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    Mahler Symphony No. 5

    One night stand: Christoph Eschenbach rekindles love affair with HoustonSymphony

    Joel Luks
    Dec 5, 2011 | 10:19 am

    Watching Christoph Eschenbach conduct is akin to understanding classical music's intent, intensity and importance. There's undoubtedly a rhyme and reason to each of his gestures and musical ideas, such that his presence and influence transformed the path of the Houston Symphony from a decent local orchestra to an international asset during his tenure as music director from 1988 to 1999.

    Professionally, the maestro and the orchestra may have broken up, but there's still a strong and passionate love affair.

    Mahler Symphony No. 5 holds special meaning as it was a highlight during my tenure in Houston. We played it many times, on tour, in Vienna. I always think of Houston when I perform it.

    It was the lure of European orchestras that whisked the German-born (what is now Wroclaw, Poland) conductor and pianist to assume the post of chief conductor of the NDR Symphony Orchestra in Hamburg and the music director of the Orchestre de Paris.

    After a five year somewhat controversial stay as the music director of the Philadelphia Orchestra that ended in 2008, he took the position as music director of both the National Symphony Orchestra and the Kennedy Center for Performing Arts in Washington, D.C. in 2010.

    On Tuesday, he returns to the podium of the Houston Symphony for the the first time since 2002 to perform Gustav Mahler's Symphony No. 5.

    Prior to his brief stop in Houston, CultureMap caught up with the busy maestro and spoke by phone about the past, present and future of classical music and symphony orchestras and holidays in the City of Lights. Yes, that means Paris.

    CultureMap: One concert, one piece. With the breath of classical repertoire available under your baton, what was it about Mahler's Symphony No. 5 that rendered it the piece that crowns this appearance? I get it. It's Mahler. But does it hold any particular significance?

    Christoph Eschenbach: Knowing that I didn't have much rehearsal time, I had to choose one piece that would be substantial to warrant a whole concert, without breaks, dedicated to it. I thought of one piece and one piece only.

    Mahler Symphony No. 5 also holds special meaning as it was a highlight during my tenure in Houston. We played it many times, on tour, in Vienna. I always think of Houston when I perform it.

    CM: The arts world is rapidly changing. Be it the economy, education or the Internet, what should arts organizations do to ensure they prepare properly for this new era?

    CE: I see things in more of a positive light, I don't want to be pessimistic. There's enormous talent in all performing arts and performing arts organizations. Conservatories and training institutions are producing incredible artists. And they would see the situation much different.

    Organizations like the Houston Symphony — including theater, ballet, opera and museums — need to address young people in such a way that they feel welcome and excited to attend concerts. The educational department becomes crucial. It has to provide good material to tell young people and society in general that classical music, the arts overall, are needed. They are crucial, not an elective.

    Organizations like the Houston Symphony — including theater, ballet, opera and museums — need to address young people in such a way that they feel welcome and excited to attend concerts.

    It's really a moral issue. If you know that and you approach it with that mentality, classical music cannot fail, and everyone will recognize its value.

    CM: Maestro Hans Graf is retiring at the end of the 2012-13 classical season. Knowing the Houston Symphony as well as you do, what virtues should the new music director have? What should the symphony be looking for?

    CE: The Houston Symphony is a very curious orchestra, willing to try new things, you see. The conductor, the new music director must be interested in exploring diversity of programming and different ways to use the resources available.

    I think tours are extremely important, showing off Houston's gem to many other cities, so it continues its international reputation.

    CM: With all the changes in music distribution, is recording still an important part of an orchestra?

    CE: Technology has changed the music recording landscape radically, and it's important that orchestras, soloists and opera singers shift their approach to recording. The full-length record is sort of a piece that belongs in a museum right now. It may not be as important to make CDs as it is to have a strong presence on the Internet, via streaming, so the orchestra can be a part of a global community.

    For that to happen, orchestras have to reorganize, make new rules for union contracts. The old union rules don't work well for this.

    CM: How do you keep up your piano playing having such a busy schedule as a conductor?

    CE: I don't play very much piano, though I try to practice — I practiced one hour today — to keep it alive. I find it helpful for orchestra musicians to know that their music director or conductor plays and still plays an instrument, that they can share the stage with them. I accompany singers, but I'd say 95 percent of my time is spent on the podium.

    CM: It's been a while since you've spent a considerable amount of time in Houston. What do you miss most?

    CE: My time in Houston was one of the best in my life. I miss a lot of the friendships that developed out of my position as music director. Growing the Houston Symphony into a world class band (laughs) was a unique experiene. It's a beautiful orchestra. I have a beautiful orchestra now in Washington, which is also wonderful.

    I feel fortunate to have had that opportunity.

    CM: Fondest memories while you were here?

