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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Bavarian Radio Symphony Orchestra

Friday, May 4, 2018 8 PM Stern Auditorium / Perelman Stage
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Mariss Jansons by Anne Dokter, Frank Peter Zimmermann by Harald Hoffmann
The Paris audience attending the 1923 premiere of Prokofiev’s Violin Concerto No. 1 were expecting a work driven by the same furious energy as his ballet scores. Instead, they were surprised by a beautiful concerto with a lyrical quality and a particularly rhapsodic opening solo. The 1805 audience at the first public performance of Beethoven’s Symphony No. 3 was stunned when they were presented with this truly revolutionary work. They encountered the most powerful symphony ever written. Beethoven’s mighty “Eroica” changed the face of symphonic music and heralded the age of Romanticism.

Part of: International Festival of Orchestras III


Bavarian Radio Symphony Orchestra
Mariss Jansons, Chief Conductor
Frank Peter Zimmermann, Violin


ROSSINI William Tell Overture
PROKOFIEV Violin Concerto No. 1
BEETHOVEN Symphony No. 3, "Eroica"

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

The Trustees of Carnegie Hall gratefully acknowledge the generosity of Linda and Earle S. Altman in support of the 2017-2018 season.

At a Glance

The works on this program illustrate composers pushing the limits of the technical, expressive, and coloristic possibilities of their eras. Rossini’s William Tell Overture is not a recycled overture used randomly and interchangeably in other operas (as Rossini and his colleagues often did), but a mini-symphony based on the opera’s materials. It is one of the most often-quoted pieces in Western music, alluded to in everything from The Lone Ranger to A Clockwork Orange. Beethoven’s “Eroica” Symphony launched a new energy, ambition, structural freedom, emotional range, and orchestral virtuosity that stretched Classicism to its limits and heralded a new type of symphony. Like William Tell, it has a heroic dimension that has always thrilled audiences. Prokofiev’s First Violin Concerto is an extravagantly colorful piece full of fantasy and technical virtuosity, a startling contrast to the more chaste and classical Second Violin Concerto, written in the 1930s under strict Soviet constraints. The First Concerto is mainly a lyrical work, but spiced with dissonance and full of treacherous technical demands, including double and triple stops, double harmonics, and near-impossible high notes.

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