Andris Nelsons by Gewandhausorchester

ANDRIS Leipzigâ&#x20AC;&#x2122;s 21st Gewandhauskapellmeister, Andris Nelsons

Leipzig welcomes Andris Nelsons F

or us, Andris Nelsons is a gift. He stands nly the best have ever been permitted for a change of generations in the world to lead our Gewandhausorchester. Which is why Andris Nelsons is the natu- of conductors. With his fine sense of traral choice as Leipzig’s 21st Gewandhaus- dition and his forceful courage in forging ahead along new paths, he is sure to make kapellmeister. We are looking forward to a very special relationship which, artisti- his mark on the Gewandhausorchester. cally, will attract the attention of the mu- And that, in the very best sense of the term, has always been the task of the Gesical world and lend new impetus to the musical life of our city. Here’s to some ter- wandhauskapellmeister. – Prof. Andreas Schulz, Gewandhaus General Director rific musical enjoyment! – Burkhard Jung, Mayor of the City of Leipzig

laying with Andris Nelsons is a unique experience. He has a fundamental need to move people and radiates this overpowering confidence that music really can make the world a better place. What’s more, he has the gift of recreating a composition during a concert, as if it had been written for that moment. – Tobias Haupt, Chairman of the Gewandhausorchester

he Gewandhausorchester and Deutear Andris Nelsons, as Thomaskansche Post DHL Group share not only tor it is a great joy for me to welcome a longstanding, successful partnership, you to Leipzig, the city of music, on bebut also a common passion: we both love half of the Thomaner choristers and all what we do and are committed to peak those who work with the Thomanerchor. performance. In the spirit of this partner- I wish you all the very best for your artisship, I would like to wish the orchestra tic work in such an outstanding place. You and its new conductor Andris Nelsons a can rest assured of my fullest support for successful inauguration and a great 275th fruitful musical collaboration. anniversary year. – Prof. Gotthold Schwarz, Thomaskantor – Dr. Frank Appel, CEO, Deutsche Post DHL Group

Burkhard Jung

Prof. Andreas Schulz

Tobias Haupt

Dr. Frank Appel

Prof. Gotthold Schwarz

» Music is food for the soul and speaks to our intellect and our emotions. Anybody who encounters classical music with an open mind is enriched with something that can never be taken away again. « Andris Nelsons

The journey will lead from Mendelssohn ndris Nelsons has a genuine, intimate to Berg, from Rihm to Shostakovich, from relationship with music, his orchestra Mozart to Tchaikovsky, from Widmann to and his audiences. For him, music is not an end in itself: it serves a purpose, it corres- Bruckner. For him, these highly divergent styles have more in common with one anoponds to a need. ther than they have differences. When perWith his concerts in Leipzig to date, Andris formed with passion and conviction, music Nelsons has already played his way into the hearts of his audiences and of his orche- can do so much more than purely entertain. It can move, challenge, beguile and unsettle stra. He approaches people trustingly and without reserve, and he approaches music – it can do everything, which is why it should in the same manner. He makes it an imme- not only be confined to what pleases. diate experience in an authentic, direct way. With Andris Nelsons, a new era is beginning in this, the 275th year of the history of the Like all great artists, he shares something of Gewandhausorchester. For him, the history himself with us in his music. For his official inauguration in spring 2018, of the orchestra is both a gift and an obligation. Starting from that, he wants to take Andris Nelsons has planned four weeks of today’s and tomorrow’s audiences with him celebrations focusing on the orchestra’s anniversary in which he will be combining, on an inspiring journey. contrasting and reconciling new with old.

Texts: Werner Kopfmüller Photos: Christian Rothe

The Gewandhausorchester musicians Gundel JannemannFischer (oboe), Juliane Grepling (horn), Tobias Haupt (violin) and Eberhard Spree (double bass), who undertakes the role of guide, accompany their future music director on a musical tour of the city. Spree reminds Andris Nelson of what he said to the audience on the Orchestra’s recent appearance at Vienna’s Musikverein: » Vienna is a city of music, and so is Leipzig! « This is, in no small measure, due to Felix Mendelssohn Bartholdy’s influence on the city, in whose apartment the group begin their tour. Next stop is the Städtisches Kaufhaus in Universitätsstraße. This building housed the original Gewandhaus, in which a multitude of works, for example Brahms’ Violin Concerto and Wagner’s Meistersinger Prelude received their first performances. » The Gewandhausorchester has a long and rich tradition of premiering new music – we will continue and even expand on that by programming even more contemporary music in the future. « explains Andris Nelsons.