    CE: My most interesting projects while in Houston were collaborations with the opera. We had many outstanding performances like Richard Strauss' Elektra, Salome, Arabella and many Mozart operas. They were very successful, both in the cast and in production.

    I am amazed how the city has developed from the oil crisis in the '80s. It was a ghost town. Many corporations had moved out of downtown, glass buildings were practically empty. It wasn't very pleasant to walk through the streets. But now, downtown is almost unrecognizable with restaurant after restaurant. Jones Hall is very much alive. It's very exciting for me to see how enourmously it has developed.

    Last time I was here, which was with Lang Lang and the Schleswig-Holstein Festival Orchestra, I didn't have much time to explore. I had lunch with the musicians, and off we went.

    CM: After Houston, where do you go next?

    CE: I go to Europe, to London to conduct the London Philharmonic with Renée Fleming (Strauss Four Last Songs, Wagner Overture to Tannhäuser and Beethoven Symphony No. 7). Then take that on tour to Madrid. After that, I will travel to Bremen and Hamburg with the NDR Sinfonieorchester. There, Christian Tetzlaff will perform Lalo Symphonie Espagnole (Dvorak Symphony No. 8 is also on the program).

    And that's before the holidays.

    CM: And your plans for the holidays?

    CE: I'll be in Paris. I have a second home there with a piano, so I'll spend it with my music friends, possibly playing chamber music. I am looking forward to that.

    Here's what to expect. Watch a video of Eschenbach conducting Mahler Symphony No. 5 with the Orchestre de Paris:

    Christoph Eschenbach conducts the Houston Symphony for one concert set for 7:30 p.m. Tuesday at Jones Hall. Tickets are $29 - $119 and can be purchased online or by phone at 713-224-7575.

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    Best May Art

    MFAH's blockbuster modern art exhibit and 7 more openings in Houston this month

    Tarra Gaines
    May 11, 2026 | 12:45 pm
    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH
    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

    May brings some of the biggest art shows and museum exhibitions of the year to town. Some fly in with patriotic fanfare, while others give us a rare opportunity to gaze at European masterworks. Whether someone is looking for irreverent performance art at the CAMH, wants to get in touch with whimsical spirits at Moody Art Center, buy art for a good cause at Silver Street, or get ready for the World Cup at Sawyer Yards, Houston artists, galleries, and museums have a show for all tastes.

    “Freedom Plane National Tour: Documents That Forged a Nation” at Houston Museum of Natural Science (now through May 25)
    We’ll call this one the art of democracy. This exhibition 250 years in the making might not fit the usual definition of "art," but this touring presentation of Founding-era documents at HMNS has to make this month's must-see list. The National Archives and Records Administration, in partnership with the National Archives Foundation, set aloft this flying tour of some of the nation’s most historical documents, complete with their own plane. Houston is one of only eight U.S. cities where the Freedom Plane will land. The original National Archives records featured in the exhibition are traveling together for the first time. Just some of the historic documents included in the exhibition are an original engraving of the Declaration of Independence; George Washington, Alexander Hamilton, and Aaron Burr’s Oaths of Allegiance, 1778; and the Secret Printing of the Constitution in Draft Form, 1787.

    “As our nation approaches its 250th anniversary, there is no more fitting tribute than bringing these original documents, leaving the National Archives together for the very first time, directly to the American people,” says Joel Bartsch, president and CEO of HMNS. “From George Washington’s oath as a Continental Army officer to the Treaty of Paris that secured our independence, these are not replicas or reproductions. They are the genuine records, and Houston will have the rare privilege of experiencing them in person this May.”

    “20th Annual Empty Bowls” at Silver Street Studios (May 15 and 16)
    For two decades this beloved grassroots fundraising event has given art lovers the chance to pick up one of a kind, handcrafted ceramic bowl-shaped artworks for just $25 dollars each and helped to serve up millions of meals to the hungry. Over the years, Empty Bowls Houston has raised over $1.2 million for the Houston Food Bank. The lunch fundraiser is a collaboration between Houston-area ceramists, woodturners, and artists working in all media and Houston Center for Contemporary Craft. A special ticketed preview party on May 15 will feature light bites, beer and wine, live music, a pottery throw down event with local potters, and a chance to purchase a bowl early before the main event on May 16. Archway Gallery will also host its own annual Empty Bowls exhibition throughout May.

    “No Longer, Not Yet” at Art League (May 15-July 19)
    This exhibition of mixed media and fiber sculptures from Houston-based artist Marisol Valencia is the culmination of Valencia volunteering at a Houston-area shelter serving migrant women and children. To create the works in the show, Valencia uses material imbued with meaning, including fibers sourced from rural Mexican communities where migration often shapes daily life; bedsheets and pillows gathered from the shelter; and porcelain pieces inscribed with collected definitions of “home.” At the center of the exhibition will be a large cascading crochet sculpture made in collaboration with women and volunteers at the shelter.

