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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 October Art

    9 must-see October art openings at Houston museums and galleries

    Tarra Gaines
    Oct 8, 2026 | 9:00 am
    The Museum of Fine Arts, Houston presents "American Modernism from the Charles Butt Collection”
    Andrew Wyeth, Sea Legs, 1984, tempera onpanel, Charles Butt Collection. © 2026Andrew Wyeth / Artists Rights Society(ARS), New York
    The Museum of Fine Arts, Houston presents "American Modernism from the Charles Butt Collection”

    Houston falls into new art realms this month as intriguing new exhibitions open that take art lovers from Earth’s elements, specifically silver, all the way to the Moon.

    The Blaffer showcases provocative contemporary artists, and the CAMH gets back to the land. For those looking to start their own art collection, October is also the month for art festivals. Then, in keeping with the collecting theme, the MFAH brings Houston the world class Modernism collection from a true Texas original, Charles Butt.

    “Maria Gaspar: We Press Our Hands to the Steel Curtain” at Blaffer Art Museum (now through November 21)
    In her artwork, interdisciplinary artist Maria Gaspar considers the concept of walls not just as physical structures but as barriers that can influence individual psyches and even societies. Growing up in Chicago in the neighborhood near the Cook County Correctional Facility, Gaspar became interested in jails and prisons and how they impact communities within those wall and outside of them.

    The exhibition brings together sculpture, sound installations, video, archival materials, and participatory projects that draw from Gaspar’s years of collaborative research inside and beyond the jails. A highlight of the exhibition is Clamour, a 60 hour video documenting the demolition of one of Cook County Correctional Facility’s housing blocks.

    "Singular Visions” at The Silos at Sawyer Yards (now through November 21)
    Sculpture Month Houston celebrates its 10th anniversary with this special exhibition in one of Houston’s most unique art spaces, the Site Gallery housed within the decommissioned former rice silos complex at Sawyer Yards. Participating artists have each taken over one of the cylindrical silo spaces, which allows visitors to enter and engage directly with the art in a truly immersive experience.

    Look for work that intrigues as it challenges ordinary ideas of reality from some of Houston’s most dynamic artists, including: Tom Bandage, Michael Bhichitkul, Christie Blizard, Steve Brudniak, Alton DuLaney, Jonathan Durham, Alicia Eggert, Tim Glover, Stephan Hillerbrand + Mary Magsamen, Beili Liu, Steve Murphy, Steve Parker, Gladys Poorte, Chris Powell, Margo Sawyer, Amy Scofield, Zulma Vega, and Ed Wilson.

    “Adriana Corral: As Long as Life Endures” at Blaffer Art Museum (now through December 5)
    Texan interdisciplinary artist Adriana Corral uses a research-based practice to explore themes of memory, loss, human rights abuses, natural disasters, and hidden histories. Corral’s art installations, sculptures, drawings, and films attempt to unearth and preserve those histories.

    The exhibition will feature the new film by Corral, Terrebonne, created as part of her research in coastal Louisiana, where she worked with members of the Pointe au Chien Indian Tribe. The film examines how land loss, rising waters, and ecological collapse disproportionately threaten Indigenous communities. Also on view is a large scale transparent bullet resistant polycarbonate sculpture that references above-ground mausoleums often found in places like New Orleans. The juxtaposition of the material with the form asks viewers to ponder questions of who can afford to buy environmental safety and who cannot.

    “A Material Inheritance” at Houston Center for Contemporary Craft (now through January 30, 2027)
    In celebration of its 25th “silver” anniversary, HCCC presents this once-in-a-generation exhibition that examines silver as material and metaphor. Giving both a bit of a science and art history lesson, the exhibition will explore how, as the Earth’s most reflective element, Silver has changed human cultures. Silver’s unique properties, along with human ingenuity, led to advances in mirror-making, photography, and scientific instrumentation, while its weight, density, and malleability established it as a prime medium for currency, ceremonial objects, jewelry, and treasured heirlooms.

    The exhibition will showcase artists who work with silver in a multitude of ways, including: Shane R. Hendren, Edward Lane McCartney, Jaydan Moore, Leah Ying Lin, and Anjali Srinivasan. The selected pieces will span a range of ways to work with silver as a medium, from traditional metalsmithing and jewelry making to experimental glass, ceramic, and kinetic media practices that reveal silver’s remarkable conceptual and material range.

    “Divination: Beverly Buchanan & Dionne Lee” at the Contemporary Art Museum Houston (now through February 14, 2027)
    This is the second in a series of new exhibitions from the CAMH to bring together the work of artists across decades as a way to open up new interpretations. “Divination” finds thematic and art-making commonalities between photographers Beverly Buchanan (1940–2015) and Dionne Lee (b. 1988, New York City). CAMH senior curator Rebecca Matalon notes that though the artists come from different generations, they both explore relationships between Blackness and the land, share an interest in survivalist practices, and have unique relationships with their environment and landscapes.

