The enchanting scoring of the selection that Richard Strauss created from his own Der Rosenkavalier, linking together the opera's waltz music, makes the piece a treat for every section of the orchestra. Jean Sibelius's only concerto offers a similar level of variety in its melodies. Trained as a violinist, the composer had an intimate acquaintance with the instrument, making the solo part one of the cosiest, yet at the same time, virtuosic ones in the music literature. Iván Fischer considers Patricia Kopatchinskaja, the violinist for the concert, 'an enterprising and exciting woman, with extraordinary imagination', while the Berner Zeitung once referred to her as 'Madame 150 percent'. After the interval, the orchestra will play the first movement of the unfinished Symphony No. 10 of Gusztav Mahler, who dreaded the 'curse of the ninth symphony'. This adagio continues the meditative and tragic tone of his Symphony No. 9, as a kind of swan song. To wrap up the concert, we will recall the fate of Till Eulenspiegel, the prankster of German folklore, as Strauss depicted him in his symphonic poem. The piece implies that 'épater la bourgeoisie' is an eternal concept.