Brahms and Dvořák to Die For

A Symphony and a Concerto of Epic Proportions

Classical Arizona PBS is excited to bring you the second concert in the series by The Phoenix Symphony, airing on Monday nights at 7:00 p.m. This week, the Symphony prepares to bring two iconic works to life under the baton of Maestro Tito Muñoz, on Monday Night at 7:00 p.m., audiences are in for an extraordinary evening of music. Featuring Brahms’ Symphony No. 2 and Dvořák’s Cello Concerto, with world-renowned cellist Johannes Moser, this concert is a perfect pairing of lyrical beauty and emotional depth. Both pieces stand as monumental testaments to the composers’ mastery of the symphonic and concerto forms, and together, they promise a powerful musical experience.

Brahms’ Symphony No. 2: Lyrical Lightness with Profound Depth

Composed during the summer of 1877, Johannes Brahms’ Symphony No. 2 in D major is often referred to as his “pastoral” symphony due to its idyllic, serene nature. However, while it is filled with bright and joyous moments, it also delves into the more introspective sides of human emotion. After the intensity of his first symphony, Brahms’ second seems like a breath of fresh air, embodying a relaxed sense of well-being. Yet beneath the outward joy lies a deep emotional complexity that unfolds as the music progresses.

The symphony opens with a warm and inviting theme in the strings, evoking images of nature and tranquility. Brahms’ mastery of orchestration shines through immediately, as he uses the orchestra in a way that feels both grand and intimate. The woodwinds offer playful interjections while the brass provides a majestic undertone, setting the tone for the entire work. As the first movement develops, Brahms takes the listener on a journey that’s full of lyrical beauty, but also imbued with moments of melancholy.

The second movement, in particular, stands out for its depth and emotional range. Here, Brahms creates a more somber and reflective atmosphere, giving the listener a moment to pause and absorb the rich harmonies and introspective melodies. It’s this combination of light and dark, joy and sorrow, that gives the Symphony No. 2 its profound emotional impact. The final movement, by contrast, bursts forth with exuberance and vitality, ending the work on a triumphant note that leaves listeners uplifted.

Dvořák’s Cello Concerto: A Masterpiece of Passion and Drama

If Brahms’ Symphony No. 2 is a study in balance and lyricism, then Antonín Dvořák’s Cello Concerto in B minor is a work of raw emotion and dramatic intensity. Composed between 1894 and 1895, during Dvorak’s time in the United States, the concerto is widely regarded as one of the greatest works in the cello repertoire. It stands as a testament to Dvořák’s ability to combine folk-inspired melodies with complex symphonic writing, creating a piece that is both deeply personal and universally resonant.

The Cello Concerto opens with a powerful orchestral introduction, setting the stage for the entrance of the soloist. Unlike many other concertos of the time, Dvořák does not immediately hand the spotlight to the soloist. Instead, he allows the orchestra to develop the main themes before the cello enters, making the soloist an integral part of the symphonic texture rather than a mere focal point. When the cello does enter, it does so with a lyrical line that is both tender and full of longing.

Throughout the concerto, Dvořák juxtaposes moments of quiet introspection with passages of fiery intensity. The second movement is particularly poignant, often seen as a tribute to Dvořák’s sister-in-law, Josefina, whose illness deeply affected the composer. His emotions are on full display as the cello’s musical line expresses a range of emotions from sorrow to hope. An integral part of any work by Dvořák is his incorporation of folk elements into his works. Listeners will hear that particularly in the final movement duing which elements of Czech folk music bring a sense of joy and celebration to the concerto’s conclusion. However, even in its joyous moments, the concerto never loses its underlying sense of gravitas and emotional depth.

For this performance, cellist Johannes Moser returns to The Phoenix Symphony for the Dvořák Cello Concerto. Known for his expressive playing and technical brilliance, Moser is the perfect soloist to navigate the intricate balance of passion and precision the work demands. He shared his thoughts on the work in this video:

A Musical Experience Not to Be Missed

Together, Brahms’ Symphony No. 2 and Dvořák’s Cello Concerto form a concert program that is both emotionally compelling and musically rich. Brahms offers us a glimpse of serenity and introspection, while Dvořák pulls us into a world of passion and drama. Under the direction of Tito Muñoz and featuring Johannes Moser, this performance by The Phoenix Symphony promises to be an unforgettable journey through two of the most beloved works in the classical repertoire.

