Pinchas Zukerman was born in Tel Aviv and completed his studies with Ilona Fehér in Israel and at the Juilliard School in New York. For four decades, he has been one of the leading figures on the international classical music scene. His prodigious technical mastery is married to a deep musicality; as a violinist, violist, conductor, teacher and chamber musician alike, he is among the best of the best. In the 2010/11 season, he performed more than 100 concerts in America, Europe and Asia. With hi...s chamber orchestra, the Zukerman Chamber Players, he appeared in Vienna, Paris, Milan and Warsaw, while as conductor he toured with the Royal Philharmonic Orchestra in China, Israel and Europe, and conducted both the New York Philharmonic and the Israel Philharmonic Orchestra. His output of more than 100 recordings has garnered him some 21 Grammy nominations; winning the award for Best Chamber Music Performance in 1980, and for Best Instrumental Soloist in 1981. Beethoven wrote the Coriolanus Overture in 1807, inspired by H. J. von Collin’s drama Coriolan. The drama depicts the figure of Coriolanus as seen by Plutarch, and Beethoven’s imagination was clearly captured by the chance to portray the hero in music. When writing the Coriolanus Overture, Beethoven did not follow the action of the play as closely as he did for the Leonora Overtures written for Fidelio. He endeavoured instead to produce a condensed symphonic work embodying the essence of the dramatic conflict. Except for a few unfinished efforts in his youth, the Violin Concerto in D major is Beethoven’s only work in the genre. Composed in 1806, the piece was premièred on Christmas Eve of the same year in Vienna, and published in 1808 by the Bureau des Arts et d’Industrie in the “Vienne et Pesth” edition. A curious aspect of the work’s subsequent history was that Beethoven rewrote it as a piano concerto and supplied it with cadenzas in 1807, but it never gained currency in this form – understandable given that, in both content and form, it is every bit a violin concerto. In May 1911, three months after its première in Dresden, the Budapest audience got the chance to hear Richard Strauss’s new opera, Der Rosenkavalier. It was a huge success: in the composer’s lifetime the work was performed at the Budapest Opera House more than 100 times. Set to a brilliant libretto by Hugo von Hofmannsthal, the opera takes place in the time of Maria Theresa, yet, in a nostalgic farewell to the golden age of the Monarchy, Strauss assigns a key role to the waltz, a form that did not exist before the 1820s. “I did not wish to write philosophical music or to translate Nietzsche’s great work into the language of music. My goal was to paint a picture of the evolution of the human race from the beginnings… until the birth of the Nietzschean idea of the Übermensch,” wrote Richard Strauss of Also sprach Zarathustra, which was composed in 1896 and performed for the first time later that year in Frankfurt, with the composer himself conducting. The symphonic tone poem in eight sections cannot thus be classed as programme music, even if the composer used subtitles from Nietzsche’s work as the titles of the individual sections. Presented by: Budapest Festival Orchestra
Parking information
We wish to inform you that in the event that Müpa Budapest's underground garage and outdoor car park are operating at full capacity, it is advisable to plan for increased waiting times when you arrive. In order to avoid this, we recommend that you depart for our events in time, so that you you can find the ideal parking spot quickly and smoothly and arrive for our performance in comfort. The Müpa Budapest underground garage gates will be operated by an automatic number plate recognition system. Parking is free of charge for visitors with tickets to any of our paid performances on that given day. The detailed parking policy of Müpa Budapest is available here.
Safe ticket purchase
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