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Eigentlich sollte es eine Oper werden. Das Eifersuchtsdrama um Pelléas, Mélisande und Goleau hatte Schönberg schon lange fasziniert, bevor er anfing, es zu vertonen. Eine Oper wurde "Pelleas und Melisande" dann doch nicht, aber auch seine sinfonische Dichtung ist ein Werk voller klanglicher Dichte, das die Handlung eindrucksvoll hörbar macht. Sinfonisch dicht ist auch Beethovens Klavierkonzert Nr. 4, in dem er in der Behandlung des Orchesters neue Wege ging - und auch des Klaviers, denn es fängt das Konzert ganz allein an. "Ich liebe alle fünf Klavierkonzerte von Beethoven, aber mein Favorit ist die Nummer vier," sagt Boris Giltburg und wird sicher beeindruckend nachvollziehbar werden lassen, warum.
Die Konzerteinführung im Veranstaltungssaal der Zentralbibliothek (1. OG) beginnt eine Stunde vor dem Konzert.
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