Thüringen Philharmonie Gotha-Eisenach

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The musical relationship between Wolfgang Amadeus Mozart and Johann Nepomuk Hummel can be described as a kind of musical brotherhood, even though there was an age difference of around 22 years between the two. Mutual admiration and appreciation characterized the relationship, for Mozart recognized early on the extraordinary talent of the 8-year-old Hummel. Mozart became aware of his future pupil through his father, who was employed as conductor at the “Theater auf der Wieden” under Emanuel Schikaneder. Mozart took the boy into his Viennese apartment and taught him for two years. Afterwards, Hummel senior took the boy on extensive concert tours - exactly following Leopold Mozart's example. Hummel was celebrated especially in London and was looked after by Franz Joseph Haydn. Five years with numerous performances and lessons were to pass before Hummel settled back in Vienna. By this time, however, Mozart had already died. Hummel temporarily benefited from the knowledge of Johann Georg Albrechtsberger; He then perfected his craft under Mozart's antipode Antonio Salieri, the legendary grandmaster of late Baroque Italian opera. In the second half of his life, Salieri concentrated on teaching work in particular - his students included Ludwig van Beethoven, Carl Czerny and Franz Liszt. With his more than 40 operas, Salieri, who came from the province of Veneto, was one of the most successful composers of his generation. The dramma per musica "Armida", the tragédie lyrique "Les Danaïdes", the dramma giocoso "La scuola de' gelosi" and the commedia per musica "La fiera di Venezia" are still well known today. The latter in particular impresses with its charming Venetian local colour, which Salieri illustrates with extremely effective music on stage, as can be heard in the rousing overture. Even during his time in Vienna as imperial chamber composer and court conductor, he always remained connected to his Venetian homeland. In 1778/79, Salieri composed a symphony that his publisher gave the nickname "Veneziana" - named after the city in which some of the music was premiered. Salieri took some of the harmonies from his overtures to "La scuola de' gelosi" and "La partenza inaspettata". Both operas were written during the three years that Salieri spent in Rome, Venice and Milan. The complete reconstruction of this chamber symphony only took place in Vienna in the 1980s; because the parts were stored there in the archives of the Society of Friends of Music – on the original cover one could read: “Sinfonia n. XIX del Signor Antonio Salieri – Maestro di musica all'attual servizio de SM l'Augustissimo Imperatore – Eseguita in Venezia.”

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Longing is an insatiable desire. It lies dormant in the soul and, especially in music, is a theme of immeasurable depth and complexity. Human existence is permeated by it and is conditioned by the desire to be satisfied. Many composers harbor an inner longing, the wish to express emotions and thereby gain recognition. Their musical settings become, so to speak, a mirror of deepest desires, a bridge between the unsayable and the expressible. But what is it that drives composers like Richard Wagner to transform this longing into sounds? Perhaps it is human nature itself that longs for the transcendent, for something that lies beyond tangible reality. Perhaps it is the search for beauty, for truth, for the feeling of connection with the universe. The “Wesendonck Lieder”, for example, are five otherworldly settings of poems by Mathilde Wesendonck, Richard Wagner’s muse. The songs inspired his opera “Tristan and Isolde”, in which the mutual longing of two lovers who cannot be united in life ends in madness and (love) death. The longing that the composer Hans Rott put into music in his Symphony No. 1 in E major was of a completely different kind: it was his deepest wish to be recognised as a composer by his contemporaries. In doing so, he had to endure bitter personal setbacks, because as Anton Bruckner’s favourite student, he was regularly judged negatively by his antipode Johannes Brahms. When Rott travelled to Mulhouse in Alsace to take up a position as choirmaster, Rott’s serious mental illness broke out – he suffered from “hallucinatory insanity and paranoia”. On the train journey, he threatened a fellow passenger who wanted to light a cigar with a revolver. Rott was convinced that Brahms had filled the train with dynamite in order to send him to his final death. Rott spent the rest of his life in an insane asylum, where he composed a lot but destroyed his works. He died at the age of 25 - his greatest wish was not to come true...

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Sehnsucht – sie ist ein unersättliches Ver – langen. Sie schlummert in der Seele und ist besonders in der Musik ein Topos von unermesslicher Tiefe und Komplexität. Die menschliche Existenz ist von ihr durchdrungen und bedingt, von der Begierde gestillt zu werden. Bei vielen Komponisten verbirgt sich eine innerliche Sehnsucht, der Wunsch, Emotionen Ausdruck zu verleihen und dadurch Geltung zu gewinnen. Ihre Vertonungen werden sozusagen zu einem Spiegel tiefster Wünsche, zu einer Brücke zwischen dem Unsagbaren und dem Ausdrücklichen. Doch was ist es, das Komponisten wie Richard Wagner antreibt, diese Sehnsucht in Klänge zu verwandeln? Viel – leicht ist es die menschliche Natur selbst, die sich nach dem Transzendenten sehnt, nach etwas, das jenseits der greifbaren Realität liegt. Vielleicht ist es die Suche nach Schönheit, nach Wahrheit, nach dem Gefühl der Verbundenheit mit dem Universum. Bei den „Wesendonck-Liedern“ beispielsweise handelt es sich um fünf weltentrückte Vertonungen der Gedichte von Mathilde Wesendonck, der Muse Richard Wagners. Die Lieder inspirierten ihn zu seiner Oper „Tristan und Isolde“, in der die gegenseitige Sehnsucht zweier Liebenden, die im Leben nicht vereint sein können, im Wahn und (Liebes-)Tod endet. Die Sehnsucht, die der Komponist Hans Rott in seiner Sinfonie Nr. 1 E-Dur in Töne fasste, war von ganz anderer Art: Es war sein innigster Wunsch, als Komponist von seinen Zeitgenossen anerkannt zu werden. Dabei musste er herbe persönliche Rückschläge einstecken, denn als Lieblingsschüler Anton Bruckners wurde er von dessen Antipoden Johannes Brahms regelmäßig negativ beurteilt. Als Rott nach Mulhouse ins Elsass reiste, um dort eine Stelle als Chorleiter anzutreten, brach sich Rotts schwere psychische Erkrankung Bahn – er litt an „halluzinatorischem Irrsinn und Verfolgungswahn“. Auf der Bahnreise bedrohte er einen Mitreisenden, der sich eine Zigarre anzünden wollte, mit einem Revolver. Rott war der Überzeugung, dass Brahms den Zug mit Dynamit habe befüllen lassen, um ihn endgültig in den Tod zu schicken. Den Rest seines Lebens verbrachte Rott darauf – hin in einer Irrenanstalt, in der er zahlreich komponierte, seine Werke aber wieder vernichtete. Er starb 25-jährig – sein sehnlichster Wunsch sollte nicht in Erfüllung gehen …