This program also features Solis, a work by Amanda Harberg, which adds a contemporary spark to the evening. Solis is an orchestral tone poem inspired by a vivid childhood memory when, at age five, she heard Tchaikovsky’s Pathétique Symphony during a Philadelphia Orchestra performance amid a thunderstorm. The powerful combination of music and storm left an indelible mark on her, sparking a lifelong passion for music. The title Solis reflects the golden brilliance of the sun and the word “solace,” which weaves into the emotional landscape of this tone poem, opening with a poignant trumpet melody over a soft string backdrop.

Listeners are in for a treat with this concert produced by Classical Arizona PBS. It will captivate with its blend of beauty, emotion, and sheer musical brilliance. So, mark your calendars, and get ready for an evening of Brahms and Dvořák to Die For—a celebration of two towering figures of the Romantic era, brought to life by The Phoenix Symphony, Monday night at 7:00 PM.

About the Artist…

Hailed by Gramophone Magazine as “one of the finest among the astonishing gallery of young virtuoso cellists”, German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic at the Proms, London Symphony, Symphonieorchester des Bayerischen Rundfunks, Koninklijk Concertgebouworkest, Tonhalle Orchestra Zurich, Tokyo NHK Symphony, Philadelphia and Cleveland Orchestras with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Christian Thielemann, Pierre Boulez, Paavo Jarvi, Semyon Bychkov, Yannick Nézet-Séguin, and Gustavo Dudamel.

His recordings include the concertos by Dvořák, Lalo, Elgar, Lutosławski, Dutilleux, Tchaikovsky, Thomas Olesen and Fabrice Bollon (Electric Cello), which have gained him the prestigious Preis der Deutschen Schallplattenkritik and the Diapason d’Or. In 2022, Johannes Moser released a highly innovative new album on the Platoon label featuring six new commissions for electric cello, alongside multi-layered arrangements of works for cello ensemble utilising DOLBY ATMOS’ revolutionary new audio technology for which The Strad commented, “…there’s no questioning Moser’s ambition, nor the sheer sense of verve with which he pulls it all off…”. Alone Together is one of the first classical music albums to use multi-tracking so extensively.

In the 2024/25 season, Johannes will perform the World Premiere of Anna Thorvaldsdottir’s Cello Concerto with the San Francisco Symphony (Stasevska), Saint-Saens Cello Concerto No. 1 in debut appearances with Detroit Symphony (Chauhan) and with the Sydney Symphony Orchestra (Petrenko) in four performances at Sydney Opera House. Johannes will also return to the Chicago Symphony Orchestra (Slobodeniouk) in Lutoslawski’s Cello Concerto.

In Europe, Johannes will perform with the Deutsches Sinfonie-Orchester Berlin (Poschner) in Philipp Maintz’ Cello Concerto “Upon a moment‘s shallow rim”, Sinfónica de Galicia (Rakitina) in Detlev Glanert’s Concerto for Cello and Orchestra, in addition to with the Malmo Symphony Orchestra at Malmo Live (Gabel) in Dvorak’s Cello Concerto. Johannes will also tour Belgium with the Symfonieorkest Vlaanderen (Koncz) in Elgar’s Cello Concerto and feature at the Kissinger Sommer Festival with the Orchestre Philharmonique Royal de Liège (Bringuier) in Dvorak’s Cello Concerto.

A dedicated chamber musician, Johannes has performed with Emanuel Ax, Joshua Bell, Jonathan Biss, James Ehnes, Vadim Gluzman, Leonidas Kavakos, Midori, Menahem Pressler and Yevgeny Sudbin. Johannes is also a regular at festivals including the Verbier, Schleswig-Holstein, Gstaad and Kissinger festivals, the Mehta Chamber Music Festival, and the Colorado, Seattle and Brevard music festivals.

Renowned for his efforts to expand the reach of the classical genre, as well as his passionate focus on new music, Johannes has recently been heavily involved in commissioning works by Julia Wolfe, Ellen Reid, Thomas Agerfeld Olesen, Johannes Kalitzke, Jelena Firsowa and Andrew Norman. In 2011 he premiered Magnetar for electric cello by Enrico Chapela with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and in the following season he continued this relationship with the orchestra performing Michel van der Aa’s cello concerto Up-close. Throughout his career, Johannes has been committed to reaching out to all audiences, from kindergarten to college and beyond. He combines most of his concert engagements with masterclasses, school visits and preconcert lectures.

Born into a musical family in 1979, Johannes began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations. In 2014 he was awarded with the prestigious Brahms prize.

A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, Johannes Moser is a keen hiker and mountain biker in what little spare time he has.

Johannes Moser plays on an Andrea Guarneri Cello from 1694 from a private collection.