Dresdenska filharmonija

Conductor: Michael Sanderling
Soloist: Beatrice Rana, piano

Programme:
Ludwig van Beethoven, overture, TBA
Johannes Brahms, Piano Concerto No 1 in D minor, Op. 15
*
Johannes Brahms, Piano Quartet No 1 in G minor, Op. 25 (orchestration A. Schoenberg)
Gallus Hall, EUR 25, 38, 52, 62

Dresden Philharmonic boasts a 150-year-tradition as the orchestra of the Saxony’s capital city and as one of the leading German orchestras. Ever since 1870 its symphony concerts have been an integral element of Dresden’s cultural life. The orchestra keeps astounding the audiences with its very own “Dresden sound”. Important composers have taken to its conductor’s podium from early on, from Brahms, Tchaikovsky and Dvořák through Strauss and Penderecki to Holliger. Principal Conductor of the Dresden Philharmonic since 2011, Michael Sanderling is an internationally acclaimed musicians who has built a great rapport with the ensemble. A maestro of great musical and technical ambition, Sanderling’s name is associated with concentrated rehearsal work and concerts of unforgettable intensity. With stamina, persistence and deep musical insight, Sanderling has brought the Dresden Philharmonic to top form, drawing from the musicians a strikingly beautiful, crisp clear and vibrantly colourful sound.
Young pianist Beatrice Rana (1993) is making waves on the international classical music scene, arousing admiration and interest from concert presenters, conductors, critics and audiences around the world. In spring 2018, the Music Critics’ Circle presented Rana with the Emerging Talent (Instrumental) Award. This youthful pianist has captured her audiences’ hearts and imaginations with her vivid, intelligent and inspiring artistry. Beatrice Rana’s CD dedicated to Bach’s Goldberg Variations was named one of the 25 Best Classical Music Recordings of 2017 by The New York Times.

The congruously devised programme juxtaposes Brahms as a symphonist and Brahms as chamber musician: on the one hand a dramatic, magnificent piano concerto of symphonic dimensions and on the other hand a future-oriented piano quartet, whose technique of “developing variation” managed to impress Schoenberg himself.