Commemorating the 25th anniversary of the death of Herbert von Karajan
FRANZ SCHUBERT • Symphony No. 4 in C minor D 417, “Tragic”
ANTON BRUCKNER • Symphony No. 6 in A
End of concert approx. 13:00.
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SALZBURG FESTIVAL BLOG
This year, the Salzburg Festival presents all the symphonies by Anton Bruckner which the composer himself endorsed. Five of them will be performed by the Vienna Philharmonic, which has dedicated itself to the oeuvre of the master from Linz from the very beginning. Another four concerts bring you fascinating Bruckner encounters with the Bavarian Radio Symphony Orchestra, the Philharmonia Orchestra, the ORF Radio Symphony Orchestra Vienna and the Gustav Mahler Youth Orchestra.
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‘The highest honour, unbeknown to the public, was reserved for me at the very end in the Grand Foyer, where I was awaited by the members of the Philharmonic, who had played like gods – an ovation I cannot describe. This will remain the most memorable day in my artistic life!’ Thus an overjoyed Anton Bruckner reported breathlessly on the celebrated premiere of his Second Symphony, which he conducted himself in Vienna in 1873. However, at the time the Orchestra was embroiled in the artistic partisan struggles between the progressive New German School and the conservatives, who had made Brahms their idol – and Bruckner was not invited to conduct a second time. Since that time, however, the Vienna Philharmonic has repaid this slight to the composer with interest and compound interest. At the 2014 Salzburg Festival, therefore, five Bruckner Symphonies rightfully stand at the core of the Philharmonic’s concerts – they will be combined and crossreferenced with essential classical precursors, contemporaries and followers of Bruckner, all the way to our present day, represented by a work by composer René Staar, who is also one of the Philharmonic’s violinists. When Riccardo Muti conducts Schubert’s ‘Tragic’ Symphony, the kinship with Bruckner’s slow movements becomes apparent; and Bruckner’s Te Deum offers a sacred version of the same transcendence which Richard Strauss endowed with a decidedly secular shape in his Tod und Verklärung. This is complemented by the painful profundity of Mozart’s Piano Concerto in C Minor (with Lang Lang as soloist) and Max Reger’s Requiem, a setting of texts by Friedrich Hebbel which Plácido Domingo, the Wiener Singverein and Daniel Barenboim perform: ‘Soul, forget them not; Soul, forget not the dead.’
Translated by Alexa Nieschlag
by Alexander Pereira and Florian Wiegand
THE PROGRAMME 2015
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