Keywords: Symphony Concert
| Adam Fischer | Conductor |
| Rundfunk-Sinfonieorchester Berlin |
| Symphony No. 49 in F minor >La Passione | Joseph Haydn |
| Symphony No. 5 C sharp minor | Gustav Mahler |
These events are similar in terms of concept, place, musicians or the program.
Visitors get to know the most important genres of classical music in our moderated rehearsals: Symphony, solo concerto, symphonic poem. In conversation with the conductor, orchestra musician or soloist, you will learn exciting facts about the works and gain an in-depth insight into the orchestra’s rehearsal work. This is an offer for school classes from intermediate level and adults. The moderation will be in German.Duration: approx. 90 minutes. Participation free of charge.
Goodnight, Vienna: Sir Mark Elder conducts Mahler’s Das Lied von der Erde, as the BBC Symphony Orchestra brings its season to an unforgettable close.
Throughout the 60-year span of his collaboration with the Berliner Philharmoniker, Daniel Barenboim has never conducted the music of Gustav Mahler. Until now. Two late works can be heard, beginning with the expressive Adagio from the unfinished Tenth Symphony. Painful melancholy prevails here, as it does in Das Lied von der Erde (Songs of the Earth), which looks back on the lost beauty of life. Formally located between a song cycle and a symphony, this work was, according to Mahler, “probably the most personal thing I have done so far”.
Throughout the 60-year span of his collaboration with the Berliner Philharmoniker, Daniel Barenboim has never conducted the music of Gustav Mahler. Until now. Two late works can be heard, beginning with the expressive Adagio from the unfinished Tenth Symphony. Painful melancholy prevails here, as it does in Das Lied von der Erde (Songs of the Earth), which looks back on the lost beauty of life. Formally located between a song cycle and a symphony, this work was, according to Mahler, “probably the most personal thing I have done so far”.
Throughout the 60-year span of his collaboration with the Berliner Philharmoniker, Daniel Barenboim has never conducted the music of Gustav Mahler. Until now. Two late works can be heard, beginning with the expressive Adagio from the unfinished Tenth Symphony. Painful melancholy prevails here, as it does in Das Lied von der Erde (Songs of the Earth), which looks back on the lost beauty of life. Formally located between a song cycle and a symphony, this work was, according to Mahler, “probably the most personal thing I have done so far”.
»Scena di Berenice«, which is rarely performed nowadays, was composed by Joseph Haydn during his second visit to London. The content is quintessential for a classical aria: a woman in love has been abandoned by her partner and now laments sonorously. 130 years later, a work by Béla Bartók caused a far-reaching scandal: the fiery dance pantomime called »The Miraculous Mandarin« was banned in Cologne in 1926 by the then Lord Mayor Konrad Adenauer. This is how barbaric the music seemed to the listeners. And it is indeed true: Bartók was not interested in music as edification. He wanted to depict reality. And reality in the early 20th century was often a long way from harmonious. In the second half of the concert, Gustav Mahler’s fourth and arguably most light-filled symphony takes us back to the beginning of the century. But beware: the light in the symphony is tempered with some dark shallow waters. At a children’s concert at New York’s Carnegie Hall back in 1960, the great rediscoverer of Mahler, Leonard Bernstein, said: »Well, you might not believe it, but the man who wrote all that jolly stuff was one of the most unhappy people in history!«
»Scena di Berenice«, which is rarely performed nowadays, was composed by Joseph Haydn during his second visit to London. The content is quintessential for a classical aria: a woman in love has been abandoned by her partner and now laments sonorously. 130 years later, a work by Béla Bartók caused a far-reaching scandal: the fiery dance pantomime called »The Miraculous Mandarin« was banned in Cologne in 1926 by the then Lord Mayor Konrad Adenauer. This is how barbaric the music seemed to the listeners. And it is indeed true: Bartók was not interested in music as edification. He wanted to depict reality. And reality in the early 20th century was often a long way from harmonious. In the second half of the concert, Gustav Mahler’s fourth and arguably most light-filled symphony takes us back to the beginning of the century. But beware: the light in the symphony is tempered with some dark shallow waters. At a children’s concert at New York’s Carnegie Hall back in 1960, the great rediscoverer of Mahler, Leonard Bernstein, said: »Well, you might not believe it, but the man who wrote all that jolly stuff was one of the most unhappy people in history!«
Few people are as passionate about the music of Joseph Haydn as Giovanni Antonini. He is currently in the process of recording all 107 of the composer’s symphonies – with a fresh, arresting approach. In this concert, we hear two symphonies of captivating originality and inspiration. Also on the programme are the cantata Arianna a Naxos, a touching emotional drama of an abandoned woman featuring Egyptian soprano Fatma Said, and Mozart’s little-known incidental music Thamos, King in Egypt, which is impressive in its dramatic power.
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