Munich Philharmonic: Rameau / BeethovenThomas Hengelbrock (conductor)
Pichon, who made Mozart’s Requiem dance in a sensational staged production at the 2019 Aix-en-Provence Festival in 2019, brings together the dance movements from Jean-Philippe Rameau’s operas, which are rarely heard in the concert hall.
Pichon, who made Mozart’s Requiem dance in a sensational staged production at the 2019 Aix-en-Provence Festival in 2019, brings together the dance movements from Jean-Philippe Rameau’s operas, which are rarely heard in the concert hall.
Unfortunately, Raphaël Pichon has had to cancel the upcoming concerts for health reasons. The Munich Philharmonic is delighted that Thomas Hengelbrock will be stepping in at short notice. The programme remains unchanged.
There is no other movement in Beethoven’s symphonic oeuvre that presses ahead with such energy and rhythm and as dance-like as the final movement of his Symphony No 7. But the other movements of the Seventh, too, are characterised by a dance-like quality – even the solemn second movement, which is reminiscent of a pavane, a slow step dance. Beethoven’s emphasis on rhythm in his Seventh prompted Richard Wagner to conclude that the symphony was the “apotheosis of dance”.
Raphaël Pichon takes up Wagner’s term with his “imaginary orchestral suite”. In French Baroque opera, dance numbers, also known as “divertissements”, were all but compulsory.
Programme
- Jean-Philippe Rameau: L’Apothéose de la Danse, Suite d’orchestre imaginaire (dances from Les Indes Galantes, Les Fêtes d’Hébé, Castor et Pollux, Les Boréades and others, compiled by Raphaël Pichon)
- Beethoven: Symphony No 7 in A major, Op 92
