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Konzerthausorchester Berlin, Iván Fischer

Date & Time
Fri, Jan 10, 2025, 19:00
Leonard Bernstein combined classical music, jazz, show music and folk music from various communities to create distinctive musicals that were successful around the globe. George Gershwin also combines classical concert and jazz, and his music is at home on Broadway and in Carnegie Hall. Pianist Kirill Gerstein performs Gershwin's world hit „Rhapsody in Blue“ as a soloist with the Konzerthausorchester under Iván Fischer. From the New World, we travel to old Europe, to France. However, nothing sounds old here: Darius... Read full text

Keywords: Recital, Symphony Concert

Artistic depiction of the event

Musicians

Konzerthausorchester Berlin
Iván FischerConductor
Kirill GersteinPiano

Program

Ouvertüre zum Musical „Candide“Leonard Bernstein
Drei Tanzepisoden aus dem Musical „On The Town“Leonard Bernstein
„Rhapsody in Blue“ für Klavier und OrchesterGeorge Gershwin
„Le boeuf sur le toit“ - Ballettmusik op. 58Darius Milhaud
„Gymnopédie“ Nr. 1, für Orchester bearbeitet von Claude DebussyErik Satie
„Gnossienne“ Nr. 3, für Orchester bearbeitet von Francis PoulencErik Satie
„La Valse“ - Poème choréographique für OrchesterMaurice Ravel
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Last update: Sat, Dec 7, 2024, 13:48

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Sun, Jan 12, 2025, 16:00
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Fri, Oct 4, 2024, 19:00
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Of light and shadow: The 19-year-old Franz Schubert's third symphony in D major, which is cheerful and at times like a folk song, was written for a private circle in 1815 and probably premiered there, is followed by Anton Bruckner's tragic last work, his unfinished ninth in D minor. He worked on the finale of this symphony, which continues the weighty tradition of its eight predecessors, until his death in 1896. He fervently hoped to be able to finish the last movement and even spoke of it to his doctor. Because the apartment was sealed too late after his death, all kinds of authorized and unauthorized persons immediately pounced on the existing manuscript pages. Its creator, however, had finally realized that his strength and time would not be enough to complete it. He therefore decreed that his “Te Deum”, completed twelve years earlier, should be played instead of the fourth movement. However, the symphony is often simply performed unfinished. Incidentally, Iván Fischer and the Konzerthausorchester already played Bruckner's monumental Ninth in 2013.
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Sun, Oct 6, 2024, 16:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Iván Fischer (Conductor)
Of light and shadow: The 19-year-old Franz Schubert's third symphony in D major, which is cheerful and at times like a folk song, was written for a private circle in 1815 and probably premiered there, is followed by Anton Bruckner's tragic last work, his unfinished ninth in D minor. He worked on the finale of this symphony, which continues the weighty tradition of its eight predecessors, until his death in 1896. He fervently hoped to be able to finish the last movement and even spoke of it to his doctor. Because the apartment was sealed too late after his death, all kinds of authorized and unauthorized persons immediately pounced on the existing manuscript pages. Its creator, however, had finally realized that his strength and time would not be enough to complete it. He therefore decreed that his “Te Deum”, completed twelve years earlier, should be played instead of the fourth movement. However, the symphony is often simply performed unfinished. Incidentally, Iván Fischer and the Konzerthausorchester already played Bruckner's monumental Ninth in 2013.
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Fri, Nov 8, 2024, 19:00
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Mozart's “Magic Flute” is a masterpiece of the 18th century that reflects the moral concepts of the time with regard to the roles of men and women. Iván Fischer wants to confront parts of this favorite opera with 21st century values. He concentrates on well-known arias and scenes: Reversed gender roles of central characters invite an unexpected new listening experience as well as reflection. For example, a King of the Night, interpreted by the outstanding countertenor Samuel Mariño, appears as the antagonist of the powerful Sarastra, sung by Deniz Uzun. Iván Fischer also plays with the music itself, for example when he has the famous overture performed not only by the Konzerthausorchester but also by the Vocalconsort Berlin.
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Mozart's “Magic Flute” is a masterpiece of the 18th century that reflects the moral concepts of the time with regard to the roles of men and women. Iván Fischer wants to confront parts of this favorite opera with 21st century values. He concentrates on well-known arias and scenes: Reversed gender roles of central characters invite an unexpected new listening experience as well as reflection. For example, a King of the Night, interpreted by the outstanding countertenor Samuel Mariño, appears as the antagonist of the powerful Sarastra, sung by Deniz Uzun. Iván Fischer also plays with the music itself, for example when he has the famous overture performed not only by the Konzerthausorchester but also by the Vocalconsort Berlin.
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Artistic depiction of the event

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