Set your preferred locations for a better search. You can sign up here.

Simon Rattle conducts Bruckner and Widmann

Date & Time
Sat, Jun 1, 2024, 19:00
Bruckner’s Sixth Symphony has long been one of the composer’s underrated works. According to Sir Simon Rattle, this is because it doesn’t offer what people usually expect of a Bruckner symphony. It is shorter, more transparent and less solemn than usual, “a piece full of humour and daring”. Bruckner himself seems to have seen it that way, for he whimsically declared the Sixth to be his “boldest”. To open the programme, Simon Rattle conducts the world premiere of a horn... Read full text

Keywords: Contemporary, Symphony Concert

Artistic depiction of the event

Musicians

Berliner PhilharmonikerOrchestra
Sir Simon RattleConductor
Stefan DohrFrench horn

Program

Concerto for Horn and OrchestraJörg Widmann
Symphony No. 6 in A majorAnton Bruckner
Give feedback
Last update: Thu, Nov 21, 2024, 18:47

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event

Simon Rattle conducts Bruckner and Widmann

Fri, May 31, 2024, 20:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Sir Simon Rattle (Conductor), Stefan Dohr (French horn)
Bruckner’s Sixth Symphony has long been one of the composer’s underrated works. According to Sir Simon Rattle, this is because it doesn’t offer what people usually expect of a Bruckner symphony. It is shorter, more transparent and less solemn than usual, “a piece full of humour and daring”. Bruckner himself seems to have seen it that way, for he whimsically declared the Sixth to be his “boldest”. To open the programme, Simon Rattle conducts the world premiere of a horn concerto written by Jörg Widmann, this season’s Composer-in-Residence, for our principal horn-player Stefan Dohr.
Artistic depiction of the event

Simon Rattle conducts Bruckner and Widmann

Thu, May 30, 2024, 20:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Sir Simon Rattle (Conductor), Stefan Dohr (French horn)
Bruckner’s Sixth Symphony has long been one of the composer’s underrated works. According to Sir Simon Rattle, this is because it doesn’t offer what people usually expect of a Bruckner symphony. It is shorter, more transparent and less solemn than usual, “a piece full of humour and daring”. Bruckner himself seems to have seen it that way, for he whimsically declared the Sixth to be his “boldest”. To open the programme, Simon Rattle conducts the world premiere of a horn concerto written by Jörg Widmann, this season’s Composer-in-Residence, for our principal horn-player Stefan Dohr.
Artistic depiction of the event

Kirill Petrenko conducts Bruckner and Rihm

Sat, Sep 14, 2024, 19:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Kirill Petrenko (Conductor)
Anton Bruckner’s symphonies have often been described as cathedrals of sound. And they really do combine a powerful architecture of sound with soaring climaxes and visions of the transcendent. This also applies to the Fifth Symphony, which Bruckner called his “contrapuntal masterpiece” because of its ingenious compositional technique. Kirill Petrenko combines it with a work that also has a connection to sacred architecture: Wolfgang Rihm’s IN-SCHRIFT, whose dark, powerfully-sculpted sounds are inspired by St Mark’s Basilica in Venice.
Artistic depiction of the event

Kirill Petrenko conducts Bruckner and Rihm

Fri, Sep 13, 2024, 20:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Kirill Petrenko (Conductor)
Anton Bruckner’s symphonies have often been described as cathedrals of sound. And they really do combine a powerful architecture of sound with soaring climaxes and visions of the transcendent. This also applies to the Fifth Symphony, which Bruckner called his “contrapuntal masterpiece” because of its ingenious compositional technique. Kirill Petrenko combines it with a work that also has a connection to sacred architecture: Wolfgang Rihm’s IN-SCHRIFT, whose dark, powerfully-sculpted sounds are inspired by St Mark’s Basilica in Venice.
Artistic depiction of the event

Kirill Petrenko conducts Bruckner and Rihm

Thu, Sep 12, 2024, 20:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Kirill Petrenko (Conductor)
Anton Bruckner’s symphonies have often been described as cathedrals of sound. And they really do combine a powerful architecture of sound with soaring climaxes and visions of the transcendent. This also applies to the Fifth Symphony, which Bruckner called his “contrapuntal masterpiece” because of its ingenious compositional technique. Kirill Petrenko combines it with a work that also has a connection to sacred architecture: Wolfgang Rihm’s IN-SCHRIFT, whose dark, powerfully-sculpted sounds are inspired by St Mark’s Basilica in Venice.
Artistic depiction of the event

Simone Young conducts Bruckner and Rihm

Sun, Dec 8, 2024, 19:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Simone Young (Conductor), Vida Miknevičiūtė (Soprano)
When Simone Young conducts Bruckner, she prefers to perform the original versions of his symphonies: “Perhaps they are not as perfect as the later versions,” she explains. “But they have a modernity that the later ones lack.” In this concert, she presents the original version of the Second Symphony from 1872, and combines it with Wolfgang Rihm’s one-act opera Das Gehege. This dark and enigmatic piece depicts a woman who, on the eve of German reunification, frees an eagle from captivity, tries to seduce it, and ultimately kills it.
Artistic depiction of the event

