Hot on the heels of standing in at the last-minute for an indisposed Sir Colin Davis to make his debut with the London Symphony Orchestra in October 2012, Manfred Honeck once again has been called in to cover for Sir Colin on Sunday 24th and Tuesday 26th March at the Barbican Centre. His performance in October, comprising Mozart's Symphony No. 41 and the complete 'Das Knaben Wunderhorn' songs of Mahler with soprano Dorothea Roeschmann and tenor Ian Bostridge, was critically acclaimed, and revealed a close artistic affinity between Honeck and the LSO players. Mark Berry commented in www.seenandheard-international.com that in the Mozart symphony, ”Honeck and the orchestra combined the intimacy of chamber music with the dramatic urgency of the opera house, and in its dark Romanticism, this performance edged the music to but a stone’s throw from Schubert’s Unfinished Symphony.” By a happy coincidence, it is indeed Schubert’s Unfinished Symphony that Honeck will lead this month, with the second half of the concerts comprising Brahms’ Violin Concerto, with the lush yet demanding solo part in the mesmerising hands of IMG Artists stablemate Nikolaj Znaider. For more information, and to book tickets, go to http://lso.co.uk/144/Schubert-and-Brahms/495
A rare visitor to the London concert stage, Honeck was born and bred into the Viennese tradition in which Brahms and Schubert lived and worked, his decade as violist in the Vienna Philharmonic profoundly influencing his subsequent career as a conductor. He is currently Music Director of the Pittsburgh Symphony Orchestra, with whom he made two highly-acclaimed appearances at the 2011 BBC Proms, and is also recording a Mahler symphony cycle to great acclaim. International Record Review praised his recent "magnificently played and nobly conceived" account of Symphony No. 3 as "one of the most successful readings I’ve heard of the work in recent years – approaching even Abbado’s inspired Lucerne version. It has an intensity and coherence that are truly stirring – the conductor seems to be able to combine a long architectural view of this immense canvas with particularly sharply etched characterization of individual moments. [...] Honeck’s judgement seems just right in terms of tempo and the quality of the playing is extraordinarily flexible and responsive to the shifting orchestral colours."
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