Bruckner’s Seventh Symphony
Myung-whun Chung conducts Bruckner, Emanuel Ax plays Mozart
Two luminaries join forces with the Concertgebouw Orchestra: Myung-whun Chung conducts Bruckner’s Seventh Symphony, and Emanuel Ax plays the solo in Mozart’s Piano Concerto No. 17.
The music reveals a grandiose play of light and darkness, stately ecstasy, and devilish outbursts.
Concert programme
-
Wolfgang Amadeus Mozart
Piano Concerto No. 17, K453
-
-- interval --
-
Anton Bruckner
Symphony No. 7
Performers
-
Myung-whun Chung
conductor
-
Emanuel Ax
piano
About this concert
Both Bruckner and Mozart are often associated with the divine. Many consider Mozart’s music a gift from the gods, and the profoundly religious Bruckner dedicated his symphonies to heaven. Add to that the timeless grandeur of Myung-whun Chung – guest conducting the Concertgebouw Orchestra for forty years! – and the undisputed virtuosity of pianist Emanuel Ax: the Concertgebouw Orchestra could hardly bring listeners closer to paradise.
Bruckner’s symphonies always have an unmistakably spiritual connotation. The Seventh especially sounds like a state of religious rapture. The music reveals a grandiose play of light and darkness, from stately ecstasy to devilish outbursts. Here, Bruckner shows that he doesn’t always express himself in massive blocks of sound but can also compose with chamber-music-like clarity. This work had a special place in the composer’s heart because it finally brought him widespread recognition after years of being slammed by the critics.
Dates and tickets
About this concert
Both Bruckner and Mozart are often associated with the divine. Many consider Mozart’s music a gift from the gods, and the profoundly religious Bruckner dedicated his symphonies to heaven. Add to that the timeless grandeur of Myung-whun Chung – guest conducting the Concertgebouw Orchestra for forty years! – and the undisputed virtuosity of pianist Emanuel Ax: the Concertgebouw Orchestra could hardly bring listeners closer to paradise.
Bruckner’s symphonies always have an unmistakably spiritual connotation. The Seventh especially sounds like a state of religious rapture. The music reveals a grandiose play of light and darkness, from stately ecstasy to devilish outbursts. Here, Bruckner shows that he doesn’t always express himself in massive blocks of sound but can also compose with chamber-music-like clarity. This work had a special place in the composer’s heart because it finally brought him widespread recognition after years of being slammed by the critics.