The Bach memorial. Not the world-famous statue of the Great Master directly in front of the Thomaskirche, but rather the more modest one in the small park on Dittrichring. Standing rather hidden, it was the first monument in the world to be erected in Johann Sebastian Bach’s honour. » Mendelssohn conducted three benefit concerts in order to raise enough money to have it built! « relates Eberhard Spree. When asked about his personal relationship to Bach, Andris Nelsons tells of his experience with the B Minor Mass: » I played it as a young trumpet student, and sang in it too, but I’ve only ever conducted it once. To perform the B Minor Mass as Gewandhauskapellmeister in the Thomaskirche is my personal dream. « The dream of a career as a conductor brought the young Gustav Mahler to Leipzig on his appointment as 2nd Kapellmeister at Leipzig’s opera house in August 1886. Mahler was, sadly, not to become happy here, moving on less than two years later. It was in Leipzig, however, where he composed his 1st symphony.

ARRIVED! Out and about in Leipzig with Andris Nelsons.

There are many discoveries to be made in the archive of Leipzig’s University of Music. Andris Nelsons is not only astounded by the manuscripts of his predecessor, Mendelssohn, including the Conservatoire’s original charter, but also by the number of Latvian musicians who came to study in Leipzig in the 19th century. » During my schooldays, before the fall of the Iron Curtain, Leipzig was seen as the final outpost before the West. Records of the Gewandhausorchester under Kurt Masur were particularly coveted. «

» A nd do you know what Kurt Masur, Arthur Nikisch, Riccardo Chailly and I all have in common? « jokes Nelsons at the culmination of the tour, at the portrait gallery of all the Gewandhauskapellmeisters in the Gewandhaus, » We all have beards! «

PERSPECTIVES

n a sunny Saturday morning in the Gewandhauskapellmeister suite, Andris Nelsons sits on the sofa, thoroughly relaxed. It’s not been long since he started to play the trumpet again, both as a means of relieving stress during breaks in rehearsal and for just whenever the mood takes him. The three instruments lying within reach of the sofa gleam in the bright sun streaming into the room. Now the 21st Gewandhauskapellmeister speaks with vigour and at length about the challenges awaiting him and his orchestra during his inaugural season.

Manuel Brug: Before being appointed 21st Gewandhauskapellmeister, had you ever given any thought to this rather old-fashioned yet historic and enormously momentous title?

Both orchestras have an exceedingly rich heritage and are a fundamental element of their home cities’ identity. Their respective mentalities do, however, differ significantly, to some extent due to the contrasting way they’re Andris Nelsons: This title is indeed of confunded. I’m very keen to capitalise upon this siderable consequence and carries, of course, diversity of personality as a catalyst for a colossal heritage, of which I can only mutual benefit. With music, principally that of attempt to be worthy. However, this heritage Bach and Mendelssohn, we want to bring the is, critically, one that is by no means rooted in students of the Tanglewood Music Festival – the past, since Leipzig’s Gewandhausorchester the summer home of the Boston Symphony has always been enormously innovative – just Orchestra – together intimately with the Gelook at the wealth of music that has been wandhausorchester. As we announced our brought into the world by this orchestra! The plans to facilitate the temporary exchange of Gewandhauskapellmeister’s role musicians between the two orhas always been one of an abso- » I don’t mind admitting chestras, there was a stampede of that there’s a pretty lutely contemporary nature. We players on both sides of the Atsizeable element of have now reinforced the signifilantic! The managements of the cance of this part of our work pathos in my character. « orchestras are currently finaliswith the institution of the positiing the legal and fiscal proon of Gewandhauskomponist – Gewandhaus cedure; we’re hopeful we can arrange the first Composer – who will work here on a continual exchanges of three months duration as early basis. I don’t mind admitting that there’s a as the coming season. The perspective this programme offers the musicians is of pretty sizeable element of pathos in my chaimmense value: the Leipzig players will racter…! I adore old things and have huge immerse themselves in the BSO’s work in respect for tradition, but I don’t feel I’m in any Tanglewood and the Boston Pops concerts, sense old-fashioned! Sometimes I do wish I could live in and really experience the 18th while their Boston counterparts will gain so century for a short while – but only with much from performing as part of both the access to 21st century medicine… It’s an opera orchestra and the ensemble for the canimmense honour to have been appointed Getatas of Bach in St. Thomas. wandhauskapellmeister! The orchestras will also, of course, be as present as possible in each other’s home cities. You have now assumed the musical directorship I will bring the Boston Symphony Orchestra of two orchestras, both of which define themselves to Leipzig in the late summer of 2018; the folto quite an extent by their long history. What do lowing year, the Gewandhausorchester will you perceive to be the contrasts and the similari- appear in Boston.

ties between them?

