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The Vilnius Festival follows the tradition of revealing the poetic origins of music at the first concert and presenting the audience with spectacular interpretations of monumental musical masterpieces. This time, Christian Tetzlaff, one of the most sought-after and exciting musicians on the classical music scene, will interpret Johannes Brahms’ opus of extraordinary complexity.

Tetzlaff’s concerts have been described as existential experiences in which old, familiar works come to life and appear in a new light. It is said that Tetzlaff “speaks” with his violin – his interpretations encompass a wide range of expressive means and do not aim only at harmony or virtuosic brilliance. This violinist also fascinates audiences and music critics alike by drawing attention to forgotten masterpieces with his unique interpretations, and by introducing music connoisseurs to new developments in the contemporary violin repertoire.

Music critics maintain that each of Tetzlaff’s interpretations of Brahms’ Concerto for violin and orchestra in D major is better than the other. In the opening concert of the Vilnius Festival, the renowned violinist will share the stage with the master of the baton, Miriani Khukhunaishvili, who has had the honour of earning the special affection of the conductor Christoph Eschenbach. Khukhunaishvili has been awarded the Ringmann-Jaross Award established by the legend of the baton, and the Maestro has been mentoring and supervising the young conductor’s career. The conductor, who will make his debut with the LNSO at the Vilnius Festival, is invited to collaborate with some of today’s most renowned classical music ensembles, conductors and soloists.

Brahms dedicated his Violin concerto in D major to his friend, the legendary violinist Joseph Joachim, the first important musician he met when he had just left his home in Hamburg to seek fortune and fame. This work was born out of their close collaboration, twenty-five years after their meeting.

Jean Sibelius reached what he considered to be his mature thirties, and it was only then that he began to compose his First symphony in E minor. The composer did not indicate the symphony’s title or programme, but scholars of his music have identified a number of personal, autobiographical moments in this work. The original score of this symphony has not survived, while the composer’s own version, edited after the premiere, impresses with numerous string and brass solos and a highly evocative musical language.

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