Daniel Barenboim (photo: Monika Rittershaus)

Berliner Philharmoniker

Daniel Barenboim conductor

Radu Lupu piano

Joseph Haydn

Symphony No. 95 in C minor

Ludwig van Beethoven

Concerto for Piano and Orchestra No. 4 in G major, op. 58

Radu Lupu piano

Robert Schumann

Symphony No. 4 in D minor, op. 120 (2nd Version from 1851)

Dates and Tickets

sales information

Thu, 06 Jun 2019, 20:00

Philharmonie | Introduction: 19:00

Serie B

Fri, 07 Jun 2019, 20:00

Philharmonie | Introduction: 19:00

Serie M

Sat, 08 Jun 2019, 19:00

Philharmonie | Introduction: 18:00

Sonderkonzert

Programme

When Radu Lupu puts his hands on the keyboard, an extraordinarily exciting atmosphere is created as soon as the first note sounds. The pianist, who was born in Romania and studied in Moscow, has fascinated international audiences for many years with his sensitive musicality and uncompromising playing. During his guest appearance with the Berliner Philharmoniker Radu Lupu will devote himself to Ludwig van Beethoven’s Fourth Piano Concerto, which thrilled Romantic composers such as Robert Schumann, Felix Mendelssohn and Frédéric Chopin with its atmospheric intensity – especially because of the dreamy Andante, which Schumann called the “great mysterious Adagio”. The conductor is Daniel Barenboim, who has enjoyed a productive musical collaboration and a warm friendship with Radu Lupu for many years. The concerts are significant to Daniel Barenboim for another reason: he made his conducting debut with the Berliner Philharmoniker 50 years ago almost to the day. He led the orchestra for the first time on 14 and 15 June 1969. The same works were on the programme as at these concerts; the soloist was Clifford Curzon.

The concerts will open with Symphony No. 95 in C minor by Joseph Haydn, who was acclaimed by the London Gazetteer and New Daily Advertiser in early 1785 as the “Shakespeare of music”. The work, which was probably presented for the first time at the Hanover Square Rooms on 29 April 1791, reflected the ideas of grandeur, magnificence and majesty that Haydn’s English contemporaries associated with his music. The opening bars of this “New Grand Overture”, as the symphony was advertised on the playbill, already begin with a grand gesture that seems to shout “curtain up!” or “attention!” to the audience. The striking unison motif has scarcely resounded, however, before it ends in a general pause. The incredibly varied music that follows is also astonishing, since Haydn was trying to “surprise the public with something new and make a brilliant debut”. This was the composer’s comment to his first biographer, Georg August Griesinger, as to why he repeatedly broke aesthetic norms with intellectual calculation.

Robert Schumann’s Fourth Symphony is on the programme after the interval, a work which did not achieve the hoped-for success at its premiere in Leipzig on 6 December 1841. Schumann set the symphony aside for almost exactly ten years, then revised it so substantially in December 1851 that a new score became necessary. The Düsseldorf premiere of the revised version was greeted with enthusiasm, which Schumann explained thus to his friend Johann Verhulst: “In any case I have completely reorchestrated the symphony, and frankly it is much better and more effective than before.”

Daniel Barenboim (photo: Monika Rittershaus)

Radu Lupu (photo: Ivan Maly)