Spain & Andermatt
CHF
About The Programme
The concert will open with the Overture in c minor by the Lucerne composer Franz Xaver Schnyder von Wartensee. This effervescent early work was written in 1818 during the composer’s first years in Frankfurt. Schnyder von Wartensee came from a patrician family in Lucerne and is regarded as the most important Swiss composer from the transitional period when the Classical gave way to the Romantic – though his works are rarely performed today. He was an enterprising figure, with an international network of contacts, and was one of the most important supporters of the “Allgemeine Schweizerische Musikgesellschaft” – the “General Swiss Music Society” – that was founded in 1808. The festivals organised by this Society helped to establish classical music in Swiss life. Alongside works by Swiss contemporary composers, these festivals featured Swiss premières of oratorios and orchestral works by important international composers, especially Handel, Haydn, Beethoven and Mendelssohn, often involving hundreds of participants.
Schnyder von Wartensee by no means needs to shy away from comparison with the great names of his time. We here place his Overture in c minor alongside Wolfgang Amadeus Mozart’s Violin Concerto No. 5 and Ludwig van Beethoven’s 7th Symphony – whose fame is founded not least on its having featured in innumerable films. We do not necessarily have to agree with Richard Wagner’s near-notorious description of this work as “the apotheosis of dance” to realise that the defining feature of this symphony is rhythm. Mozart’s 5th Violin Concerto, by contrast, is regarded as one of his melodically most memorable compositions, and the violinist Alina Pogostkina offers an interpretation of it that is both warm and cogent.
Lineup
ALINA POGOSTKINA, violin
SWISS ORCHESTRA
LENA-LISA WÜSTENDÖRFER, conductor
programme
FRANZ XAVER JOSEPH PETERSCHNYDER VON WARTENSEE (1786–1868)
Overture in c minor
WOLFGANGAMADEUS MOZART (1756–1791)
Violin Concerto No. 5 in A major, K. 219
LUDWIG VAN BEETHOVEN (1770–1827)
Symphony in A major, op. 92
concert hall
Andermatt
How to get there
Details on how to get there can be found on the ANDERMATT MUSIC website.
barrier-free access
The Andermatt concert hall is barrier-free. Wheelchair tickets are available via email at info@andermattmusic.ch or at Andermatt Alpine Apartments at +41 41 888 78 00.
Seating on the balcony is recommended for people with reduced mobility. Chamber music concerts and New Folk Music concerts usually do not have grandstand seating: Here, all seats are accessible without steps.
The Andermatt concert hall has an inductive listening system.
Garderobe
evening ticket office
The box office opens 1 hour before the start of the concert.
Doors open / late entry
Admission to the concert hall is 30 minutes before the start of the concert. Late admission is only possible during applause between plays and on the guidance of the hall staff.
Discount
Discounts are available for children, students and members of the Gotthard MemberClub. Details about the benefits can be found here.
Praised for her “deeply moving performances” (“Hamburger Abendblatt”), Alina Pogostkina, winner of the 2005 Sibelius Competition in Helsinki, performs at many of the world’s most renowned festivals and concert venues, working with conductors such as Michael Tilson Thomas, Gustavo Dudamel, David Zinman, Jonathan Nott, Paavo Järvi, Michael Sanderling, David Afkham, Robin Ticciati, Thomas Hengelbrock and John Storgårds. Alina Pogostkina enjoys longstanding artistic relationships with orchestras such as the Finnish Radio Symphony Orchestra, the Philharmonia Orchestra, the Orchestre Philharmonique de Radio France, the NHK and Yomiuri Nippon Symphony Orchestras, the Deutsches Symphonie-Orchester Berlin, the SWR Symphonieorchester and the Mahler Chamber Orchestra.
Alina Pogostkina displays impressive versatility in a diverse and wide-ranging repertoire from Baroque to Classical, often played on gut strings, and including modern masterworks. St. Petersburg-born Alina Pogostkina grew up in Germany and received violin lessons from her father Alexander Pogostkin. She later studied with Antje Weithaas at Berlin’s Hochschule für Musik “Hanns Eisler”, and Baroque violin with Reinhard Goebel. She plays on a Camillo Camilli violin from 1752.
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