| Date and venue | Title |
|---|---|
| 9-Apr-2013 Southbank Centre: Royal Festival Hall | Brahms meets Schoenberg: Vienna Philharmonic Orchestra in London for The Rest is Noise |
 Tonight’s The Rest is Noise concert, featuring the Vienna Philharmonic Orchestra, Michael Tilson Thomas and Yefim Bronfman, took on one of 20th-century music’s biggest questions. Anyone who has been following this huge concert series – or indeed the accompanying BBC documentary The Sound and the Fury – will no doubt be acquainted by now with Arnold Schoenberg and his angry, radical ways.Read full review... | |
| 3-Mar-2013 Carnegie Hall: Stern Auditorium/Perelman Stage | Berg and Bruckner from the Vienna Philharmonic on tour in New York |
.jpg) Franz Welser-Möst misses few opportunities to declare his affinity with Anton Bruckner. The conductor, after all, is from Linz in Upper Austria, and Bruckner was born twelve decades earlier in a village just outside the same town. From London to Vienna, Welser-Möst has believed it necessary consciously to advocate for Bruckner’s music. He has even gone as far as dubbing him the “grandfather of minimalism”, to explain pairing his symphonies with the works of John Adams in a recent Cleveland Orchestra residency at Carnegie Hall.
Read full review... | |
| 12-Sep-2012 Theater an der Wien | Vienna Philharmonic disappoints in Manfred concert |
 The risen Christ and a dramatic figure who resists the Christian promise of redemption make for odd conceptual bedfellows, not least of all in a Vienna Philharmonic programme which here saw Messiaen’s L’Ascension sandwiched between the Schumann and Tchaikovsky treatments of Byron’s Manfred.Read full review... | |
| 7-Sep-2012 Royal Albert Hall | Prom 75: Haydn and Strauss with the Vienna Philharmonic |
 It was in the 1790s, when Haydn came to England at the invitation of London-based impresario Johann Peter Salomon, that the twelve 'London' symphonies were composed. They were to be Haydn's last essays in the genre, examples in which, he said, he had to 'change many things for the English public'. Yet, whatever Haydn's vernacular adaptations to the symphony were, this was an account that had an indelible Viennese stamp, in both sound and approach.
Read full review... | |
