7. Symphony Concert
Tschaikowsky-Cycle Part I
So, July 14, 2024 11 a.m.
Symphony No. 1 G minor, op. 13
Symphony No. 5 E minor, op. 64
Tschaikowsky-Cycle Part II
Mo, July 15, 2024, 7:30 p.m.
Symphony No. 2 C minor, op. 17
Symphony No. 6 B minor, op. 74
This season, Cornelius Meister and the Staatsorchester will again perform a symphony cycle on two consecutive days. After the complete Schumann and Brahms symphonies, the focus is now on the symphonies of Pyotr Ilyich Tchaikovsky.
Tchaikovsky's individual sound language combines influences of Russian folklore with the musical tradition of Central Europe. This aesthetic approach also provoked criticism in his native Russia. Above all, the representatives of the so-called “Powerful Group”, which included Nikolai Rimsky-Korsakov and Modest Mussorgsky, rejected any Western influence on Russian musical culture and saw Tchaikovsky as a "Westerner". However, his First Symphony of 1866 already shows how much the then 26-year-old identified with the culture of his homeland, for its unique melodic writing is inspired by Russian folk songs. In the 1st movement, he also captures the image of a snow-covered Russian landscape. This programmatic tendency and subjective narrative are characteristic features in his symphonies. In 1872, during a stay in the Ukrainian village of Kamenka, he wrote his Second Symphony, in which he used Ukrainian melodies and dances. Only a few years later, Tchaikovsky experienced his international breakthrough with the premiere of his 1st Piano Concerto in Boston. Despite further great successes, the highly sensitive and reclusive composer suffered throughout his life from inner conflicts, which were also intensified by the secrecy surrounding his homosexuality. His dark thoughts seem to be reflected in his Fifth, the Fate Symphony, written in 1888. The motif of fate heard at the beginning symbolised for him "complete surrender to fate, or, which is the same thing, to the unfathomable counsel of Providence". The programmatic idea for his following symphony, the Pathétique, occurred to him on one of his many concert tours through Europe: "During my travels, the thought of a symphony arose but with a program that will remain a mystery to everyone... That program is more than ever permeated with subjectivity, and not so rarely, whilst I was working on it in my mind, I cried”. He only revealed the thematic structure of the movements: confidence and drive - love - disappointment - death and despair. The finale seems like a requiem that anticipates Tchaikovsky's own death: Only nine days after the premiere of his Sixth, he died under circumstances that remain unexplained to this day, presumably of cholera.
So, July 14, 2024 11 a.m.
Symphony No. 1 G minor, op. 13
Symphony No. 5 E minor, op. 64
Tschaikowsky-Cycle Part II
Mo, July 15, 2024, 7:30 p.m.
Symphony No. 2 C minor, op. 17
Symphony No. 6 B minor, op. 74
This season, Cornelius Meister and the Staatsorchester will again perform a symphony cycle on two consecutive days. After the complete Schumann and Brahms symphonies, the focus is now on the symphonies of Pyotr Ilyich Tchaikovsky.
Tchaikovsky's individual sound language combines influences of Russian folklore with the musical tradition of Central Europe. This aesthetic approach also provoked criticism in his native Russia. Above all, the representatives of the so-called “Powerful Group”, which included Nikolai Rimsky-Korsakov and Modest Mussorgsky, rejected any Western influence on Russian musical culture and saw Tchaikovsky as a "Westerner". However, his First Symphony of 1866 already shows how much the then 26-year-old identified with the culture of his homeland, for its unique melodic writing is inspired by Russian folk songs. In the 1st movement, he also captures the image of a snow-covered Russian landscape. This programmatic tendency and subjective narrative are characteristic features in his symphonies. In 1872, during a stay in the Ukrainian village of Kamenka, he wrote his Second Symphony, in which he used Ukrainian melodies and dances. Only a few years later, Tchaikovsky experienced his international breakthrough with the premiere of his 1st Piano Concerto in Boston. Despite further great successes, the highly sensitive and reclusive composer suffered throughout his life from inner conflicts, which were also intensified by the secrecy surrounding his homosexuality. His dark thoughts seem to be reflected in his Fifth, the Fate Symphony, written in 1888. The motif of fate heard at the beginning symbolised for him "complete surrender to fate, or, which is the same thing, to the unfathomable counsel of Providence". The programmatic idea for his following symphony, the Pathétique, occurred to him on one of his many concert tours through Europe: "During my travels, the thought of a symphony arose but with a program that will remain a mystery to everyone... That program is more than ever permeated with subjectivity, and not so rarely, whilst I was working on it in my mind, I cried”. He only revealed the thematic structure of the movements: confidence and drive - love - disappointment - death and despair. The finale seems like a requiem that anticipates Tchaikovsky's own death: Only nine days after the premiere of his Sixth, he died under circumstances that remain unexplained to this day, presumably of cholera.
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Musical Direction Cornelius Meister
Staatsorchester Stuttgart
There will be an introduction 45 minutes before the concert at Silchersaal.
First workshop, then concert: After a playful and musical introduction, children aged between 4 and 10 years experience the second part of the symphony concert.
Staatsorchester Stuttgart
There will be an introduction 45 minutes before the concert at Silchersaal.
First workshop, then concert: After a playful and musical introduction, children aged between 4 and 10 years experience the second part of the symphony concert.
Jul 2024