21 | 02 | 18


ccn weimarhalle



Werke von Sergej Prokofjew und Peter I. Tschaikowsky

7th Symphony Concert 2013/14 //


Sergei Prokofiev Sinfonia concertante in E minor op. 125 for violoncello and orchestra
Peter I. Tchaikovsky Symphony No. 6 in B minor op. 74 “Pathétique”


Among Prokofiev’s compositions for violoncello and orchestra, his symphonic concert op. 125 is perhaps the most significant – firstly, because Mstislaw Rostropovich, the cello virtuoso to whom the piece is dedicated, played a key role in its musical development, and secondly, because Prokofiev succeeded in reworking his somewhat flawed cello concerto from the late 1930s into a fundamentally new work with bite and drama. A metamorphosis in the best sense of the word, where the orchestra as the soloist’s veritable partner, provides an enormous surge of inspiration and energy and thereby highlights the communicative aspect of music making.

Daniel Müller-Schott engages in this dialogue with the Staatskapelle Weimar. As one of the most individual representatives of the young generation of cellists, he recently performed Prokofiev’s »Sinfonia concertante« for a CD recording – an interpretation equal to that of Rostropovich’s, as Müller-Schott thrills the audience with his fresh, confident approach to Prokofiev’s music and gives free reign to the fantasy of sound.

Tchaikovsky’s »Pathétique« is both a farewell and last outpouring of joy by an artist whose life was scarred by depression and whose death three weeks after its world premiere still remains unresolved. The »death key« of B minor, the dream-like, melancholy sound and the extinguishing final movement (a stark contrast to Tchaikovsky’s usually energised, almost frenzied symphonic finales) are reason to believe that the composer consciously strived for closure and perhaps wanted to just be himself artistically. Programme music or not? In any case, »Pathétique« is not a symphony that adheres to convention, but possesses an emotional depth despite its seemingly beautiful appearance. In any case, it was not the composer’s intention to provide a light at the end of the tunnel.

Introduction: 6.45 pm in the Flügelsaal I (Weimarhalle). The introduction is given in German.


Daniel Müller-Schott (Violoncello)