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Tour: Dohnányi, Schumann, R. Strauss

Buchbinder, Fischer

March19, 8:00 P.M.
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Ernő Dohnányibio:
Symphonic Minutes, Op. 36

Robert Schumannbio:
Piano Concerto in A minor, Op. 54


Richard Straussbio:
Don Juan, Op. 20
Tanz der Sieben Schleier from Salome, Op. 54
Till Eulenspiegels lustige Streiche, Op. 28




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The event is about 2.5 hours long.

About the event

Symphonic Minutes, then “something between a symphony, a concerto and a large sonata,” a symphonic poem, an opera excerpt and “an old scoundrel’s tale – in rondo form.” Three composers with a fantastic gift for orchestration; untold yet audible stories and the endless mix of timbres in an orchestra – this is on offer at the joint concert by the BFO and the legendary Rudolf Buchbinder, an authority with sixty years’ experience. The pianist, known for his Beethoven performances, appears on the podium after Dohnányi’s Symphonic Minutes (composed with a ballet stage in mind) to perform Schumann’s only completed piano concerto. After the intermission, the focus is on Richard Strauss: the story of the famous womanizer is followed by Oscar Wilde’s seductive but terrifying heroine, then, eventually, Till Eulenspiegel provides edifying minutes with his musical pranks.

In 1933, to celebrate the 80th anniversary of the Orchestra of the Philharmonic Society, the great trio joined forces: One work each from Bartók, Kodály, and Dohnányi was on the program of the jubilee concert. Years later, Symphonic Minutes reached the stage of the Hungarian Royal Opera House with choreography by Dohnányi’s wife, Elza Galafrés. The five movements are the ethereal Capriccio, a somewhat dejected Rapsodia, a buoyant Scherzo, a movement of variations on a 16th century melody and a carefree Rondo.

In 1841, Schumann wrote a lyrical fantasy for piano and orchestra, to which he added two further movements four years later. The Piano Concerto in A minor was thus born. The composer broke with tradition and, instead of presenting a showy solo instrument, he made the piano an integral part of the orchestra. The beautiful musical dialogs of the opening movement, the extreme emotions of the Intermezzo, and the virtuosity of the vigorous Finale, bursting in attacca, have made the piece one of the most popular concertos.

A teasing, increasingly vehement musical theme for four French horns with lyrical melodies between the returns of the theme – anyone can guess without knowing the title: this is all about Don Juan’s conquests. Strauss did not permit the printing of a text next to his composition of 1888 since the story could clearly be followed in his music. A concise, impressive portrait, rich in tunes.

A seductive woman to replace the seductive man: young Salome, performing a thrilling dance in front of her stepfather, can ask for anything in return for dropping her seven veils. And she wants the head of John the Baptist on a silver platter. The wonderful last scene, preceding complete madness, is the best-known part of Strauss’ opera, premiered in 1905; its exotic music builds up gradually.

The last piece of the concert commemorates Till Eulenspiegel, a scoundrel from the world of German tales. The distinct adventures, presented in rondo form, are connected by two unmistakable Till motifs, playing even after the death of the protagonist, since “épater le bourgeois” is everlasting.

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