Muti affirms what matters in a program of Brahms, Stravinsky and Rodrigo with the Chicago Symphony

For a good many people, the image of Johannes Brahms is inseparable from Maria Fellinger’s photographs. Fellinger, a friend of the composer, captured him in his later years: belly pushing outward, age etched into his face, his long beard and hair gone white or very light gray. Yet even in these twilight portraits, Brahms maintains his composure. He looks commanding, his suit still purposeful. These are the attributes of a composer who has lived life, knows what he believes, and is ready to share those convictions without hesitation. This same spirit permeates much of his later music, including the Fourth Symphony. By this point in his career, any hesitation in his musical voice has vanished entirely.

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