Choose four from the following concerts (please mark with a cross):
Alexander Melnikov, piano
Immanuel Richter, trumpet
Peter Simonischek, Speaker
Ladies of the Balthasar Neumann Choir
Ivor Bolton, conductor
Gabriel Fauré: Caligula, op. 52
Dmitri Shostakovich: Concerto for Piano, Trumpet and String Orchestra No. 1 in C minor, op. 35
Ludwig van Beethoven: Excerpts from the ballet music The Creatures of Prometheus, op. 43, with texts by Alain Claude Sulzer
6.30pm: Introduction to the concert (in German) at the Theater Basel
The music becomes more dramatic when Emperor Caligula meets the titan Prometheus. Fauré wrote stage music for women’s choirs and orchestras for Alexandre Dumas’ tragedy Caligula, who Tchaikovsky is said to have moved to tears during the première. In contrast, in the aftermath of the French Revolution, Beethoven composed electrifying music to the ballet The Creatures of Prometheus (Geschöpfe des Prometheus) – a musical firework filled with hope and expectation. Beethoven could not have known that his “Promethean” hero Napoleon would have himself crowned Emperor only a few years later. The choreography of the narrative ballet was lost. The Basel author, Alain Claude Sulzer, has written his own text version in time for the Beethoven year which was performed first by an actor of the Viennese Burgtheater, Peter Simonischek.
The pianist Alexander Melnikow meets the SOB solo trumpeter Immanuel Richter in a grotesque dialogue between Caligula and Prometheus in Schostakovitsch’s 1st Concerto for Piano, Trumpet and String Orchestra, in which Beethoven quotes are tossed around.
Wednesday, 23. October 07:30 PM
Theater Basel, Grosse Bühne
Alice Sara Ott, piano
Michał Nesterowicz, conductor
Wojciech Kilar: Orawa for string orchestras
Joseph Haydn: Concerto for Piano (Harpsichord) and Orchestra in D major, Hob. XVIII:11
Georges Bizet: Excerpts from the suites of L’Arlésienne and Carmen
6.30pm: Introduction to the concert (in German) in the Foyer of the Theater Basel.
Joseph Haydn’s piano concerts have a tough time nowadays; they are always overshadowed by the works of Carl Philipp Emanuel Bach and Wolfgang Amadeus Mozart. However, it is a completely other story when it comes to the D major Concerto, which became a virtual hit with his Rondo all' Ungarese.
Nowadays, it is hard to imagine that Georges Bizet’s opera Carmen flopped during its premiere in Paris. The music was not at fault but rather the opera text, which was deemed controversial for that time. Bizet seems to have had a penchant for tragic female figures. Carmen drives a succession of men crazy; however, she prefers to keep her freedom, while in L’Arlésienne a young country lad is driven to take his own life as a result of his unrequited love for a young girl. In his work Orawa, the Polish composer Wojciech Kilar was thinking of the river of the same name and the mountains in the Carpathians – it is a type of pastoral symphony for strings from the late 20th century. A journey through Eastern European, Spanish and French sounds with the German-Japanese pianist Alice Sara Ott and conducted by Michal Nesterowicz.
Wednesday, 22. January 07:30 PM
Theater Basel, Grosse Bühne
John Wilson, conductor
Alfred Newman: Fox Fanfare
Erich Wolfgang Korngold: Kings Row, Main Title
David Raksin: Laura
Bernard Herrmann: Psycho, Suite for Strings
Erich Wolfgang Korngold: The Adventures of Robin Hood
Jerome Moross (1913–1983): The Big Country, Main Title
Max Steiner (18: Gone with the Wind, Suite
Franz Waxman: A Place in the Sun, Suite
Scott Bradley: Tom and Jerry at MGM
Miklós Rózsa: Parade of the Charioteers from Ben Hur
6.30pm: Introduction to the concert (in German) at the Musical Theater (1st floor, not accessible for wheelchairs)
Virtually no other place epitomises the American dream “of plate washer to millionaire” more strongly than Hollywood. With the merger of films and musicals, a golden age began in Los Angeles in the 1920s. In the last few years, British conductor John Wilson has rescued and painstakingly restored numerous scores from this phase of American film history, which lasted until 1960. However, during this concert he will not take his usual place behind the baton of his world-renowned John Wilson orchestra, with whom he guest stars regularly during the BBC Proms, but instead get the Sinfonieorchester Basel “swinging”. Besides the melodies from famous film classics such as Gone with the Wind, Psycho and Ben Hur Tom and Jerry also needs to take pride of place.
Wednesday, 06. May 07:30 PM
Musical Theater Basel
Sebastian Bohren, violin
Ivor Bolton, conductor
Sofia Gubaidulina: Offertorium, Concerto for Violin and Orchestra
Anton Bruckner: Symphony No. 9 in D minor, WAB 109 (fragment)
6.30pm: Introduction to the concert (in German) at the Allgemeine Lesegesellschaft Basel
“I have done my duty on Earth; I have done what I could.” Just like Ludwig van Beethoven, Anton Bruckner realised ten years before his death that the 9th Symphony would be his last. Nevertheless, he was desperate to complete the Ninth (Neunte). Tragically, it remained a fragment dedicate to “the good lord”. The performance of the 9th Symphony concludes the four-yearly “Bruckner+ Cycle” of the Sinfonieorchester Basel in the Basel Minster.
Deep faith in particular connects Sofia Gubaidulina, who converted from Islam to Christianity, with Anton Bruckner. The Russian composer, whose entire work is now in the Paul Sacher Foundation, was ostracised in the socialist country. After its premiere in Vienna in 1981, the violin concerto Offertorium offered her a way through the iron curtain to the west, and finally to the entire world. The young Swiss violinist Sebastian Bohren is making his début in the Sinfonieorchester Basel with one of the most important violin concerts of the present day.
Wednesday, 17. June 07:30 PM