Bernard Haitink conducts Mozart and Bruckner — With Till Fellner

Mozart’s Piano Concerto in E-flat Major was written near the height of the composer’s popularity in Vienna. Characterized by colorful woodwind writing and playful episodes of call and response between piano and orchestra, the concerto is light and spirited in tone—with the exception of its somber Andante. In an early performance, Mozart’s father Leopold stated, “the Andante had to be repeated (something rare)” — a testament to its unique power and immediate popularity.

“Medieval city—Daybreak—Morning calls sound from the city towers—the gates open—On proud horses the knights burst out into the open, the magic of nature envelops them—forest murmurs—bird song—and so the Romantic picture develops further…” reads Bruckner’s programmatic description of his Fourth Symphony. This work remains a favorite in today’s concert repertoire—and for good reason: From the haunting horn solo and violin tremolo of the beginning to the evocative string melodies of the finale, the symphony combines Wagnerian harmonies with Schubertian lyricism—marking it as one of the pinnacles of Romantic orchestral writing.