During the dazzling overture, which anticipates the action on the emotional level rather than unfolding it chronologically, it already becomes clear that we are hearing a song of pain – a song whose power is so enormous that the opera which follows can scarcely compete with such tremendous intensity. The story is a work of black romanticism, which in Schumann’s setting becomes secondary to the psychological structure, however.
It bore the title of Hebbel’s tragedy but also made use of elements from Ludwig Tieck’s tragic drama Leben und Tod der heiligen Genoveva (Life and Death of Saint Genevieve) from 1799. After reading Friedrich Hebbel’s Genoveva he immediately sketched the music for the overture to an opera.
Not until Maundy Thursday of 1847 did Schumann discover a play that he felt was worthy of setting to music. There is no doubt that opera fascinated him, but he could not find the right approach to it. The opera is called ‘Hamlet’ – the thought of fame and immortality gives me strength and fantasy.” Robert Schumann wrote these lines in 1830. 81Ī letter – passionate, effusive – like others from the writer, addressed to his mother: “The grand opera has been settled on I am on fire and revel the whole day long in sweet, marvellous tones. With four symphonic interludes from Richard Strauss’s Intermezzo, premiered at the Semperoper in 1924, Christian Thielemann also brings a musical greeting from Dresden to his home town of Berlin, thus concluding a concert whose programme is just as exquisite and multi-faceted as its interpreters!įantasies about Art Compositions by Schumann, Chopin, Reimann and Strauss Emotion rather than black romanticism: Robert Schumann’s Genoveva Overture op.
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In it, he already presents all the themes of the figures acting in his opera in free sonata form. The composer wrote the overture even before writing the libretto based on dramas by Friedrich Hebbel and Ludwig Tieck. Schumann himself can be heard in these three concerts with the overture to his only opera Genoveva, composed in 1847-49. Reimann’s Seven Fragments for Orchestra from 1988 are dedicated “in memoriam Robert Schumann” and can be seen as compositional meditations about the Romantic whose person and music Reimann so admires. The Berlin composer Aribert Reimann has never made a secret of his admiration for the music of Robert Schumann. This time, the artists placed Frédéric Chopin’s First Piano Concerto on the programme, a work that has accompanied the pianist since the beginning of his career, when he played it at the final concert of the Warsaw Chopin Competition in 1960 after winning first prize. And this sets the course for a reunion with Thielemann and Pollini in the Berlin Philharmonie. 467 that was acclaimed equally by press and audience. In December 2012, together with the Berliner Philharmoniker, they gave a performance of Wolfgang Amadeus Mozart’s Piano Concerto in C major K. The grandseigneur among the pianists of our time and the acting chief conductor of the Dresdner Staatskapelle have already repeatedly proven that they get along swimmingly as artists – not least on the podium of the Berlin Philharmonie. And Christian Thielemann has also been closely associated with the orchestra since his Philharmonic debut in 1996. Maurizio Pollini has by now been a musical partner and indeed friend of the Berliner Philharmoniker for many decades.
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