Airs Tuesday, February 4 at 11 a.m. The Vienna Philharmonic Orchestra is an integral part of a city rich with a history of important composers and performers. The incomparable orchestra is joined by maestro Franz Welser–Möst for an exploration of enduring scores by influential composers from their native land and a contemporary work from a composer who is creating in Vienna today. The program includes Bruckner’s magnificent and genial Sixth Symphony and Mozart’s Symphony No. 28, paired with Johannes Maria Staud’s On Comparative Meteorology.
Airs Thursday at 1 p.m. Carnegie Hall has announced that tonight’s concert by the Philadelphia Orchestra has been cancelled due to a strike by the IATSE/Local One stagehands. However, we will bring you an encore performance from last season featuring maestro Yannick Nézet-Séguin who will lead the orchestra in La Valse by Ravel and The Symphony No. 5 by Shostakovich.
Airs Thursday, April 4 at 11:00 a.m. "What I feel for Schumann goes beyond love and admiration," says Jonathan Biss. "The intensity of his passion for music, and his will to use music as a poetic and personal, yet fully realized and deeply expressive language strike me as the highest aims imaginable for a musician." On this program, part of his season-long focus on Mozart, Janácek, and Schumann, Biss joins members of the Elias String Quartet for Schumann's Piano Quartet.
Jonathan Biss, Piano; Elias String Quartet; Sara Bitlloch, Violin; Donald Grant, Violin; Martin Saving, Viola; Marie Bitlloch, Cello
Airs Thursday, March 21 at 11 a.m. The Berlin Philharmonic Orchestra takes the stage under Simon Rattle with Soprano Camilla Tilling, Mezzo-Soprano Bernarda Fink, and the Westminster Symphonic Choir under Joe Miller for Three songs by Hugo Wolf and Mahler's Symphony No. 2 (Resurrection).
Airs Thursday, March 19 at 11:00 a.m. At the heart of Osvaldo Golijov's residency as Carnegie Hall's Richard and Barbara Debs Composer's Chair is this performance of his La Pasión según San Marcos, featuring members of the Venezuelan chorus to which the piece is dedicated, together with high school singers from throughout New York City. Drawing on the sounds of Latin America with texts in Spanish, Latin, and Aramaic, the piece is evocative, wildly inventive, and entirely characteristic of Golijov's personal aesthetic.