This week, Matthias Pintscher makes his New York Philharmonic subscription debut conducting the New York premiere of his work mar’eh with violinist Renaud Capuçon.
Matthias writes: “‘Mar’eh’ is a Hebrew word that means ‘face, sign.’ [It] can also mean the aura of a face, a beautiful vision, something wonderful which suddenly appears before you…. mar’eh continually materializes new sounds out of nothing, with the violin acting as protagonist.”
Renaud and Matthias have collaborated in performances of mar’eh numerous times. In its review of their January 2018 performances, the Los Angeles Times wrote that Renaud Capuçon “has an ideally lithe tone and … was able to make mysterious melodies come out of, and after a long flight, fade back into the mists…. Getting all the details right must have been an exacting task, but Pintscher made the performance seem as if it were happening on its own.”
Concerts take place on Thursday 21 February, Friday 22 February, and Saturday 23 February. More information here.
On Saturday, Matthias will also conduct a matinee concert featuring Philharmonic musicians performing Ibert’s Trois pièces brèves and Gounod’s Petite symphonie, for Winds, and curate a Nightcap concert of works by composers he admires, performed by Philharmonic musicians.
Following his debut in 2016, this month will also see Matthias’ first collaboration with the Los Angeles Chamber Orchestra as their Artist in Residence for the 18/19 season.
Other highlights this season include debuts at the Edinburgh International Festival with the Scottish Chamber Orchestra, with the Orchestre de Paris, Rotterdam Philharmonic Orchestra and The Boulez Ensemble with Daniel Barenboim as well as at the Deutsche Staatsoper Berlin in performances of Beat Furrer’s opera Violetter Schnee. Matthias will also appear with the Chicago Symphony, New World Symphony, Cincinnati Symphony and Milwaukee Symphony Orchestras. Matthias is also the Zurich Tonhalle Creative Chair for the 18/19 season.