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Musikfest Berlin: Konzerthausorchester Berlin, Joana Mallwitz

Date & Time
Sat, Sep 14, 2024, 20:00
For the second time in a row, the Konzerthausorchester and chief conductor Joana Mallwitz will be guests at the Musikfest. The solo parts in both works on the programme will be sung by the French-Cypriot soprano Sarah Aristidou, who has made a name for herself particularly in the field of contemporary music. In 1971, composer Luigi Nono met with artists and politicians in Chile, including Luciano Cruz Aguayo, one of the leaders of the Revolutionary Left. Back in Italy, he... Read full text

Keywords: Symphony Concert, Vocal Music

Artistic depiction of the event

Musicians

Konzerthausorchester Berlin
Joana MallwitzConductor
Sarah AristidouSoprano
Tamara StefanovichPiano
Christina BauerSound design

Program

„Como una ola de fuerza y luz“ für Sopran, Klavier, Orchester und TonbandLuigi Nono
Sinfonie Nr. 4 G-Dur für Orchester und SopranGustav Mahler
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Last update: Fri, Nov 22, 2024, 12:43

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Sun, Dec 15, 2024, 16:00
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Sat, Sep 7, 2024, 20:00
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Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
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Konzerthausorchester Berlin, Joana Mallwitz

Fri, Sep 20, 2024, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Lucas & Arthur Jussen (Piano)
What does the faun do in the afternoon? He plays the flute! And in such a dreamy and colourful way that you would never have expected the shaggy hybrid of human and billy goat. He owes this image correction to Claude Debussy - and the flautists one of their most beautiful orchestral solos. The pianistic brilliance and perfect interplay of our former Artists in Residence Lucas and Arthur Jussen impressed Joey Roukens so much that he began to write a double concerto for the brothers, ‘in which the two soloists sound not so much as two separate soloists, but as one super pianist on one super grand piano, so to speak. This means that there are many unison passages: Both pianos play exactly the same notes. In any case, the unison is an element that appears frequently in my work, perhaps a legacy of the ‘Dutch musical tradition’.’ According to the Amsterdam-based composer, he was also influenced by Italian baroque toccatas. The brilliantly orchestrated Concerto for Orchestra from 1943, in whose five movements Bela Bartók combines Western musical tradition with Hungarian folk music, completes a varied concert evening as the main work, which takes the Konzerthausorchester under the direction of Joana Mallwitz from Impressionism through classical modernism to the 21st century.
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Konzerthausorchester Berlin, Joana Mallwitz

Sat, Sep 21, 2024, 20:00
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Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Lucas & Arthur Jussen (Piano)
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Artistic depiction of the event

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Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
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Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Feb 1, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Sun, Feb 2, 2025, 16:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Feb 21, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Antoine Tamestit (Viola)
Off to Italy! If not in person, you can at least escape the grey of Berlin for a while with the Konzerthausorchester, Joana Mallwitz and our former artist in residence violist Antoine Tamestit. First, Swedish composer Andrea Tarrodi will take you through picturesque Ligurian villages. The 21-year-old Felix Mendelssohn also fell in love with the southern landscape: ‘There is music in it, it sounds and resounds from all sides.’ He wrote to his sister Fanny: ‘In general, composing is now fresh again. The ‘Italian Symphony’ is making great progress; it will be the funniest piece I have written.’ However, the first version was only completed with great effort in the Berlin winter of 1832 - you would never know that from listening! Hector Berlioz travelled through the Abruzzo mountains. Impressions from this tour and inspiration from Byron's poem ‘Childe Harold's Pilgrimage’ resulted in a stylistically unique symphony in which the solo viola seems to embody the thematically rather static traveller, while the orchestra seems to embody the romantic, roaring world, including a serenade to the lover and a description of a robbers' camp.
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Feb 22, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Antoine Tamestit (Viola)
Off to Italy! If not in person, you can at least escape the grey of Berlin for a while with the Konzerthausorchester, Joana Mallwitz and our former artist in residence violist Antoine Tamestit. First, Swedish composer Andrea Tarrodi will take you through picturesque Ligurian villages. The 21-year-old Felix Mendelssohn also fell in love with the southern landscape: ‘There is music in it, it sounds and resounds from all sides.’ He wrote to his sister Fanny: ‘In general, composing is now fresh again. The ‘Italian Symphony’ is making great progress; it will be the funniest piece I have written.’ However, the first version was only completed with great effort in the Berlin winter of 1832 - you would never know that from listening! Hector Berlioz travelled through the Abruzzo mountains. Impressions from this tour and inspiration from Byron's poem ‘Childe Harold's Pilgrimage’ resulted in a stylistically unique symphony in which the solo viola seems to embody the thematically rather static traveller, while the orchestra seems to embody the romantic, roaring world, including a serenade to the lover and a description of a robbers' camp.