First Fridays: Asher Fisch Leads Rachmaninov & Strauss

Atlanta Symphony Hall

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In a Nutshell

Russian pianist Daniil Trifonov performs Rachmaninov’s final piano piece; conductor Asher Fisch leads Strauss’s poetic Ein Heldenleben

The Fine Print

Promotional value expires Jan 9, 2015. Limit 8 per person. Reservation required starting on 1/5. Must provide email address at checkout which will be shared to facilitate redemption. Refundable only on day of purchase. Must redeem together to sit together. Discount reflects Atlanta Symphony Orchestra's current ticket prices-price may differ on day of the event. Doors open 1 hour before showtime. For ADA seating, call box office promptly upon receipt of voucher - availability is limited. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

The Deal

  • $20 for one ticket to Atlanta Symphony Orchestra’s First Fridays: Asher Fisch Leads Rachmaninov & Strauss (up to $25 value)
  • When: Friday, January 9, at 6:30 p.m.
  • Where: Atlanta Symphony Hall
  • Seating: best available
  • Door time: 5:30 p.m.
  • Full offer value includes ticketing fees
  • Click here to view the seating chart

First Fridays: Asher Fisch Leads Rachmaninov & Strauss

Russian pianist Daniil Trifonov debuts with the ASO during Rachmaninov’s final piece for piano—which also happens to be one of the most daunting for violin. Israeli conductor Asher Fisch, who helms the West Australian Symphony Orchestra, steers the evening, concluding with a heroic tone poem from Strauss.

  • Rachmaninoff—Rhapsody on a Theme of Paganini: Despite the name, this homage to 19th-century violin virtuoso Nicolò Paganini is more a concerto than a rhapsody. Throughout, the piano explores two-dozen variations on a single theme until coming to a richly textured head.
  • Richard Strauss—Ein Heldenleben: Although this six-movement tone poem tells of a hero’s journey through war and retirement, it’s often considered to be Strauss’s autobiography. Strauss, however, dismissed those accusations by saying, ”I’m no hero: I’m not made for battle.” Still it’s hard to ignore the way the piece seems to reference his entire body of work and ends with the conductor shouting, “Strauss is the hero!”



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