Spotlight on ... the »White Nights« of the Orchestral Concert III

Gianandrea Noseda: Shostakovich’s Symphony No. 9 was born amid the wounds and horrors of World War II, showing us a possible and unexpected way out: from the ruins, one can rebuild, be reborn, and envision a future based on values different from those responsible for war.

Hendrik Ibsen’s poem »Peer Gynt«, set to music by Grieg, tells the story of the fall and eventual redemption of an anti-hero against the backdrop of a Nordic setting, enriched with the colors and atmospheres typical of Scandinavia.

Tchaikovsky’s Violin Concerto caused the composer much pain due to its initial rejection by prominent virtuosos of the time and the harsh criticism it received when it was finally performed. However, the success, appreciation, and popularity the concerto gained in the following years— and which continue to this day—have solidified its status as a true masterpiece.

Gianandrea Noseda: The idea connecting the pieces in the program lies in the unique light of the North that permeates all three works. It is the delicate, pearlescent glow of the »White Nights« described by Fjodor Dostojevsky and Ibsen, which in winter transforms into a cold, eerie, and mysterious darkness.

Gianandrea Noseda:I would love to drink an espresso with Tchaikovsky to start the new day with energy and positivity. To share a glass of Riesling with Grieg while gazing at the river and the hills of Salzburg, immersed in nature. To drink vodka with Shostakovich, looking into his eyes through his thick-lensed glasses, without saying a single word — simply savoring the sound of silence.