As a visitor to Leipzig, as I am, one observes a bourgeois audience in the Gewandhaus concerts which has – maybe more so than elsewhere – been on a long journey with this orchestra. How do you approach the Leipzig public? I embrace it! It’s of enormous importance to me to ensure this common journey for our audience and orchestra continues. This sort of democratic metropolitan society that exists in Leipzig is, for me, something quite wonderful! With the Gewandhausorchester I’m equally committed both to being a driving force behind our breathing new life into the great masterpieces of the past and to actively introducing new music to the public. In the past, great masters such as Mendelssohn and Schumann were also reliant upon the Gewandhausorchester bringing their work to life! The Gewandhausorchester’s noble tradition as a world premiere orchestra is one to which I will be contributing all my energy. In this spirit I certainly want to meet with our audience regularly, listen to their thoughts and exchange views, in order to find out how far we can go and which impulses we can give them; on this journey we must ensure we always work with, not against, our audience – we mustn’t assume we always know better!

In spite of that, the Gewandhausorchester does tend to be marketed as › Traditionsorchester ‹ by festivals around the globe, as well as by the major record labels… That’s very much a question of perception, since my most recent predecessors – Masur, Blomstedt and Chailly – all gave classical modernism a central place in the Orchestra’s repertoire, and there has certainly been no dearth of music of the 21st century. Contemporary music has always been well received in Leipzig’s Gewandhaus – we must just see to it that the world knows that! Of equal importance to me is my duty to cultivate the Gewandhausorchester’s immense tonal richness, the enormous diversity of colour and its innate affinity to the Romantic repertoire, and to present that to the world. It’s no coincidence that our first recording project together is dedicated to the symphonies of Anton Bruckner. At the end of the day, I want to make good music of every sort with the Gewandhausorchester! And in such a way that the audience that hears us on tour immediately has the desire to come and experience us at home in the Gewandhaus. We’ll always be happy to welcome even more music lovers from afar!

To then experience what exactly? The fabled, mystical › German sound ‹?

attack – and with phenomenal power that sweeps you off your feet! Wonderful!

Foto: Marco Borggreve

Is all that really so special here? Well, without question an utterly authentic › Leipziger Klang ‹ [Leipzig sound ], which, posYes. And I say that vehemently. For me, this sibly, may only be truly experienced at our musicality and this sound – inseparable from home, the Gewandhaus. We could sit here and one another, of course – are utterly unique. talk about the › deutscher Klang ‹ for two hours… but I prefer to consider it to be a I don’t say that to be complimentary! I’ve exunique sensibility – particularly in the core perienced many orchestras. And I realised repertoire of Bach, Beethoven, Brahms or very rapidly just how extraordinary the Gewandhausorchester is. That applies to the Bruckner – with which this orchestra ignites commitment and sheer passiits phenomenal abundance of colour. Nothing is uniform, just » I realised very rapidly just on with which each individual how extraordinary the musician works and performs, as there is no systematic, contrived flicking-of-a-switch wit- Gewandhausorchester is. « too. And this orchestra must remain extraordinary! The Orhin this repertoire, but rather chestra demands prodigious sincerity and an incredibly subtle adjustment to the musical discipline of itself in its daily work. At the world of each composer that is still a mystery same time I have never experienced any routo me! As a conductor one could hardly be tine or a › going-through-the-motions ‹ of any happier to go with this to a very great extent, sort here. Every time I’m here and we work since it emanates from such a sumptuous instogether my convicton is reinforced that the trumental organism. To hear this orchestra Leipzig of today remains one of the true play something as pure as a Bach cantata has epicentres of classical music. The Gewandbecome practically an addiction for me. And hausorchester doesn’t only hold the beacon as in order not to shy away from this problematic high as possible: it carries it forth, ever topic of › t radition ‹: in the Gewandhausorfurther, forever igniting it anew. In my first chester’s playing I hear nothing › old ‹, but season, Gewandhaus Composer Jörg Widrather an absolutely live and in-the-heremann will be one of the principal catalysts on and-now approach to making music. The Orthis mission. The Gewandhaus is a place that chestra’s palette of colour and expression is is utterly alive. And has been for 275 years! so diverse and rich. This group of musicians can play with an unbelievably compassionate

