Schumann’s Third Symphony
Järvi leads Schumann’s tuneful journey down the Rhine, and Frang brings “technical security and emotional sensitivity” (The New York Times) to Bartók.
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Schumann’s Third Symphony
In 1850, Robert Schumann was appointed Music Director of Düsseldorf. His move to the western part of Germany and visit to nearby Cologne with its impressive cathedral inspired his most joyful and effervescent symphony, nicknamed “Rhenish.” Reviewing Paavo Järvi’s recordings of Schumann’s complete symphonies, Gramophone effused that he “is always animated and alert to the music’s expressive potential.” Lyrical and rhythmically inventive, the symphony captures one of the happiest times for the Schumanns.
Vilde Frang, whose recording of Bartók’s First Violin Concerto was released to great acclaim, takes on the composer’s second, darker work. Written during his last years in Hungary and final decade of his life, it was premiered by Bartók’s close friend and collaborator Zoltán Székely a year before World War II broke out. Infused with Hungarian folk tunes, the ominous rumblings of pre-WWII Europe, and a rhapsodic opening theme, the concerto was immediately hailed as a masterpiece.
Järvi opens the concert with Wand’ring Bark, a piece by fellow Estonian Helena Tulve. One of her country’s leading contemporary composers, Tulve draws inspiration from natural patterns, organics, and synchronicity.
Program
Helena TULVE
Intermission
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