So German!

Clemens Schuldt: conductor
Augustin Hadelich: violin

With the overture to Fidelio, his only opera, Beethoven offers us a miniature symphony that foreshadows the captivating story about to unfold before our very eyes, and condenses all the composer’s orchestral mastery. Lutoslawski responds in a completely different register with his Petite Suite, whose four Polish dances also offer us a narrative: they perfectly introduce the facetiousness of Till the Mischievous, an imaginary character very popular in Germany, here revealed by Richard Strauss. This symphonic poem belongs to the musician’s “first manner”, before he composed his great operas. In the form of a vast rondo, this tale lets the orchestra shine through a prodigious, imaginative narrative, before the Italian-German-American violinist Augustin Hadelich enters the stage. He gives us an astonishing display of virtuosity and fervor in one of the world’s most-played concertos, and also one of the most difficult to perform: Brahms. Composed on the shores of Lake Wörthersee in Austria, it sweeps us along in an exalted romantic élan, culminating in the famous last movement, “à la hongroise”, whose gypsy rhythms draw us into an irresistible dance.

“My childhood friend and now world-renowned violinist, Augustin Hadelich, comes to Quebec City to play the greatest and most sublime violin concerto I can imagine.”
– Clemens Schuldt

Program:

Beethoven: Fidelio, Overture (not performed this morning)
Lutoslawski: Little Suite (not performed this morning)
Strauss: Till Eulenspiegel’s Merry Pranks
Brahms: Violin Concerto