![]() He has worked regularly with many leading European ensembles and enjoyed many close collaborations with the Berliner Philharmoniker, the Wiener Philharmoniker, Sinfonieorchester des Bayerischen Rundfunk and Chamber Orchestra of Europe as well as the London Philharmonic Orchestra, of which he was Principal Guest Conductor from 2008 to 2014. After a ten-year tenure with the Rotterdam Philharmonic Orchestra, he was appointed Honorary Conductor in 2019, a position he holds to this day. In 2016-2017, he became a lifetime Honorary Member of the Chamber Orchestra of Europe. In September 2018, he became the third Music Director of the Metropolitan Opera (MET), New York in addition to his ongoing duties as Music Director of the Philadelphia Orchestra, where he has served since 2012. The Artistic Director and Principal Conductor of the Orchestre Métropolitain since 2000, Yannick Nézet-Séguin signed a “lifelong” commitment with the Orchestre in September 2019. Indeed, this poignant work plunges us directly into the desperate struggle between man and a terrible, pitiless fate. In addition, in Morse code, the letter v is represented by three dots followed by a dash, the same rhythm as the famous four notes! No wonder, then, that Beethoven’s fifth became the symbol of the Resistance. For the Allies, Roman numeral five brought V for victory to mind. Who doesn’t know at least the beginning with its so-called “fate” motif (G-G-G-E flat)? Those four fateful notes were used as the signature theme for radio broadcasts in France during the German occupation. 5 is certainly Beethoven’s most celebrated. It was only on publication in 1809 that the two symphonies received their definitive numbers. The concert program assigned the number five to the Pastoral, while the “fate” symphony was number six. Both works were premiered in 1808 at the same concert in Vienna. In the other, the Pastoral, man is humble and filled with awe at nature. However different, they can be seen as bearing complementary messages, as two parts of a unique, overarching work. In 1806, Beethoven began working seriously on two major symphonies he would develop and complete concurrently.
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