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Introducing Brahms's Piano Concerto No. 1

Watch our short introduction to Brahms's Piano Concerto No. 1

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Booking Info

Royal Festival Hall 2013/14

  • Please note that a transaction fee of £1.75 will be added to each order made online.
  • Tickets booked fewer than five working days before the date of the concert will be available for collection at the ticket office from 6.30pm on the day of the performance.
  • Concessions: 50% off all ticket prices for full-time students, benefit recipients (Jobseeker's Allowance, Income Support or Pension Credit) and under-16s (maximum 4 per transaction. Not applicable to Family Concerts) only. Limited availability; appropriate cards will be checked on admission.

Premium seats £65
The very best seats in the stalls, ensuring you the finest acoustic and view, are available as Premium seats.

Book more, pay less

Book 3-4 concerts and receive a 10% discount
Book 5-7 concerts and receive a 15% discount
Book 8-10 concerts and receive a 20% discount
Book 11-14 concerts and receive a 25% discount
Book 15 or more concerts and receive a 30% discount

Only nine tickets per concert can be bought online. Bookings of ten or more seats for the same concert are eligible for the group booking discount of 20%. Please call the London Philharmonic Orchestra Group Booking Line on 020 7840 4205 for further details.

Offline booking

London Philharmonic Orchestra ticket office: 020 7840 4242
Mon-Fri 10am-5pm. £2.75 transaction fee

Southbank Centre ticket office: 0844 847 9920
Daily 9.30am-8pm. £2.75 transaction fee. All ticketing staff at Southbank Centre can take typetalk calls.
In person at Southbank Centre: no transaction fee.

Minimum age

7.30pm concerts are not recommended for children of five years and under, and Southbank Centre staff reserve the right to refuse entry to young children for these events. We recommend our FUNharmonics concerts for children.

Reviews

'In Brahms's essentially symphonic conception, [Avdeeva] was entirely willing and able to become subservient to the musical argument where the piano assumes an accompanying or subsidiary part in the texture. Quite often too, her articulation of octave sequences was crisply delineated, like blocks of ice rather than dull stone. Undoubtedly this was a powerful performance.'
Curtis Rogers, Classical Source, 18 January 2014

'Avdeeva was musicality personified. Clearly happy in dialogue with her orchestral colleagues, she seemed like a pianistic chameleon, one moment the clear, heroic soloist, the next she was the chamber musician. Her realisation of Brahms' part-writing was supremely considered throughout.'
Colin Clarke, Seen and Heard International, 19 January 2014

'There's a mesmerising beauty and intelligence to [Avdeeva's] interpretation and something that I don't mind classifying as an old-fashioned classiness of the best type: fully informed and intellectually aware yet deeply intuitive as well and with the ability to find not only the right sound for Brahms but the right sounds for every shade of his very considerable spectrum. It's worth adding that the players adored her awareness of orchestral sound and interaction, and one violinist declared it one of the best Brahms Firsts he's played in in 28 years.'
Jessica Duchen (blog), 18 January 2014

Sponsor image

A Step into Daylight

The softened world of the countryside

7:30 PM, ​ Royal Festival Hall, London

JTI Friday Series

Brahms Piano Concerto No. 1
Beethoven Symphony No. 6 (Pastoral)

Vladimir Jurowski conductor
Yulianna Avdeeva piano
London Philharmonic Orchestra

Between the tumultuous upheavals of his Fifth and Seventh Symphonies, Beethoven’s Sixth feels like a sudden step into daylight – into the softened world of the countryside, its quiet exaltation and its strengthening sense of communion. By contrast, Brahms’s First Piano Concerto was a piece designed to be the most powerful, original and striking orchestral achievement since Beethoven’s Ninth Symphony. It took Johannes Brahms a long time to get his concerto just right, but when he did, he delivered a piece of staggering emotional breadth and new-found virtuosity – it still thrills and surprises a century and a half later.

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