Magical

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers.

Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe.

Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.