Cellist

This concert brings together two masterpieces that were both composed in 1786. Joseph Haydn’s Symphony No. 86 in D major is one of the six symphonies that the composer was commissioned to write by a Parisian concert organiser. According to musicologist H. C. Robbins Landon, the 86th Symphony, with its unusually free slow movement, is one of Haydn’s best works. Mozart’s Prague Symphony, written in the same year, is another pinnacle of the classical period. It is remarkably innovative, particularly in the composer’s jettisoning of the traditional minuet movement. The symphony also shares many features with the opera »The Marriage of Figaro«, which was composed at the same time.

Symphony Concert N° 4

Semperoper Dresden

EPSG:4326

Julia Fischer presents Rising Stars

Gstaad Festival Tent

Schicksal, versöhnende letzte Worte und viel Pathos: Wenn das keine Hits sind! Giuseppe Verdis „Die Macht des Schicksals“ zählt seit jeher zum Opern-Repertoirekern und die Ouvertüre dazu zum Konzertklassiker. Johannes Brahms schrieb mit seinem letzten Orchesterwerk, dem Doppelkonzert, eine – tatsächlich so klingende – Versöhnung für seinen Jugendfreund Joseph Joachim. Violine und Violoncello, deren Verbindung der Komponist als „Riesengeige“ bezeichnete, spielen die Shootingstar-Geschwister Charlotte und Friedrich Thiele, Jahrgänge 2000 und 1996. Und auch Tschaikowskys vielleicht bekannteste Symphonie, die Sechste, war 1893 ein Schlussstrich, das letzte und so überwältigende Orchesterwerk des Russen. Die Leitung dieser Hits hat selbstverständlich Chefdirigent Nicholas Milton.

Pathétique

Stadthalle Göttingen

When seeking out the forerunners of the influential »Mannheim School«, one often stumbles across the name of Johann Evangelist Brandl, born in Regensburg in 1760.  Even if he never actually belonged to the leading lights of the musical avant-garde, Brandl was nevertheless in close touch with prominent musicians at the Bruchsal court of the Bishop of Speyer. They helped him when the bishop was forced to flee the invading French in 1792, who finally conquered Bruchsal seven years later. Brandl’s new place of work became the Francophile court of the Grand Duke of Baden. There, until his death in 1837, he composed numerous works for his beloved bassoon – including the Quintet, Op. 63.

Chamber Music Evening N° 5

When looking for the role models of the influential "Mannheim School", one often comes across the name of Johann Evangelist Brandl, born in Regensburg in 1760. Even though the Upper Palatinate native never made it to the actual Mecca of the musical avant-garde, he nevertheless made enough contacts with colleagues in the Bruchsal court of the Prince-Bishop of Speyer. They helped him when the bishop had to flee from the French in 1792, who then finally took Bruchsal seven years later. Brandl's new place of work was the Francophile court of the Grand Duke of Baden. There he composed numerous works for the bassoon, which he loved, until his death in 1837 - including the Quintet op.63.

5th Chamber Evening

Stadthalle Osterode am Harz

It was by no means just a chamber music appendage in an academy that included major orchestral works such as the C major piano concerto and the Symphony No. 1. When Beethoven presented new works for the first time on his own account in Vienna on April 2, 1800, the E-flat major septet was the longest item on the program. In his letter to the publisher, the composer pointed out that it was a work for seven full voices and not just a string quartet that could be supplemented by wind instruments. The septet became Beethoven's most popular work during his lifetime: it was not only played frequently, but also appeared in countless more or less authorized arrangements.

8th Chamber Evening

This Septet was by no means a mere appetiser at the mammoth premiere concert featuring large orchestral pieces such as the C major Piano Concerto and Symphony No. 1. When Beethoven himself first organised a self-financed Akademie concert in Vienna on 2 April 1800 to present his latest works, the E-flat major Septet was in fact the longest item on the programme. In a letter to his publisher, the composer stressed that this work contained seven fully independent parts and was not simply a string quartet with optional winds. The Septet became Beethoven’s most popular work during his lifetime: not only was it frequently performed, but it also appeared in countless official (and unauthorised) arrangements.

Friedrich Thiele

Cellist

Events

Upcoming events

Feb 28, 2025

Pathétique · Göttinger Symphonieorchester

Mar 13, 2025

Chamber Music Evening N° 5 · Sächsische Staatskapelle Dresden

Mar 13, 2025

5th Chamber Evening · Semperoper Dresden

Mar 14, 2025

Pathétique · Göttinger Symphonieorchester

Jun 26, 2025

8th Chamber Evening · Semperoper Dresden

Past events

15 - 17 Dec, 2024

Symphony Concert N° 4 · Sächsische Staatskapelle Dresden

Jul 18, 2021

Julia Fischer presents Rising Stars · Gstaad Menuhin Festival

Future and recently performed repertoire

Cello in Cello Concerto No. 1 by Haydn

Sächsische Staatskapelle Dresden

Cello in Duo for Violin and Cello (1925) by Schulhoff

Sächsische Staatskapelle Dresden

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