ANDRIS NELSONS AND THE GEWANDHAUSORCHESTER Bringing Bruckner to life – with his creative drive, the new Kapellmeister gives new inspiration to the much-loved Bruckner heritage. Powerful, emotionally charged expression, glittering technical prowess, fascinating historical depth and gripping modernity – this sums up the Bruckner interpretations by Andris Nelsons and the Gewandhausorchester.This is a unique musical dialogue: each of Bruckner’s masterly symphonies is performed in conjunction with a work by Wagner in these recordings by Deutsche Grammophon. Kicking off this Bruckner Edition: Bruckner Symphony No. 3 & Wagner Tannhäuser Ouverture (released 2017) To be continued with: Bruckner Symphony No. 4 & Wagner Lohengrin Prelude (to be released in February 2018) and Bruckner Symphony No. 7 & Wagner Siegfried’s Funeral March (due for release in 2018)

CONCERTS

Experience Andris Nelsons and the Gewandhausorchester in Leipzig! THU/FR I/SUN

22/23/25 FEB 2018 8 pm/8 pm/11 am GR EAT HA LL

THU/FR I

01/02 MAR 2018 8 pm GR EAT HA LL

SAT

03 MAR 2018 4 pm GR EAT HA LL

THU/FR I

08/09 MAR 2018 8 pm GR EAT HA LL

GROSSES CONCERT Part of the celebrations to mark the inauguration of Andris Nelsons as 21st Gewandhauskapellmeister

Gewandhausorchester Andris Nelsons Baiba Skride Violin

Steffen Schleiermacher Relief for orchestra (world premiere, Gewandhausorchester commission) Alban Berg Concerto for Violin and Orchestra (Dem Andenken eines Engels) Felix Mendelssohn Bartholdy Symphony No. 3 in A Minor Op. 56 MWV N 18 (Scottish) GROSSES CONCERT Richard Wagner Siegfried’s Death and Funeral March from the opera Götterdämmerung Bernd Alois Zimmermann Nobody knows de trouble I see – Concerto for Trumpet and Orchestra Dmitri Shostakovich Symphony No. 8 in C Minor Op. 65 FAMILY CONCERT » Once upon a time… – the Gewandhausorchester celebrates its birthday « Johann Sebastian Bach Cantata Herz und Mund und Tat und Leben BWV 147 (excerpts) Wolfgang Amadeus Mozart From the opera The Magic Flute KV 620: Der Hölle Rache kocht in meinem Herzen – Aria of the Queen of the Night Der Vogelfänger bin ich ja – Aria of Papageno Aristides Strongylis Engel der Hoffnung for orchestra (world premiere, Gewandhausorchester commission) Richard Wagner Prelude to the opera Die Meistersinger von Nürnberg WWV 96 GROSSES CONCERT Jörg Widmann New work (world premiere, joint commission by Gewandhausorchester and Boston Symphony Orchestra) Anton Bruckner Symphony No. 7 in E Major WAB 107

Gewandhausorchester Andris Nelsons Håkan Hardenberger Trumpet

Gewandhausorchester Members of the Gewandhaus Children’s and Youth Choirs Andris Nelsons Danae Kontora Soprano Jonathan Michie Baritone Malte Arkona Moderator

Gewandhausorchester Andris Nelsons

SUN

11 MAR 2018 11 am GR EAT HA LL

GROSSES CONCERT Gala concert celebrating the 275th anniversary of the Gewandhausorchester

Gewandhausorchester Andris Nelsons

Anniversary address by the Mayor of Leipzig, Burkhard Jung Jörg Widmann New work (world premiere, joint commission by Gewandhausorchester and Boston Symphony Orchestra) Anton Bruckner Symphony No. 7 in E Major WAB 107

THU/FR I

15/16 MAR 2018 8 pm GR EAT HA LL

THU/FR I

19/20 APR 2018 8 pm GR EAT HA LL

GROSSES CONCERT Thomas Larcher New work (world premiere, Gewandhausorchester commission) Wolfgang Amadeus Mozart Symphony in G Minor KV 550 Peter Tchaikovsky Symphony No. 6 in B Minor O. 74 (Pathétique) GROSSES CONCERT of the Society of Friends of the Gewandhaus zu Leipzig e. V.

