Tchaikovsky's 6th

Tchaikovsky's last symphony, the Pathétique, is one of music history's most poignant and enigmatic farewells. The young Mozart, too, composed with a touch of melancholy in his Symphony No. 29. Pyotr Tchaikovsky himself gave his Symphony No. 6 the title Pathétique – “emotional”. The emotions are worn on the sleeve in the passionate melodies, heart-rending passages and violent outbursts of sound that have made the symphony a masterpiece. Tchaikovsky died in mysterious circumstances a few days after the premiere in 1893. The symphony's dark ending has given rise to speculation ever since. For instead of triumph, the music ends in existential pain. Is the work a musical farewell letter? Mozart's Symphony No. 29, by contrast, is full of life. The 18-year-old composer shows an astonishing sense of elegance and melodic invention, while hinting at the seriousness that would later characterise his music. Richard Strauss' Duet-Concertino from 1947 became the composer's last work without voice. A chamber-music game for clarinet, bassoon and string orchestra, in which humour, narrative zest and virtuosity go hand in hand. The solo parts are played by Copenhagen Phil's principal wind players August Finkas (clarinet) and Aleksandr Veryukhanov (bassoon). At the concert on 7 November, Strauss is replaced by Mozart's Piano Concerto No. 20 with the young competition winner Ziye Tao as soloist. Programme: Mozart / Symphony No. 29 R. Strauss / Duet-concertino Tchaikovsky / Symphony No. 6

• Dirigent: Ramon Tebar / Solister: August Finkasklarinet & Aleksandr Veryukhanov, fagot