Simone Young conducts Bruckner and Rihm

Sat, Dec 7, 2024, 19:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Simone Young (Conductor), Vida Miknevičiūtė (Soprano)
When Simone Young conducts Bruckner, she prefers to perform the original versions of his symphonies: “Perhaps they are not as perfect as the later versions,” she explains. “But they have a modernity that the later ones lack.” In this concert, she presents the original version of the Second Symphony from 1872, and combines it with Wolfgang Rihm’s one-act opera Das Gehege. This dark and enigmatic piece depicts a woman who, on the eve of German reunification, frees an eagle from captivity, tries to seduce it, and ultimately kills it.
Artistic depiction of the event

Simone Young conducts Bruckner and Rihm

Fri, Dec 6, 2024, 20:00
Philharmonie Berlin, Main Auditorium (Berlin)
Berliner Philharmoniker (Orchestra), Simone Young (Conductor), Vida Miknevičiūtė (Soprano)
When Simone Young conducts Bruckner, she prefers to perform the original versions of his symphonies: “Perhaps they are not as perfect as the later versions,” she explains. “But they have a modernity that the later ones lack.” In this concert, she presents the original version of the Second Symphony from 1872, and combines it with Wolfgang Rihm’s one-act opera Das Gehege. This dark and enigmatic piece depicts a woman who, on the eve of German reunification, frees an eagle from captivity, tries to seduce it, and ultimately kills it.
Artistic depiction of the event

Jörg Widmann conducts Korngold and Mozart

Wed, Jun 12, 2024, 18:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Jörg Widmann (Conductor), Jörg Widmann (Clarinet)
In 1784, the publicist Christian Friedrich Daniel Schubart enthused about the clarinet: »The character of the clarinet is: emotion dissolved in love – so completely the tone of the sensitive heart«. Carl Maria von Weber was also captivated by the orchestral instrument, still young at the time – especially because of his artistic friendship with Heinrich Joseph Baermann, the renowned clarinetist of the Munich Hofkapelle, who premiered the handsome concertino in 1811: an effect-packed piece with a sumptuous introduction, splendid variations and a sparkling finale. We look forward to the virtuoso interpretation of Jörg Widmann, who will also guide us through two other scores. Korngold, who was considered a musical genius and was later in high demand as a film composer in Hollywood, occasionally returned to his homeland after the Second World War. In 1950, the Vienna Philharmonic Orchestra played his symphonic serenade for the first time – with its sparkling melodies and dreamlike and rich nuances, it exudes a big share of nostalgia in remembrance of the long-gone era of Romanticism. Mozart's popular G minor symphony was composed in 1788 in a time when he was barely making a living as a freelance artist in Vienna. It fascinates with its grandiose melodic inventiveness and its individual instrumentation sans timpani and trumpets. The music displays »mysterious shivers« in affects such as restlessness, agitation, lamentation and desperation – a profound masterpiece that the Allgemeine Musikalische Zeitung praised with the words: »It will never fail to make an impact, always irresistibly captivating and sweeping away the listener's soul.«
Artistic depiction of the event

Kent Nagano conducts Hosokawa and Bruckner

Sat, Feb 24, 2024, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Nagano Kent (Conductor), Daniela Koch (Flute)
»The flute so gracefully captures the ears that it brings calm and peace to all emotions, right into the soul«. This quote from Plutarch builds a wonderful bridge to the opening of our concert – the spiritual flute concerto by the prominent Japanese composer Toshio Hosokawa. Premiered in 2022, the piece is about a fascinating ceremony. According to Hosokawa, the solo part represents »a shamanic person« who invokes the orchestra as »the world, the universe, nature« using breathing sounds to summon supernatural forces: »The breathing sounds echo through the flute just like the wind in nature and become the song that awakens the spirit.« Our solo flutist Daniela Koch assumes the role of the shaman in this ritualistic piece, about which Hosokawa noted that it was »also prayer music for the end of the pandemic, as it was composed during the Corona catastrophe.« This fits with something Bruckner said in 1874 shortly after completing the first version of his third symphony: »Because the present state of the world, spiritually speaking, is weakness, I resort to strength and compose powerful music.« Many of Bruckner's movements are symphonic canticles in a sublime style, moving through the struggles and trials of a soul seeking its way to salvation through pain and suffering. Since the premiere of his third symphony was a dreadful disaster for him, he revised it multiple times, feeling deeply depressed – and finally scored a success with the 1889 version. Bruckner said about the fluctuating moods of this symphonic cosmos: »That‘s just the way it is in life. The polka stands for the humour and cheerfulness of the world – the chorale for the sadness and pain in it.«