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OCT/NOV 2009 | ![]() |
| ELECTRIFYING RAPPORT | OTHER OCT/NOV FEATURES ON CSO.ORG | ||||
Riccardo Muti
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Bernard Haitink
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CSO Resound
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Opening Night
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Enter to Win!
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Bell Plays Bruch
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MUTI RETURNS!
Muti’s two-week residency starts with Mozart’s
bright and spirited Haffner Symphony, which the
composer wrote in honor of a family friend at his
father’s request. The young composer complained
that he was totally swamped, “and now you want
me to write a new symphony! How can I do that?”
Mozart worked furiously, finishing the assignment
in a blur. Months later, when he found time to
examine the score, he was quite pleased, saying
that it “truly surprised me.”
The CSO’s performances of Bruckner’s symphonies
have set the standard among orchestras, delighting audiences and
critics around the world. Remarkably, it has been 18 years since
Chicagoans have heard the CSO perform the
Second Symphony. This early work quotes the
composer’s F Minor Mass; spotlights the strings,
especially the cellos; and has Bruckner’s signature
grandeur and drive. Critics who recently heard
Maestro Muti conduct this symphony marveled at
its precision and passion. Muti delivered a tour de
force,
“managing to make passages sound as fast
and clear as Rossini” with a third movement and
finale that had “an opera-like dramatic feeling as if
he were still director of La Scala.”
BRAHMS REQUIEM
Thursday, October 22, 8:00
Friday, October 23, 8:00 Saturday, October 24, 8:00 Tuesday, October 27, 7:30
Maestro Muti also leads the Orchestra and
Chorus in four performances of Brahms’
A German Requiem, with Swedish soprano Elin
Rombo and Canadian baritone Russell Braun
making their CSO debuts.
Comparing the requiems of Brahms and Verdi,
Muti notes that “the two are completely different.
The text [of Verdi] is one of the most terrifying…a
work that underlines the pains, worry, and fears
of all of us.” Brahms‘ seven-movement creation
was written to soothe those who mourn. Instead
of following a particular liturgy, Brahms took
an unconventional approach, choosing various
Bible passages to make up the text. Reflective and
tender, with words of comfort, this is a universal
work for the living. “I would gladly omit even
the word German and instead use Human,” the
composer declared.
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