Martha Argerich / Symphoniker Hamburg

The world-famous pianist and the orchestra that she enjoys a close connection with present works by Ravel and Beethoven. On the conductor's rostrum: Sylvain Cambreling. Video from 19 Feb 2021.

She has maintained a close relationship with the Symphoniker Hamburg for some years now, and Martha Argerich regularly returns to her beloved Laeiszhalle. Despite the current situation, she makes sure to enjoy a digital reunion with her fans: together with the orchestra under its chief conductor Sylvain Cambreling, she presents a programme full of musical highlights. Maurice Ravel’s subtle »Le tombeau de Couperin« is followed by Beethoven’s boisterous and parodistic Eighth Symphony, before we return to Ravel and his Piano Concerto permeated by jazz harmonies.

Dieses Online-Konzert ist eine Veranstaltung der Symphoniker Hamburg. Die Interviews mit Martha Argerich und Kultursenator Dr. Carsten Brosda in voller Länge sowie viele andere Symphoniker-Konzertfilme finden Sie auf symphonikerhamburg.de.

»Her performances are at once thunderous and skilful, transcendent and human.«

The Economist

Performers

Symphoniker Hamburg
Martha Argerich piano
conductor Sylvain Cambreling

Programme

Maurice Ravel (1875–1937)
Le tombeau de Couperin (1917)

Ludwig van Beethoven (1770–1827)
Symphony No. 8 in F major, Op. 93 (1811/1812)

Maurice Ravel 
Piano Concerto in G major (1932)

Martha Argerich Martha Argerich © Daniel Dittus
Sylvain Cambreling Sylvain Cambreling © Martin Siegmund
Symphoniker Hamburg & Sylvain Cambreling Symphoniker Hamburg & Sylvain Cambreling © J. Konrad Schmidt

The Music

The concert begins and ends with one of Martha Argerich’s favourite composers, Maurice Ravel. In  the wake of the First World War, the French composer dedicated the individual movements of his piano suite »Le tombeau de Couperin« to his fallen comrades. The G major concerto, by way of contrast, is a thoroughly exciting example of 1920s music, which mixes Spanish sounds with elements of jazz.

What happens when music falls into a crisis of its own making is illustrated by Ludwig van Beethoven’s Eighth Symphony. Before he wrote his groundbreaking Ninth, Beethoven deliberately drove the symphony genre straight into a wall. His Eighth can be understood as the climax of his symphonic oeuvre so far – or as a parody of the same. The result is wild and boisterous, cheekily flouting established conventions.

The Laeiszhalle :The neo-baroque jewel of Hamburg

Laeiszhalle Brahms Foyer
Laeiszhalle Brahms Foyer © Thies Rätzke

Have a look

It has survived two world wars, and has welcomed numerous legendary musicians: the Laeiszhalle has been a fixed point in Hamburg's musical landscape for over a century now. Our guides give you a tour of the building, complete with velvet, stucco and architectural highlights, in a series of short videos.

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