Friday, January 29th, 8:00pm (drinks at PJ Clarke's beforehand, 7:15-7:45pm)
David Geffen Hall, Lincoln Center for the Performing Arts, 10 Lincoln Center Plaza, New York, NY 10023
A description of the performance from the NYC Philharmonic is below. Please note, seats are in the Orchestra section:
LUDWIG VAN BEETHOVEN (1770–1827)
Violin Concerto (1806)
It has been called “the Mount Everest of violin concertos” and, jokingly, Beethoven’s “tenth symphony with violin obbligato.” The Violin Concerto, his only one for the instrument, is a bravura composition of startling emotional scope, and longer by far than concertos written before that time. Starting with soft taps on the timpani — a recurring motif that is integral to the work’s fabric — a lengthy orchestral introduction heralds the soloist’s entrance, after which the composition unfolds as a marvelous exchange between violin and orchestra. In the first movement you’ll hear the lyrical theme that the soloist finally gets to play all the way through — after a cadenza. The calm of the Larghetto movement leads into a finale that gives violinists the opportunity to display their art and craft, especially in the unusually long and dazzling coda. After a final burst of fireworks, this masterpiece that has thrilled audiences for more than two centuries comes to a glorious conclusion.
ANTON BRUCKNER (1824–96)
Symphony No. 6 (1881)
The nobility, grandeur of conception, and splendor of Bruckner’s Symphony No. 6 belie the personality of the man who created it and other symphonic works. The influence of his idol Richard Wagner’s larger-than-life operas is clearly audible in the rich orchestrations and vast forces required for performances. These represent a seeming paradox for a man who was deeply religious, humble, self-effacing, naïve, given to social faux pas, and insecure in his abilities. These insecurities often led to multiple versions and editions of his compositions, suggested by well-meaning associates but making it difficult to know which version he himself considered “final.” Competing attempts to restore Bruckner’s symphonies to their “original” forms were made last century, but even these disagree with each other. Yet despite all of the attempts made to “improve” the Sixth Symphony, there’s no mistaking the creator. You’ll feel uplifted by the distinctive Bruckner soundscapes: burnished strings, rich brass sonorities, powerful fanfares, and the majesty and tenderness of deeply-felt emotions.