Munich Philharmonic: Debussy / Mozart / SchönbergLahav Shani (conductor and piano)
Lahav Shani has already demonstrated his versatile musicality as a conducting soloist on several occasions. He will step into this dual role again with Mozart’s last piano concerto. Like many of the composer’s late works, it is characterised by thoughtfulness and already hints at the Romantic era.
Lahav Shani has already demonstrated his versatile musicality as a conducting soloist on several occasions. He will step into this dual role again with Mozart’s last piano concerto. Like many of the composer’s late works, it is characterised by thoughtfulness and already hints at the Romantic era.
The name Arnold Schönberg elicits mixed feelings in many music aficionados. But before the founder of dodecaphony said farewell to tonality, Schönberg was firmly rooted in the tradition of late Romanticism. Inspired by Maurice Maeterlinck’s symbolist drama, he composed the monumental symphonic poem Pelleas und Melisande in 1902/03, proving himself to be the heir to Wagner, Mahler and Strauss.
At around the same time, Claude Debussy was working on the jealousy-laden story of the mysterious Mélisande. As the tonal and stylistic model for his opera Pelléas et Mélisande, he drew on the soft colours, lucid transparency and flowing forms of his Prélude à “L’Après-midi d’un faune”.
A good 110 years before Schönberg’s Pelleas und Melisande, Mozart composed his Piano Concerto, K 595 in Vienna.
Programme
- Claude Debussy: Prélude à “L’Après-midi d’un Faune”
- Wolfgang Amadeus Mozart: Piano Concerto B-flat major, K 595
- Arnold Schönberg: Pelleas und Melisande, symphonic poem, Op 5
