Orchestre de Chambre de Lausanne | Renaud Capuçon

The bow of Renaud Capuçon, who has become a regular guest at the Dijon Opera, sings one of the most perfect pages of classical violin, before the breadth and complexity of one of the monuments of the orchestral repertoire: Schubert's 'Great' Symphony D.944.

Composed in 1775, Concerto No. 5 is one of Mozart's finest gifts to the violin. From the opening Allegro and its ample introduction, the nobility of expression and melodic purity impose themselves, before the Adagio reveals the mysteries of its dreamlike warmth, sometimes tinged with tragedy by minor colours. The sumptuous dialogue between orchestra and soloist culminates in the concluding Rondo, which is bursting with sonic discoveries and adopts the spirit of the Hungarian czardas that already delighted Haydn. Schubert's Symphony D.944, 'The Great', with its extraordinary proportions, is just the thing. The 29-year-old who composed it never heard it, and it was left to Mendelssohn in 1839 to premiere this imposing work, which is sometimes said to herald Bruckner. A solemn portico, the contrasting first movement precedes an Andante that gives pride of place to the woodwinds. This is followed by a Scherzo whose vigour is sometimes veiled in sadness, and finally the colossal Finale: all Schubertian means come together in this piece, which is reminiscent of Beethoven's "Ode to Joy" and whose indescribable Coda ends in apotheosis.