Music has always enabled us to take a privileged look at mankind’s greatest questions. The question of what there was in the beginning goes hand in hand with the history of music just as it has been part of all other forms of human artistic expression. This is why reprising the myths of creation and genesis is a never-ending source of inspiration. Thomas Adès, L’Auditori’s guest composer for this season, presents a personal view of the biblical myth of creation by taking a journey through the arrangement of chaos in the form of a piano concerto with video projections.
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In a way, Robert Schumann’s Overture, Scherzo and Finale, Op. 52 is a symphony without a slow movement. In fact, the composer tried to present it as a full symphony during his life, although the editors encouraged him to publish it as a suite whose movements could be performed as separate pieces.
Richard Strauss composed the opera Intermezzo based on an episode from his own marriage. The four orchestral interludes are the most famous pages of this work. The pieces, which are highly descriptive in nature, are usually performed as orchestral suites separately from the opera.