Rafael Fingerlos & Sascha El Mouissi

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October 2024
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Jeunesse All-Star Rafael Fingerlos celebrates Romanticism with songs by Schubert, Brahms, Cornelius – and Robert Fürstenthal. The Austrian-American late Romantic composer was expelled from Vienna by the Nazis in his youth and has recently experienced an extraordinary renaissance. Rafael Fingerlos is fascinated by Fürstenthal's 'surprising harmonic ideas, beautiful, touching melodies, and an ever-present, strong longing for his hometown Vienna.

Program and cast

Rafael Fingerlos: baritone

Sascha El Mouissi: piano

 

Program

Franz Schubert The Wanderer to the Moon D 870

Franz Schubert To the Moon D 259 »Fill bush and valley again«

Franz Schubert Faith in Spring D 686

Franz Schubert By the Brook in Spring D 361

Franz Schubert Bliss D 433

Peter Cornelius Our Father, who art in heaven op. 2/1 (Nine spiritual songs)

Peter Cornelius Hallowed be thy name op. 2/2 (Nine spiritual songs)

Peter Cornelius Thy kingdom come to us op. 2/3 (Nine spiritual songs)

Peter Cornelius Thy will be done op. 2/4 (Nine spiritual songs)

Peter Cornelius Give us this day our daily bread op. 2/5 (Nine spiritual songs)

Robert Fürstenthal The day of the white chrysanthemums (late harvest)

Robert Fürstenthal But I can't see you (late harvest)

Robert Fürstenthal Travel song (late harvest)

Robert Fürstenthal Notturno (late harvest)

Robert Fürstenthal Love song (late harvest)

— Interval —

Johannes Brahms How I pulled myself together in the night op. 32/1

Johannes Brahms Not to go to you anymore op. 32/2

Johannes Brahms I sneak around op. 32/3

Johannes Brahms Woe, if you want me again op. 32/5

Johannes Brahms What are you like, my queen op. 32/9

Max Bruch I think of you, Margaretha op. 33/3

Max Bruch I come from the roses op. 17/4

Max Bruch Monastery song op. 17/10

Max Bruch At midnight op. 59/1

Max Bruch In the deep valley op. 15/3

Johannes Brahms All my thoughts (German folk songs 1894 no. 30)

Johannes Brahms Allow me, lovely girl (German folk songs 1894 no. 2)

Johannes Brahms There is a linden tree (German folk songs 1894 no. 41)

Johannes Brahms The walk to the sweetheart op. 48/1

Johannes Brahms Down there in the valley (German folk songs 1894 no. 6)

Musikverein Brahms Hall

For many years, this hall was known only as the “Kleine Musikvereinssaal”, until in 1937, during the 125th anniversary year of the Gesellschaft der Musikfreunde in Wien, it was given a name that truly reflects its importance: the Brahms Saal. Johannes Brahms not only performed in person in this hall, he was also behind the very first concert to be performed here, by Clara Schumann on 19 January 1870. The standards set that day have been maintained ever since. The Brahms Saal remains one of the most prized locations for the greatest chamber music ensembles and lieder singers performing in the world today.

 

With just under of 600 seats, the hall is designed to showcase the intimate aspects of classical music. The hall acoustics are perfectly attuned to deliver this: the Brahms Saal – 32.50 metres long, 10.30 metres wide und 11 metres high – possesses a similar acoustic brilliance to the Große Musikvereinssaal.

 

When the Musiverein building was opened in 1870, the Kleine Musikvereinssaal was described as a “true little treasure chest”. It was even suggested that this hall might warrant greater praise and wonderment than the Große Musikvereinssaal: “One might even wish to award the prize to this hall for its peacefulness and simple grandeur.” It is abundantly clear that Theophil Hansen’s design for the Brahms Saal created an architectonic masterpiece of the Historicism period. His commitment to the “Greek Renaissance”, evident in the design’s allusions to classical Hellas, make this concert hall an authentic temple of chamber music.

 

In 1993 the Brahms Saal underwent a comprehensive restoration programme. The restoration project involved consulting the original designs held at the Print Room at the Academy of Fine Arts in Vienna.  This made it possible to reconstruct the original colour scheme created by Hansen as the Musikverein’s architect: green walls, red columns and the liberal use of gold.

 

When the Brahms Saal reopened to the public in its new form in 1993, a Vienna newspaper wrote: “Without wishing to raise expectations too high, this has been transformed into the most beautiful, magnificent and prestigious chamber music concert hall we are likely to find anywhere in the world.”

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