the letters of the name »Chiara«, Clara's name in the popular »Davidsbündlertänze«, in musical notes. Clara raved about the concerto: »How richly inventive it is, how interesting from beginning to end, how fresh, and what a beautiful coherent whole!«
Brahms’ Fourth Symphony is equally exciting. Clara described it as a »servant of beauty and nobility«. Brahms wrote this symphony during the summer months of 1884 and 1885 while on holiday in Styria, but wondered whether it would »gain an audience«, commenting ironically: »I fear it tastes like the local climate – the cherries here don’t get sweet!« But this splendid symphony is certainly no bitter cherry: its use of motifs and themes is nothing short of remarkable, its movements interlock subtly, taking us on a wonderfully twisting voyage of discovery!
Jakub Hrůša Conductor
Piotr Anderszewski Piano
Felix Mendelssohn Bartholdy Ouvertüre »Die Hebriden« op. 26
Robert Schumann Konzert für Klavier und Orchester a-Moll op. 54
Johannes Brahms Symphonie Nr. 4 e-Moll op. 98