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Haydn’s Cello Concertos – A Challenge Not Only for the Performers

Haydn’s masterpieces for cello and orchestra present challenges not only for the musicians on stage. For centuries, scholars and editors have grappled with fundamental questions: How often has Haydn’s famous name been exploited for forgeries? And how reliable is the surviving musical text—are we really hearing what Haydn intended?

Join us in the search for possible answers.

The lecture will be presented in English.

Programme subject to change.

Actor Michael Rotschopf reads about the courage that comes from the heart: an inspiring encounter with fear, trust and the quiet strength to grow beyond oneself — with an open heart and a true lionheart.

Subject to change.

Benjamin Britten (1913–1976)
Les Illuminations, Op. 18

Edward Elgar (1857–1934)
Elegy

Wolfgang A. Mozart (1756–1791)
Concerto No. 4 in D major, K. 218

Subject to change

Camille Saint-Saëns (1835–1921)
Concerto No. 1 in A minor, Op. 33

Ludwig van Beethoven (1770–1827)
Symphony No. 5 in C minor, Op. 67

Subject to change

Dr.-Ing. Thomas Zwieg, Chief Developer at the string manufacturer Larsen Strings A/S, offers insights into the interaction between instrument, strings, bow and bowing technique — and into what musicians can do themselves to influence the response, articulation, volume and timbre of their string instrument.

The lecture will be held in English and is intended for participants in the Cello Masterclasses as well as interested visitors.

Subject to change.

Joseph Haydn (1732–1809)
Concerto No. 1 in C major, Hob. VIIb 1 and No. 2 in D major, Hob. VIIb 2

Luigi Boccherini (1743–1805)
Concerto No. 3 in G major, G 476

Pyotr Tchaikovsky (1840–1893)
Variations on a Rococo Theme, Op. 33

Max Bruch (1838–1920)
Kol Nidrei in D minor, Op. 47

Prizewinners’ Concert of the Cello Masterclasses

Subject to change