Hilary Hahn plays Mozart

The evening begins with Robert Schumann’s Julius Caesar Overture, a work that captures the political and personal weight of its titular figure through dense, driving orchestral textures. This is followed by Mozart’s Violin Concerto No. 5, often referred to as the 'Turkish' concerto. As you listen, look out for the finale, where the elegant minuet is interrupted by a vigorous section full of rhythmic percussion-like effects on the strings. The second half of the performance focuses on Johannes Brahms’s Symphony No. 1. This composition took the composer many years to perfect as he worked to emerge from the shadow of his predecessors. You will hear a transition from a sombre, questioning opening in the first movement towards a final movement that resolves in a broad, hymn-like melody. The transition provides a sense of arrival and resolution that defines the late Romantic symphonic style, balancing intricate inner parts with moments of sheer orchestral force.

The London Philharmonic Orchestra is a resident ensemble at the Southbank Centre, known for its extensive recording history and versatility across both traditional and contemporary repertoire. For this performance, they are led by conductor Karina Canellakis. Joining them is soloist Hilary Hahn, a violinist recognised for her technical precision and thoughtful interpretations of the classical canon. Hahn’s collaboration with the orchestra and Canellakis brings together three musical forces well-versed in the demands of the Austro-German tradition, from the lightness required for Mozart to the structural complexity of Brahms.

This concert takes place at the Royal Festival Hall in London. The total duration is approximately 86 minutes, making it a substantial but manageable evening for those new to orchestral music or returning visitors alike. The venue is located within the Southbank Centre complex. As is standard for evening orchestral concerts at this venue, there is no formal dress code, and most attendees opt for smart-casual attire. You are encouraged to be in your seat before the music begins to avoid being held at the doors until a suitable gap in the programme.