Kirill Petrenko travels through the German-Austrian musical tradition with works that again and again look into the abyss. Mozart’s Symphony No. 29, for example, intrigues as a result of its mixture of lightness and subliminal despair, while in Berg’s Three Pieces for Orchestra, echoes of waltzes and marches are distorted into nightmares and seem to anticipate the catastrophes of the 20th century. Finally, Brahms’ Fourth Symphony is one of the most sonorous and magnificent works of the late Romantic repertoire but which at the same time is suffused with a touching melancholy.