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MOZART’S PIANO CONCERTO NO. 23
BRAHMS SYMPHONY NO. 4
BEETHOVEN PIANO CONCERTO NO. 4
The great American conductor David Zinman comes to Seattle to lead the orchestra in Brahms’ towering and passionate Symphony No. 4. Prokofiev’s brilliantly inventive Violin Concerto No. 2 is re-imagined by the exciting young violinist Patricia Kopatchinskaja.
Imogen Cooper’s performances of Beethoven have been hailed by critics as “mercurial from start to finish.” Hear why when she performs the composer’s Piano Concerto No. 4. Music Director Ludovic Morlot brings us Henri Dutilleux’s scintillating Timbres, espace, mouvement.
Thomas Dausgaard, conductor Boris Giltburg, piano HAYDN: Symphony No. 88 MOZART: Piano Concerto No. 23 in A minor SCHOENBERG: Transfigured Night Mozart’s grace-filled Piano Concerto No. 23 is paired with Transfigured Night, a tone poem for strings, and the folksy elegance of Haydn’s Symphony No. 88.
David Zinman, conductor Patricia Kopatchinskaja, violin MUSSORGSKY: Introduction to Khovanshchina PROKOFIEV: Violin Concerto No. 2 BRAHMS: Symphony No. 4
Ludovic Morlot, conductor Imogen Cooper, piano DUTILLEUX: Timbres, espace, mouvement BEETHOVEN: Piano Concerto No. 4 PROKOFIEV: Symphony No. 7
Mahler's Haunting Tenth Symphony Gustav Mahler sketched his Tenth Symphony during the summer of 1910, when he also learned that his wife, Alma, was having an affair. The next spring he died of a heart infection at the age of 50. The symphonic draft Mahler left behind was complete enough to give a tantalizing glimpse of his swan song — a sweeping arc of passion, anguish and redemptive love — but the jumble of sketches seemed impossible to fully decode.
The unlikely hero in this story was the British musicologist and BBC employee Deryck Cooke, who pieced together most of the symphony in time for Mahler’s centenary in 1960. The heartbroken Mahler left a haunting clue at the end of his manuscript, where he scrawled, “To live for you, to die for you, darling Alma!” The Symphony No. 10 holds many mysteries that may never be answered, but it remains, at its
GUSTAV MAHLER
core, a revealing and monumental sendoff from the man who once said, “A symphony must be like the world. It must embrace everything.”