Chicago Symphony Orchestra - Backstage OCT/NOV 2009 Chicago Symphony Orchestra
ELECTRIFYING RAPPORT OTHER OCT/NOV FEATURES ON CSO.ORG
Riccardo Muti

Bernard Haitink

CSO Resound

Opening Night

Enter to Win!

Bell Plays Bruch

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
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.