Composed during the summer of 1788 and performed during his last tour of Germany during the winter of 1789, Mozart’s last three symphonies are undoubtedly one of the fundamental contributions of classicism to the orchestral repertoire. Tragic and bright at the same time, the Symphony in G minor was a model of classical pathos and rigour for the entire romantic generation, a benchmark that we can trace back to the symphonies of Mendelssohn, Schubert and Schumann.
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It was, in fact, his interest in the vividness of classical moulds, and particularly in the orchestral style and colour of Mozart and Haydn, that prompted Sergei Prokofiev to compose his first symphony, a landmark in the neoclassical repertoire.
The Cello Concerto no. 1 by Camille Saint-Saëns occupies an indisputable place in the cello repertoire as a benchmark work, to the point of being the work that gave the author much greater projection. A leader in terms of its formal conception, it integrates three clearly differentiated sections in a single movement.
It headlines the concert Utopia (2019), by the Basque composer Sofía Martínez, a work premiered by the Bilbao Symphony Orchestra in 2019.