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Joining Music Director Esa-Pekka Salonen, violinist Julia Fischer makes her long-awaited return to the San Francisco Symphony in Brahms’s Violin Concerto. Mezzo-soprano Sasha Cooke, tenor Nicholas Phan, and baritone Luca Pisaroni—all regular collaborators with the Symphony—sing in Stravinsky’s cheeky neoclassical ballet Pulcinella, which the composer called “the epiphany through which the whole of my late work became possible.”
These performances are supported by the Wattis Special Performance Fund.
These concerts are generously sponsored by the Athena T. Blackburn Endowed Fund for Russian Music.
AT A GLANCE
The same characteristics that baffled Johannes Brahms's contemporaries are now so commonplace that we might forget how radical the Violin Concerto sounded to late-19th-century ears. Brahms was a big fan of hemiola, the ancient practice of setting two beats against triple meter or three beats against duple meter; the Violin Concerto is full of such rhythmic effects. Harmonically, the concerto is just as ambitious, offering new, sometimes startling adaptations of traditional developments and resolutions that even non-musicians subconsciously expect. Brahms might not have been a radical, but he was a stealthy subversive, slipping his subtle heterodoxies into deceptively pretty packages.
Enrich Your Experience
- Friday, February 23 from 6:30pm-7:00pm: Join Symphony musicians Scott Pingel and Chen Zhao in a preconcert conversation moderated by Phillippa Cole and presented from the stage. Free to all ticketholders.