Christian Tetzlaff

Aktuelle Konzerttermine

Fr. 06Dez.2019

Bern

Kultur Casino Bern
Bern, Switzerland

Karol Szymanowski: Violinkonzert Nr. 1 op. 35 (1916)

Do. 09Jan.2020

Hamburg

Elbphilharmonie
Hamburg, Germany

Anton Webern: 6 Stücke für Orchester op. 6
Ludwig van Beethoven: Konzert für Violine, Violoncello, Klavier und Orchester C-Dur op. 56 (Tripelkonzert)
Ludwig van Beethoven: Coriolan op. 62 - Ouvertüre c-Moll zu dem Trauerspiel von H.J. von Collin
Witold Lutoslawski: Konzert für Orchester (1954)

Fr. 10Jan.2020

Lübeck

Lübecker Musik- und Kongresshallen GmbH
Lübeck, Germany

Anton Webern: 6 Stücke für Orchester op. 6
Ludwig van Beethoven: Konzert für Violine, Violoncello, Klavier und Orchester C-Dur op. 56 (Tripelkonzert)
Ludwig van Beethoven: Coriolan op. 62 - Ouvertüre c-Moll zu dem Trauerspiel von H.J. von Collin
Witold Lutoslawski: Konzert für Orchester (1954)

Sa. 11Jan.2020

Hamburg Clubkonzert

Uebel & Gefährlich
Hamburg, Germany

Dmitrij Schostakowitsch: Klaviertrio Nr. 2 e-Moll op. 67, Largo, Allegretto - Adagio
Johannes Brahms: Klavierquintett f-Moll op. 34, Allegro non troppo - Poco sostenuto - Tempo I, Andante, un poco Adagio

Discografie

Presse

Beethoven and Sibelius Violin Concertos

theclassicalreview.com by Leighton Jones, September 21, 2019 – Having recorded the concertos of Beethoven and Sibelius previously, now at the peak of his career, violinist Christian Tetzlaff returns to these two pinnacles of the repertoire. In this pairing for Ondine, Tetzlaff demonstrates how his artistry as a musician, poet and communicative artist have matured into something highly distinguished. Tetzlaff in these new recordings is paired with the Deutsches Symphonie-Orchester Berlin conducted by Robin Ticciati, who have bonded naturally to produce interpretations elevating these works to another level. Together they curate the most interesting path into the extraordinary emotions beneath the surface of the notes. Tetzlaff’s earlier, well-respected rendition of Beethoven’s Violin Concerto with David Zinman and the Zürich Tonhalle Orchestra has a more vivacious feeling. Now a more muted opening movement evolves and grows, fully realizing the allegro ma non troppo indication. The exposition is paced and measured, the solo violin enters with a budding sound which grows organically out of the texture to bloom like a crimson rose. Tetzlaff’s tone has matured into the most exquisite sound, rich and luscious across the complete range. The cadenza, from the piano arrangement of the work, unfolds seamlessly into the coda as it maintains a dignified restraint. The slow movement has a hushed intensity, magnified by hugely impressive dynamics from both Tetzlaff and the Deutsches Symphonie-Orchester, bringing a sense of intimacy. Throughout the quietest pianissimos, Tetzlaff’s tone is unwavering. Launching effortlessly into the final movement there is a measured momentum which becomes captivating. Only on reaching the end of the concerto […]