Konzerthausorchester Berlin, Iván Fischer

The libretto of the ballet, for which Beethoven wrote his overture “The Creatures of Prometheus,” is unfortunately lost. Contemporary reviews show that it was about the efforts of the Titan Prometheus to make progress for humankind — through the gift of fire as well as through science and art.

This is followed by Beethoven's Fifth Piano Concerto, whose public premiere the increasingly hard-of-hearing composer was unable to perform himself in 1812 as with his four predecessors. As a “symphonic piano concerto,” it had a great influence on the development of the genre up to Johannes Brahms. The renowned French pianist Pierre-Laurent Aimard is visiting the Konzerthausorchester for the first time, which is conducted by honorary conductor Iván Fischer.

The fact that Robert Schumann, who was mentally ill, should attempt to end his life in the Rhine on Rose Monday 1854, is still nothing to say in his third symphony. It was created in his first happy months as Düsseldorf music director at the end of 1850. He praised the “cheerful, relaxed nature” of the Rhinelanders, their “fresh artistic spirit” and felt at ease. If you want, you can easily read this atmosphere from his symphonic tribute to the Rhine and the Rhineland.

Program: Ludwig van Beethoven: Overture to the Ballet “The Creatures of Prometheus” in C major op. 43; Ludwig van Beethoven: Concerto for Piano and Orchestra No. 5 in E flat major op. 73; Robert Schumann: Symphony No. 3 in E flat major op. 97 (“Rhenish”)