    The exhibition will showcase Buchanan’s photography of her large-scale environmental works that she began in the 1970s, placing stone-like fragments in remote locations across the Southeast. "Divination" organizes Buchanan’s work in conversation with Lee’s 21st century photography and films that examine what it means to honor the land on which we live. The CAMH notes that the exhibition’s title comes from the idea that both artists created work to uncover hidden histories, but they were are also committed to letting these histories remain out of focus and elusive.

    “Wall Drawing Series: Jitish Kallat” at Menil Drawing Institute (now through August 8, 2027)
    Since 2018, the MDI has commissioned a contemporary artist to create a new work on an interior wall within the building. Art, Cold War history, and even state secrets merge in “Wall Drawing / Redux: A119,” the latest Wall Drawing Series installation by acclaimed multidisciplinary Indian artist Jitish Kallat.

    The time-based wall drawing grows out of Kallat’s interest and research into Project A119, a U.S. Air Force plan in the late 1950s to detonate a nuclear bomb on the Moon. Of course, the plan was never carried out, but the report on the project was only partially declassified at the turn of this century. For “Redux: A119,” Kallat has layered pages from the A119 report, titled “A Study of Lunar Research Flights - Volume I” with his own drawings and watercolors. The piece was then sheathed in laminated glass, and Kallat and the Menil team collaborated with researchers at Rice University on an electrical system so that the glass changes degrees of transparency every 500 seconds, which is approximately the time it takes sunlight to travel from the Sun to the Moon creating what we see as moonlight.

    “Bayou City Art Festival” at Memorial Park (October 9-11)
    The annual festival always gives art lovers and collectors a chance to meet artists, view original pieces, and purchase artwork from more than 270 creators across 19 disciplines, including world-class paintings, prints, jewelry, sculptures, and more, at prices for everyone. The fest will feature more than just visual artists, as a wide range of musical artists and bands take the festival stage, and look for roaming entertainment throughout the festival area. The three days also boast a wide range of interactive and educational activities for kids and adults.

    Affordable Art Fair at George R. Brown Convention Center (October 15-18)
    Presented in Houston for the first time, this fair's name sums up the mission, for the Affordable Fair is set to bring thousands of artworks from around the world. The prices, ranging from $100 to $12,000, will likely entice both the experienced and novice collector.

    The fair will feature work from 55 galleries, including 17 Houston favorites, as well as 22 U.S from the U.S and 16 prestigious international galleries. Affordable Art Fair organizers have programmed many special events over the weekend, such as a spotlight on Hispanic and Latin American artists from Houston, Mexico, and Argentina, in honor of Hispanic Heritage Month; special installations by artists Kayla Powers, Dan Trelenberg, and Brendan Flores; and a print workshops with PrintHouston. Look also for family hours with KIDO Preschool, Art After Hours evenings, and a Fair Director's Tour.

    "American Modernism from the Charles Butt Collection” at Museum of Fine Arts, Houston (October 25-January 18)
    As Americans continue to celebrate the nation’s 250th year, the MFAH offers up one Texan’s extraordinary collection of some of America’s greatest artists of the 20th century. While Charles Butt is well admired across the state for his philanthropy, especially when it comes to education, the H-E-B chairman also has a passion for collecting and wants to share that art with other Texans.

    The exhibition will give MFAH visitors new insights into the extent of American artistic diversity in the 20th as it showcases over 80 works of art by such greats as Stuart Davis, Georgia O’Keeffe, Jacob Lawrence, Thomas Hart Benton, Jackson Pollock, Joan Mitchell, and Andrew Wyeth, as well as Texas artists like Everett Gee Jackson and Mary Bonner. "American Modernism" will likely also give attendees a glimpse into Butt’s own vision and focus, as it is organized into five intriguing thematic sections reflecting Butt’s life-long passions including: Intimate Perspectives, The Language of the Sea, Land Progressions, Geometric Utopias/Dystopias, and New Directions.

    “More than a textbook survey of American modernism, the Charles Butt Collection shows many of the artists at turning points in their careers, with signature works and intimate sketches that encompass a remarkable range of expression and achievement,” MFAH curator of Modern and Contemporary Art Alison de Lima Greene said in a statement.

    The Museum of Fine Arts, Houston presents "American Modernism from the Charles Butt Collection\u201d

    Andrew Wyeth, Sea Legs, 1984, tempera onpanel, Charles Butt Collection. © 2026Andrew Wyeth / Artists Rights Society(ARS), New York

    The Museum of Fine Arts, Houston presents "American Modernism from the Charles Butt Collection.”

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