Ian Bostridge’s extraordinary international career has taken him to the Salzburg, Edinburgh, Munich, Vienna, Aldeburgh and Schwarzenberg Schubertiade Festivals and to Carnegie Hall, the Bayerische Staatsoper, La Monnaie and Teatro alla Scala. His recordings have won all the major international record prizes and been nominated for 15 Grammys.
Hailed as “one of the most thoughtful and sensitive of British pianists” (The Times), Mishka Rushdie Momen has played with the LPO, Mannheim Chamber Orchestra, CBSO, Orchestre National d’Ile de France, Britten Sinfonia and Luzerner Sinfonieorchester; as well as at Wigmore Hall, Carnegie Hall, Philadelphia Chamber Music Society, Lucerne Festival, Zurich Tonhalle, Hamburg Elbphilharmonie, Antwerp deSingel, Phillips Collection in Washington DC and New York’s 92Y.
Schubert’s Schwanengesang is a miraculously beautiful set of songs written at the end of Schubert’s life which divides into two groups, the first being settings of poems by Rellstab, the second by Heine. Schubert’s songs are possibly his most distinctive and moving inventions, and these final songs encapsulate the profundity of feeling and the intimacy of his most confessional music. Interpolated between these two groups are 6 songs by Gabriel Fauré. His unique musical language allows him to compose the most rapturously melodious and yet pure music.
Programme
Franz Schubert (1797-1828) From Schwanengesang, D. 957
i) Liebesbotschaft
ii) Kriegers Ahnung
iii) Frühlings-sehnsucht
iv) Ständchen
v) Aufenthalt
vi) In der Ferne
vii) Abschied
Gabriel Fauré (1845-1924) Lydia ; Chanson du Pêcheur ; Après un rêve ; Nell ; Les Berceaux ; Claire de Lune
Interval
Franz Schubert From Schwanengesang, D. 957
i) Der Atlas
ii) Ihr Bild
iii) Das Fischermädchen
iv) Die Stadt
v) Am Meer
vi) Der Doppelgänger
vii) Die Taubenpost