In the course of Haydn’s overture to his oratorio “The Creation”, the formlessness and dark void of the primordial state are pierced by ascending motifs that bring life and light into the chaos. A visionary work.
Schubert’s “Unfinished” was just as modern and ahead of its time. The symphony has an eerie, mystical beginning and surprises listeners with its wild highlights. Mysterious dreamscapes are also called up in Gustav Mahler’s fourth symphony – a labyrinth filled with mirth and horror. In the final movement, Mahler has set “Das himmlische Leben” from “Des Knaben Wunderhorn” to music. Just the thing for the luminous, velvet voice of Christina Landshamer.
“The Representation of Chaos” from “The Creation”, Hob. XXI:2
Symphony in B minor, D 759, “Unfinished”
Symphony No. 4 in G major
- Christina Landshamer
- Wuppertal Symphony Orchestra
- Tung-Chieh Chuang
Introduction to the concert
Professor Lutz-Werner Hesse provides an insight into the compositions and the creative work of the composer, as well as an overview of the historical context and background in a half-hourly concert introduction on the Mondays of symphony concerts performed by the Wuppertal Symphony Orchestra. Soloists or the conductor share interesting facts about the concert programme in dialogue with the audience.
Professor Lutz-Werner Hesse is a composer and the managing director of the Wuppertal department of the Hochschule für Musik und Tanz Köln.
Tickets for symphony concerts on Monday evenings include entrance to these concert introductions at 7.00 pm free of charge. (Please note, spaces are limited.)
The venue for the talk is signposted in the foyer.
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