In the organizer's words:

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JOSEF SUK Scherzo fantastique op. 25
BOHUSLAV MARTINŮ Concerto for oboe and orchestra H 353
GUSTAV MAHLER Symphony No. 5 in C sharp minor GWV 44

"The conservatory of Europe" - a description that is wonderfully fitting for Bohemia, a region surrounded by Poland, Slovakia, Germany and Austria that has produced so many great musicians.
Given the incredible wealth of exceptionally great music, we want to involve our audience in shaping the program.
There are three works to choose from to open the evening:

1. JOSEF SUK Scherzo fantastique op. 25
   Josef Suk was one of the most prominent Czech composers at the beginning of the 20th century and Antonín Dvořák's son-in-law. The scherzo dates from Suk's happiest phase of life and offers luscious orchestral sounds with a touch of the surreal and fairytale-like.
2. BEDŘICH SMETANA Šárka from "Má Vlast - My Fatherland"
   The tone poem Šárka comes from the cycle My Fatherland, which is so important for the Czech national consciousness, and follows the better-known Moldau. The gripping and determined music tells an old folk tale of the "Bohemian Maidens' War", in which the intrepid Queen Šárka takes up the fight for the freedom of the women living with her against oppressive male rule.
3. LEOŠ JANÁČEK Lašské tance - Laughing Dances
   Janáček's music opens the door to modernity for Czech music. Although he still emulates Antonín Dvořák in his Lachian Dances, he finds a very personal sound for the music of his homeland.

The result of his choice is the Scherzo fantastique op. 25 by Josef Suk.

Hardly anyone other than Bohuslav Martinů is so representative of 20th century Czech music. His oboe concerto shows him from his fresh, very personal side and the internationally acclaimed oboist Kai Frömbgen brings the necessary joy of playing that characterizes this concerto. "... build up a world with all the means of available technology", Gustav Mahler intended nothing less when composing his symphonies, and it is precisely in his Fifth that the world becomes music. The famous trumpet signal and the subsequent muted, dark funeral march at the beginning of the work are the starting point for a clash of the most diverse, downright disparate musical phenomena. The spectrum of expression ranges from the grotesque exaggeration of folk and march music to wide-ranging, calm melodies. The famous Adagietto, which Luchino Visconti chose as the music for his film Death in Venice, sits enthroned like an island of tranquillity.

Introduction 30 minutes before the concert begins in the main hall.