Mahler Chamber Orchestra (photo: Molina Visuals)

Chamber Music

Mahler Chamber Orchestra mit Haydn und Ligeti

Das Mahler Chamber Orchestra ist eines der führenden Kammerorchester unserer Zeit. Seine Markenzeichen: ein wunderbar transparenter Klang, ein präzises Zusammenspiel und eine enorme stilistische Wandlungsfähigkeit. Geradezu exemplarisch kommen diese Qualitäten im heutigen Konzert unter der Leitung des französischen Dirigenten François-Xavier Roth mit zwei Symphonien von Joseph Haydn und Konzerten von Bohuslav Martinů und György Ligeti zur Geltung. Solisten sind der Pianist Holger Groschopp und Stefan Dohr, Solohornist der Berliner Philharmoniker.

Mahler Chamber Orchestra

François-Xavier Roth conductor

Holger Groschopp piano

Stefan Dohr french horn

Joseph Haydn

Symphony No. 22 in E flat major “The Philosopher”

Bohuslav Martinů

Double Concerto for two String Orchestras, Piano and Timpani, H. 271

Holger Groschopp piano

György Ligeti

Hamburg Concerto for Horn and Chamber Orchestra

Stefan Dohr french horn

Joseph Haydn

Symphony No. 103 in E flat major “Drumroll”

Kindly supported by the Aventis Foundation.

Dates and Tickets

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Programme

Founded in 1997 by members of the Gustav Mahler Youth Orchestra, the Mahler Chamber Orchestra, which was mentored by Claudio Abbado and substantially shaped artistically by collaborating with Daniel Harding, now their conductor laureate, developed in a short period of time to one of the most respected chamber orchestras of our time – or even to the best, according to Le Monde. The precision with which they play together and their stylistic versatility are what opens up a repertoire to the Mahler Chamber Orchestra that ranges from the First Viennese School to music of our times. These qualities can be experienced in a particularly exemplary manner at this concert conducted by French conductor François-Xavier Roth.

Music by Joseph Haydn frames the programme. During his second London season in 1794-95, he surprised the audience with six new symphonies (Nos. 99 to 104), with which he crowned his extensive and groundbreaking symphonic output. While his early symphonies – including the one in E flat major composed in 1764, later named The Philosopher – were still grappling with Baroque form traditions, in the 1770s Haydn had already found his way to the four-movement structural model that remained essential for the genre well into the Romantic era. He transferred the “completely new and special way” (Haydn) of motifs intertwining in all voices that he developed in the epoch-making string quartets op. 33 into the orchestration of the six symphonies composed for the Paris Concerts de la Loge Olympique in 1785-86 (Nos. 82 to 87). He drew the sum of his experience in the twelve “London” symphonies: even with intricate construction of motives, Haydn’s playful handling of the musical material gives the appearance of spontaneous – and, what’s more, catchy – invention; his mastery of the form is so superior that he can come up with a surprising twist in almost every movement, like the famous drum roll at the beginning of the first movement of his Symphony No. 103.

Between the two Haydn symphonies, the programme consists of two concertante 20th-century works: the Czech composer Bohuslav Martinů’s Double Concerto for two String Orchestras, Piano and Timpani, composed in 1938, building on the model of the Baroque concerto grosso, and György Ligeti’s Hamburg Concerto for solo horn and chamber orchestra from 1998-99, in which Philharmonic principal hornist Stephan Dohr will be heard as soloist.

Mahler Chamber Orchestra (photo: Molina Visuals)

Stefan Dohr (photo: Sebastian Hänel)

Holger Groschopp (photo: Peter Adamik)