    “Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen” at Museum of Fine Arts (May 20-September 13)
    Houston claims another first as the MFAH hosts the U.S. debut of this monumental touring exhibition of masterworks by Pablo Picasso, Paul Klee, Henri Matisse, Alberto Giacometti, and other major artists of postwar Europe. The exhibition will also tell the story of influential gallerist Heinz Berggruen and his relationship with the artists and collecting world. From the 1940s into the 1990s, Heinz Berggruen assembled a singular collection of hundreds of modern masterworks, many directly from the artists, and then in 2000, Berggruen placed the collection with the German state. The collection is now housed in the Museum Berggruen in Berlin-Charlottenburg as part of the Berlin State Museums/Foundation of Prussian Cultural Heritage.

    “It is especially rewarding to introduce our audiences to the life and legacy of Heinz Berggruen — a pioneering art dealer, publisher, and collector whom I was privileged to know and work with for more than two decades,” remarks MFAH director Gary Tinterow on bringing the exhibition to Houston.

    “Ballet of the Masses” at Sawyer Yards (May 21-July 25)
    As Houston gets ready for the World Cup, local artists score their own kind of goals with this exhibition of artful soccer balls. Over 40 Houston artists have put a unique spin on a regulation sized fútbol — turning them into sculptural pieces. Organizers will suspend the works from the ceiling of Sabine Street Studios' North Gallery to create a kind of celestial soccer constellation. Together, these works will celebrate the dynamism and joy within sports and art.

    “Never Forgotten” at Sabine Street Studios (May 21-July 25)
    This powerful exhibition comes from a unique collaboration between Texas Center for the Missing, Houston Police Department Forensic Artists, and Sabine Street Studios, all dedicated to bringing the missing home. Three local forensic artists: Thurston Johnson, Bryan Bradley, and Kristen Aloysius have created age-progression portraits of missing persons in the hopes of reuniting families. Beyond showcasing real art, “Never Forgotten” was organized to shine a light on each individual case and continue raising awareness of the missing in our community. Sabine Street Studios will also host special programming in conjunction with the show, including a workshop on forensic drawing and drawing portraits based on memories.

    “Mary Ellen Carroll: How To Talk Dirty and Influence People” at Contemporary Arts Museum (May 22-November 1)
    Acclaimed New York-based conceptual artist Mary Ellen Carroll has spent over four decades crossing disciplines of performance art, photography, architecture, writing, video making, and public art to explore issues of environmentalism, architectural and technological infrastructure, immigration, urban legislation, and identity, as well as tackling fundamental questions of the nature of art. And some of this exploration has taken place in Houston with Carroll’s continual transformation and documentation of a post-war home in the city’s Sharpstown neighborhood.

    This first major museum survey of Carroll’s work takes inspiration from legendary comic Lenny Bruce’s 1965 autobiography of the same name, and emphasizes the irreverent and honest nature of Carroll’s work. The exhibition will bring renewed focus onto some of Carroll’s larger series, for example, “prototype 180,” the Sharpstown project, and “My Death Is Pending… Because,” consisting of separate pieces like video documentation of the artist driving and destroying a 1985 Buick in a demolition derby in 2017 and video of Carroll in a polar bear suit climbing a defunct smokestack in Memphis.

    “Carroll is that unique kind of artist who continually reminds you of the power of art and artists to inspire radical change, in ourselves and the world,” notes senior curator Rebecca Matalon.

    "Shapeshifters, Sprites, and Spirits” at Rice Moody Center for the Arts (May 29 - August 15)
    Delve into a world of whimsical wonder in this new exhibition and the first Texas solo show of acclaimed Japanese artist Masako Miki’s sculptural work and installations. Influenced by diverse artistic movements from European Surrealism to Japanese manga, Miki creates sculptures from felt layered over wood armatures. Once completed, they resemble animated and large scale forms of everyday objects infused with personality and character.

    Miki’s work is also inspired by folkloric traditions, especially Shinto animism and its belief that all beings and things contain a spirit. For the site specific Moody exhibition, Miki has also created works with a focus on yōkai, supernatural entities taking the form of beings, objects, and apparitions, and particularly those that appear in the Night Parade of One Hundred Demons (Hyakki Yagyō), a legend dating to medieval Japan.

    “My characters are ordinary but have extraordinary powers,” describes Miki of her sculptures. “They are secular but are attuned to sacred traditions. As a collective, they advocate for both individual and collective agency, and the importance of stories as unifying systems in today’s complex world.”

    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso\u2013Klee\u2013Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH

    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

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