Scalpel-like sonic precision and refinement with Webern, expressive and formal range with Lutosławski: what better companionship for Brahmsian lyricism, brought to incandescence by the bow of Gil Shaham?
Dedicated to Schönberg, Webern's Six Pieces, with their sense of ellipsis, magnetic timbral melodies and pointillistic precision, are an authentic invitation to listen. With its Bartokian title, Lutosławski's Concerto for Orchestra, accomplishes the transfiguration of popular material through three movements, the last of which, "Passacaglia, Toccata, Chorale and Finale," stands out as a true demonstration of writing.
Unloved at its premiere in 1879, Brahms' Violin Concerto demands relentless virtuosity. Its classical lyricism is heightened by gypsy reminiscences in the two extreme movements, while the Adagio, dominated by a dreamy atmosphere of effusion, is based on a dialogue between the woodwinds and the soloist that made a French critic of the time say: "The oboe proposes, the violin disposes".
Enjoy this exceptional moment with category 3 seats.
It is in the Pierre Boulez room that you will attend the concert, but what do you know about this
Thursday, December 08 at 8:00 pm
Grande Salle Pierre Boulez - Philharmonie de Paris
221 avenue Jean-Jaurès, 75019 Paris
Your names will be on the list at the entrance
Visual credits :
Karina Canellakis : @ Mathias Bothor
Orchestre de Paris : @ Marco Borggreve