GROSSES CONCERT Boston Week

8 pm GR EAT HA LL

Igor Stravinsky Symphony of Psalms Aaron Copland Old American Songs Elliott Carter Concerto for Clarinet and Orchestra Leonard Bernstein Symphonic Dances from West Side Story

FR I/SAT

GROSSES CONCERT Klassik airleben – Open-air concert

8 pm OPEN-A IR STAGE IN ROSENTA L PA R K

Works by George Gershwin, Maurice Ravel and John Williams

29/30 JUNE 2018

Gewandhausorchester Andris Nelsons Yefim Bronfman Piano

Wolfgang Rihm Nähe fern 4 for orchestra Jörg Widmann Funeral March for piano and orchestra Johannes Brahms Symphony No. 4 in E Minor Op. 98

THU/FR I

21/22 JUNE 2018

Gewandhausorchester Andris Nelsons

Gewandhausorchester Gewandhaus Choir Andris Nelsons Thomas Hampson Baritone Jörg Widmann Clarinet

Gewandhausorchester Andris Nelsons Jean-Yves Thibaudet Piano

Ticket bookings

ticket@gewandhausorchester.de Ticket hotline: +49 341 12 70 – 280

THE GEWANDHAUSORCHESTER ONLINE: www.gewandhausorchester.de fb.com/gewandhausorchester twitter.com/gewandhaus instagram.com/gewandhausorchester youtube.com/gewandhausleipzig soundcloud.com/gewandhaus-zu-leipzig blog.gewandhausorchester.de PUBLISHED BY Gewandhaus zu Leipzig Gewandhaus General Director Prof. Andreas Schulz Gewandhaus zu Leipzig Municipal enterprise of the City of Leipzig Augustusplatz 08 | D-04109 Leipzig T + 49 341 12 70 - 0 F + 49 341 12 70 - 200 www.gewandhausorchester.de OUR WRITERS

Manuel Brug has worked as a writer and editor for the Süddeutsche Zeitung, Opernwelt, Wochenpost, the Tagesspiegel and Die Welt since 1988. In addition, he is the author of three books. In 1999, Brug received the Salzburg Critics‘ Award. (pp. 9, 10, 11) Werner Kopfmüller studied the piano, cultural science and musicology in Leipzig before embarking upon a career in music journalism. He has been a freelance writer for the Leipziger Volkszeitung since 2016. (pp. 3, 4, 5, 6)

OUR PHOTOGRAPHERS

Jens Gerber studied photography with Bernhard Prinz at the Kassel College of Arts, as well as at the Finnish Academy of Fine Arts in Helsinki. He lives and works in Leipzig and Frankfurt am Main. (pp. 1, 7, 14, 15) www.jensgerber.de Christian Rothe studied visual communication at the Bauhaus University in Weimar. His book » Weil er er war, weil ich ich war « was published by LUCIA in 2015. He lives and works in Weimar. (pp. 3, 4, 5, 6) www.christianrothe.com Nick Putzmann Putzmann has worked as a freelance photographer since concluding his studies of printing & packaging technology and book & media production. Since 2010 he has specialised in the fields of advertising, fashion and people. (pp. 8, 10) www.nickputzmann.com

Manuel Brug

Werner Kopfmüller

Jens Gerber

EDITORIAL DEADLINE: 25.09.2017 | Subject to changes Printed on UPM Cote supplied by LAYOUT: Kommaneun Werbeagentur GmbH

Christian Rothe

Nick Putzmann

THE NEW BRUCKNER Andris Nelsons, new Kapellmeister of the Gewandhausorchester, presents a phenomenal Bruckner symphony cycle on Deutsche Grammophon Bruckner’s masterful symphonies live from the Gewandhaus in musical dialogue with works by Wagner

AVAILABLE NOW

RELEASED FEBRUARY 2018

“Nelsons oﬀers a youthful, impetuous Bruckner. One in which the strings shimmer and glow, while wind and brass combine to unfold the majesty of Bruckner‘s ‘wagnerian’ conception. The playing is a marvel.” THE SUNDAY TIMES

“The w warmth and sonority of the playing playin at the start is enthralling and d the performance unfolds with c character and excitement.” GRAMOPHONE

RELEASED MARCH 2018