With the Royal Concertgebouw Chamber Orchestra it will be royal: the musicians have works by Edvard Grieg, Robert Schumann, Ludwig van Beethoven and Wojciech Kilar in their luggage.
About the program:
Music is art, provides enjoyment and entertainment. But for performers, publishers and those who compose music, it is also work and a means of earning a living. "A magazine of art [...] where the artist would only have to give his works of art in order to take what he needed", Ludwig van Beethoven wished and complained that as a composer you still had to be "half a tradesman".
Robert Schumann did not achieve any (financial) success with his Concerto for Cello and Orchestra from 1851: due to a lack of experience with the solo instrument, Schumann was initially unable to find a publisher for his work after it was rejected by the cellist Emil Bockemühl. It was not until 1853 that he was able to sell it to the publisher Breitkopf & Härtel in a package with the "Märchenerzählungen" and a "Kinderball". The composer did not live to see the premiere a further seven years later - but despite this unpromising start, Schumann's concerto is now firmly anchored in the canon of cello literature.
The "half tradesman" Beethoven had less trouble making money from his String Quintet in 1801 - two publishers fought over its publication: initially, only the dedicatee Count Moritz von Fries was allowed to call the quintet his exclusive property for six months. At the end of this period, Beethoven gave the work to Breitkopf for 171 guilders - unaware that von Fries had already passed the sheet music on to the Viennese publisher Artaria and that a "pirate print" had been made in the meantime. After considerable disputes, Beethoven was at least able to ensure that Artaria was not allowed to publish the quintet until 14 days after the Breitkopf edition had appeared.
Peters-Verlag in Leipzig made good money with the suite "From Holberg's Time" - as did its creator Edvard Grieg: in 1884, for the bicentenary of the birth of the Danish-Norwegian poet Ludvig Holberg, Grieg composed a baroque-style "wig piece", as he himself somewhat disparagingly called it, first for piano and violin, then for string orchestra. The suite was soon performed so often that Grieg was able to complete the construction of his house in Troldhaugen without financial worries.
The Polish composer Wojciech Kilar earned his living with successful film scores for "The Pianist" and "Dracula", but "Orawa" is also worth a performance.
Program:
Edvard Grieg
"From Holberg's time. Suite in the old style" op. 40
Robert Schumann
Concerto for violoncello in A minor op. 129 (arr. Michael Waterman)
Ludwig van Beethoven
String Quintet in C major op. 29 (arr. Michael Waterman)
Wojciech Kilar
Orawa
Royal Chamber Orchestra
Daniel Müller-Schott, violoncello
Concertgebouw Chamber Orchestra
Michael Waterman, Concertmaster
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
About the program:
Music is art, provides enjoyment and entertainment. But for performers, publishers and those who compose music, it is also work and a means of earning a living. "A magazine of art [...] where the artist would only have to give his works of art in order to take what he needed", Ludwig van Beethoven wished and complained that as a composer you still had to be "half a tradesman".
Robert Schumann did not achieve any (financial) success with his Concerto for Cello and Orchestra from 1851: due to a lack of experience with the solo instrument, Schumann was initially unable to find a publisher for his work after it was rejected by the cellist Emil Bockemühl. It was not until 1853 that he was able to sell it to the publisher Breitkopf & Härtel in a package with the "Märchenerzählungen" and a "Kinderball". The composer did not live to see the premiere a further seven years later - but despite this unpromising start, Schumann's concerto is now firmly anchored in the canon of cello literature.
The "half tradesman" Beethoven had less trouble making money from his String Quintet in 1801 - two publishers fought over its publication: initially, only the dedicatee Count Moritz von Fries was allowed to call the quintet his exclusive property for six months. At the end of this period, Beethoven gave the work to Breitkopf for 171 guilders - unaware that von Fries had already passed the sheet music on to the Viennese publisher Artaria and that a "pirate print" had been made in the meantime. After considerable disputes, Beethoven was at least able to ensure that Artaria was not allowed to publish the quintet until 14 days after the Breitkopf edition had appeared.
Peters-Verlag in Leipzig made good money with the suite "From Holberg's Time" - as did its creator Edvard Grieg: in 1884, for the bicentenary of the birth of the Danish-Norwegian poet Ludvig Holberg, Grieg composed a baroque-style "wig piece", as he himself somewhat disparagingly called it, first for piano and violin, then for string orchestra. The suite was soon performed so often that Grieg was able to complete the construction of his house in Troldhaugen without financial worries.
The Polish composer Wojciech Kilar earned his living with successful film scores for "The Pianist" and "Dracula", but "Orawa" is also worth a performance.
Program:
Edvard Grieg
"From Holberg's time. Suite in the old style" op. 40
Robert Schumann
Concerto for violoncello in A minor op. 129 (arr. Michael Waterman)
Ludwig van Beethoven
String Quintet in C major op. 29 (arr. Michael Waterman)
Wojciech Kilar
Orawa
Royal Chamber Orchestra
Daniel Müller-Schott, violoncello
Concertgebouw Chamber Orchestra
Michael Waterman, Concertmaster
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
Dates
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Price info
CHF 135.00 / 105.00 / 85.00 / 60.00 / 45.00
Children, pupils, apprentices and students (up to the age of 30) receive 50% off all regular tickets.
Children, pupils, apprentices and students (up to the age of 30) receive 50% off all regular tickets.
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