Nicolas Altstaedt © Marco Borggreve 2014 | © Marco Borggreve
Concert Music festival Kulturtage

Altstaedt plays Schumann

Nicolas Altstaedt is one of the most celebrated cellists of our time, with an almost inexhaustible repertoire. This time he dedicates himself to the probably most important cello concerto of the German Romantic period, that of Robert Schumann.
date
Thursday, 20. October 2022
time
19:30
location
Großes Festspielhaus
Hofstallgasse 1 , 5020 Salzburg
price from
27 €*
* included in the following subscription: Musik der Meister, Kulturtage-Abo

Altstaedt plays Schumann

DONGHOON SHIN
Kafka's Dream

ROBERT SCHUMANN
Concerto for Violoncello and Orchestra, A minor op. 129

JEAN SIBELIUS:
Pohjola's Daughter

IGOR STRAVINSKY
"The Firebird", Suite

Seoul Philharmonic Orchestra
Osmo Vänskä, conductor
Nicolas Altstaedt, violoncello

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Nicolas Altstaedt is one of the most celebrated cellists of our time, with an almost inexhaustible repertoire. This time he dedicates himself to the probably most important cello concerto of the German Romantic period, that of Robert Schumann. It is hard to believe that Schumann composed this complex and deeply poetic piece in two weeks in 1850, at the happy beginning of his time in Düsseldorf. But sixty years later in Paris, Igor Stravinsky worked a little longer on his exquisite Russian fairy-tale ballet "The Firebird", his first world success, which he later called his "listening candy". He revised the magnificent orchestral suite from it twice. It is preceded by one of the romantic yet harmonically excitingly innovative tone poems of Jean Sibelius, whose piece "Pohjola's Daughter" is also about an ancient fairy tale, of course a Finnish one about a "daughter of nature". At the beginning of this concert, the Seoul Philharmonic Orchestra and its principal conductor, Finnish maestro Osmo Vänskä, present "Kafka's Dream," dreamed and set to music by Donghoon Shin. The 1983-born South Korean is the winner of the prestigious 2022 Claudio Abbado Composition Prize. "'Kafka's Dream' shimmered and shimmered, offering a stylized kind of theatricality," said Neil Fischer in The Times.

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