Thursday, 8 October 2020
From 7:30 pmuntil approximately 9:35 pm
Müpa – Béla Bartók National Concert Hall,
HUF 5,500 / 4,500 / 4,000 / 3,500 / 2,500
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Kocsis season ticket 1

Franz Schubert Symphony No. 8 in B minor (“Unfinished”), D. 759
Anton Bruckner Symphony No. 9 in D minor
Hungarian National Philharmonic Orchestra
Maxim Vengerov conductor

What is it that prompts many great instrumentalists, after decades of success as a soloist and without giving up that career, to also take up the conductor’s baton? One presumes it is the need for completeness. After mastering an instrument, one can take control of an entire orchestra – which is the universe itself. To appraise it and direct it: the richness of the interrelationships are like nothing else. Born in Novosibirsk 46 years ago this year and now a resident of Monaco, the violinist Maxim Vengerov became an international superstar of his instrument at quite a young age, but he has also been regularly taking the podium as a conductor for more than a few years.

A former student of legendary teacher Zakhar Bron, the violin virtuoso has long been a favourite of the Budapest audience. On this occasion, however, it will be solely in his capacity as conductor that he will be making his guest appearance at the helm of the Hungarian National Philharmonic Orchestra. His programme features two core Romantic works. Schubert’s “Unfinished” Symphony No. 8 from 1822 comprises, instead of the usual four-movement structure, only two movements. Music historians have come up with many different hypotheses as to the reason it remained unfinished, but even today, we still do not know for certain. The work confronts the listener with the duality of a dark, tragic and fatalistic style combined with mellow lyricism. Bruckner’s Ninth Symphony, like Beethoven’s, was the composer’s last effort in the genre. Like Schubert’s composition, it also was never completed, because Bruckner died in 1896, before he could finish the finale. With its rich late Romantic sound and majestic atmosphere, the work reflects Bruckner’s deep religious faith – which is also indicated by the naive simplicity with which the composer dedicated the work “to the beloved God”.