Alexander Lifland, | Schedule & Tickets 2025

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As in our Freitagskonzert 8, we are travelling to Vienna in the last chamber concert of the season, to a time of decadence, decay and overwrought nerves. But also to a time of awakening, of rewiring these nerves, which were treated by Doctor Freud and his colleagues. Intoxicating chamber music awaits us, centred around the shortest but best-known piece on the programme: the Adagietto from Mahler’s 5th Symphony, immortalised by the Visconti-film Death in Venice. The piano really roars here, taking over the harp part from the original version … Alexander Zemlinsky’s Piano Trio is the oldest piece on the programme and looks back to the past, as it is strongly influenced by Johannes Brahms. Mahler’s symphony was composed around five years later and looks back and forward at the same time – a seemingly timeless work. And Korngold’s Suite from 1930? Written for the left hand of the war-wounded pianist Paul Wittgenstein (like works by Ravel, Prokofieff, Britten and many others), it is no longer the bold work of a child prodigy of the Austro-Hungarian monarchy, but a grandiose homage to the splendour of music that has fallen out of time and hangs in no man’s land, between sparseness and opulence, optimism and pessimism, forward and backward-looking …