Artists

Soloist

7 Oct '20

Concert
7 Oct '20

Frank Peter Zimmermann

Tour

Concert dates and locations

Artists

Programme

Anton Webern went down in music history as a master of the small form who composed only a handful of orchestral works. In 1908, after completing his composition studies with Arnold Schönberg, he made his Passacaglia op. 1 publicly known. It is a threshold work in the best sense of the word, both retrospective and prospective. If this op. 1 had purely been a "graduation project", one might have expected it to be related to the sound universe of late Romanticism. Instead, Webern chose the strict form of the baroque Passacaglia: variations on a short theme, mostly in the bass line. Its historical models include composers such as Frescobaldi, Purcell and Bach, as well as Brahms (Finale of the 4th Symphony). Besides, Webern had been engaged in an intensive study of the music of Heinrich Isaac in previous years. The theme of his Passacaglia is first introduced by the strings. It consists of eight notes that can be assigned to the key of D minor. The task of the following 23 variations is to enhance the emotional content of this raw material. The theme itself retreats behind a network of ornamentation and counterpoint. The emotional density of the last variations and the fading conclusion suggest, however, that this music is not only a proof of craftsmanship. This Passacaglia instead allowed Webern to deal with a personal twist of fate, the death of his mother in 1906.
Manon Gropius was Alma Mahler's daughter from her marriage to the architect Walter Gropius. Many intellectuals were enraptured by the young woman's charisma; she is like "an angelic gazelle from heaven" said the writer Elias Canetti. When Manon died of polio at the age of 18, Vienna was shocked. Her stepfather Franz Werfel remembered her in two stories, while Alban Berg dedicated his violin concerto to her. This work was initially commissioned by Louis Krasner. When Berg was approached by the American violinist in February 1935, he was still working on his opera "Lulu", but felt financially strained by the National Socialists' seizure of power. Berg therefore immediately tackled this "drudgery". As soon as Manon's death was announced in April, the concert took shape as music of memory, an instrumental requiem.
The two parts of the work correspond to the girl's life and the afterlife: the first part attempts to capture the characteristics of the deceased, while the second is devoted to her legacy. The concerto is based on a twelve-tone series that not only contains major and minor triads, but also the beginnings of a Carinthian folk song and a Bach chorale. Berg thus combined the avant-garde compositional style learned from his teacher Schönberg with traditional elements. The Violin Concerto tragically became Berg's own Requiem: in the course of his work, the composer was infected by a mosquito bite and died of septicaemia at the end of 1935.
With his Third Symphony, Ludwig van Beethoven broke new compositional ground. Not only is the piece considerably longer than the longest symphonies of Haydn and Mozart, but its inner conflicts are also far more profound than anything that has gone before - more precisely: beyond the boundaries of the movements. The massive orchestral outbursts that conclude the dramatic first movement are more a breath of fresh air than an ending. The underlying conflicts remain unresolved, the development continues with the funeral march (second movement), the momentum of the Scherzo upswing to the dancing intoxication of the Finale. Only then has the goal been reached. The Symphony in E-flat major is thus more than just a sequence of four different movements. It is based on a superordinate idea, a programme, which is yet another Beethovenian innovation. Circumstances of the time and hope for a better future – in the air since the French Revolution – are what drive this programme. The "Eroica" translates this hope into music. Beethoven thought he had found in Napoleon Bonaparte a suitable bearer of hope. It turned out, however, that the latter was as corruptible as others, which is why the composer withdrew the dedication he had planned. May such a masterpiece be modified? Gustav Mahler did, taking into account the significant progress in playing technique and instrument making that had been made in the meantime. His interventions in the musical text were primarily limited to instrumentation. Mahler's intention was, therefore, not to improve Beethoven, but to help him meet his intentions.

Recommend now

Good to know

Frank Peter Zimmermann made his mark on the international music scene almost 40 years ago. Following his debuts with the Vienna and Berlin Philharmonic Orchestras, he gave concerts all over the world and recorded the major violin concertos. He has also performed several world premieres such as Pintscher's "En sourdine" in 2003. The Duisburg-born violinist has received countless prizes and awards, including the annual prize of the German Record Critics' Association, several ECHO awards and the Federal Cross of Merit. Zimmermann has always remained true to himself: a few years ago he switched to smaller CD labels in order to preserve his artistic independence. In addition to the concertante repertoire, chamber music is very close to his heart. Cellist Heinrich Schiff, violist Tabea Zimmermann and pianist Christian Zacharias are among his long-standing partners. In 2007, he founded the Zimmermann Trio with Antoine Tamestit and Christian Poltéra.

Recommend now