Sir Simon Rattle

Sir Simon Rattle

Simon Rattle felt no hesitation in commencing his tenure as Chief Conductor of the Chor and Symphonieorchester des BR with Haydn’s Creation. “It contains everything. The whole world. It looks both towards the past and far into the future of everything music can be. It is balance and revolution at the same time, a true work of the Enlightenment.” Magnificent choruses, graceful melodies, the finest polyphony, all firmly anchored in an optimistic view of humanity: “Anyone who doesn’t automatically feel better after hearing it really needs help,“ Simon Rattle says with a wink.” The Creation is healthy in a very honest way.” But health also includes a good dose of humor, and Haydn provides it, even in a setting as sacred as the Creation story. At the same time, a work radiating light also casts some shadows on our own present. What has remained of the spirit of the Enlightenment? And what have we done with the “world, so great, so wonderful”?

Sir Simon Rattle

Simon Rattle felt no hesitation in commencing his tenure as Chief Conductor of the Chor and Symphonieorchester des BR with Haydn’s Creation. “It contains everything. The whole world. It looks both towards the past and far into the future of everything music can be. It is balance and revolution at the same time, a true work of the Enlightenment.” Magnificent choruses, graceful melodies, the finest polyphony, all firmly anchored in an optimistic view of humanity: “Anyone who doesn’t automatically feel better after hearing it really needs help,“ Simon Rattle says with a wink.” The Creation is healthy in a very honest way.” But health also includes a good dose of humor, and Haydn provides it, even in a setting as sacred as the Creation story. At the same time, a work radiating light also casts some shadows on our own present. What has remained of the spirit of the Enlightenment? And what have we done with the “world, so great, so wonderful”?

Sir Simon Rattle

A cleverly woven programme in which demise comes first: Sir Simon Rattle begins by letting Tristan and Isolde “lament, drown, and sink” in their “swelling, welling, resounding, flowing, urgent, vibrant” yearning for love. However, this sensation that has been transposed into music by Wagner along with its obsessive tragedy finally dissolves into the peaceful, contemplative atmosphere of birdsong, the babbling of a brook, footsteps, and a cleansing thunderstorm: Beethoven’s Pastoral transforms the walk of a city dweller in nature into an onomatopoeic experience and is thus decidedly reminiscent of Rattle’s inaugural concert as Chief Conductor that featured Haydn’s Creation. Between breathtaking harmonies and an intimate finale lies a substantial new orchestral work by Thomas Adès, composed for the 75th anniversary of the BRSO. Greatness in every respect.

Sir Simon Rattle

A cleverly woven programme in which demise comes first: Sir Simon Rattle begins by letting Tristan and Isolde “lament, drown, and sink” in their “swelling, welling, resounding, flowing, urgent, vibrant” yearning for love. However, this sensation that has been transposed into music by Wagner along with its obsessive tragedy finally dissolves into the peaceful, contemplative atmosphere of birdsong, the babbling of a brook, footsteps, and a cleansing thunderstorm: Beethoven’s Pastoral transforms the walk of a city dweller in nature into an onomatopoeic experience and is thus decidedly reminiscent of Rattle’s inaugural concert as Chief Conductor that featured Haydn’s Creation. Between breathtaking harmonies and an intimate finale lies a substantial new orchestral work by Thomas Adès, composed for the 75th anniversary of the BRSO. Greatness in every respect.

Sir Simon Rattle

A cleverly woven programme in which demise comes first: Sir Simon Rattle begins by letting Tristan and Isolde “lament, drown, and sink” in their “swelling, welling, resounding, flowing, urgent, vibrant” yearning for love. However, this sensation that has been transposed into music by Wagner along with its obsessive tragedy finally dissolves into the peaceful, contemplative atmosphere of birdsong, the babbling of a brook, footsteps, and a cleansing thunderstorm: Beethoven’s Pastoral transforms the walk of a city dweller in nature into an onomatopoeic experience and is thus decidedly reminiscent of Rattle’s inaugural concert as Chief Conductor that featured Haydn’s Creation. Between breathtaking harmonies and an intimate finale lies a substantial new orchestral work by Thomas Adès, composed for the 75th anniversary of the BRSO. Greatness in every respect.

Sir Simon Rattle

Sir Simon Rattle & Katia und Marielle Labèque

Golijov’s Nazareno has a permanent place on the Rattle family’s playlist. As Sir Simon’s youngest daughter puts it: “If all your classical works were like this, I’d come to every concert – because it’s so good to dance to!” This irresistible celebration of South American music will feature two of Rattle’s lifelong friends at the piano: the sisters Katia and Marielle Labèque. The works of de Falla, Stravinsky, and Bernstein provide just as much character, resulting in an absolute dream program of classical music, jazz, and tango, that demonstrates the BRSO’s full sonic and rhythmic spectrum. The concert will showcase the BRSO solo clarinettists in the Ebony Concerto, and the Prelude, Fugue and Riffs, works written by Stravinsky and Bernstein respectively for the legendary jazz clarinettist Woody Herman.

Sir Simon Rattle & Katia und Marielle Labèque

Golijov’s Nazareno has a permanent place on the Rattle family’s playlist. As Sir Simon’s youngest daughter puts it: “If all your classical works were like this, I’d come to every concert – because it’s so good to dance to!” This irresistible celebration of South American music will feature two of Rattle’s lifelong friends at the piano: the sisters Katia and Marielle Labèque. The works of de Falla, Stravinsky, and Bernstein provide just as much character, resulting in an absolute dream program of classical music, jazz, and tango, that demonstrates the BRSO’s full sonic and rhythmic spectrum. The concert will showcase the BRSO solo clarinettists in the Ebony Concerto, and the Prelude, Fugue and Riffs, works written by Stravinsky and Bernstein respectively for the legendary jazz clarinettist Woody Herman.

Sir Simon Rattle & Katia und Marielle Labèque

Golijov’s Nazareno has a permanent place on the Rattle family’s playlist. As Sir Simon’s youngest daughter puts it: “If all your classical works were like this, I’d come to every concert – because it’s so good to dance to!” This irresistible celebration of South American music will feature two of Rattle’s lifelong friends at the piano: the sisters Katia and Marielle Labèque. The works of de Falla, Stravinsky, and Bernstein provide just as much character, resulting in an absolute dream program of classical music, jazz, and tango, that demonstrates the BRSO’s full sonic and rhythmic spectrum. The concert will showcase the BRSO solo clarinettists in the Ebony Concerto, and the Prelude, Fugue and Riffs, works written by Stravinsky and Bernstein respectively for the legendary jazz clarinettist Woody Herman.

Sir Simon Rattle

If Sir Simon could only take one work with him to a desert island, it would be Bach’s St. Matthew Passion. According to the BRSO Chief Conductor, “there is no better way to start the new season than with this profound, very personal spiritual journey.” This music is closer to perfection than almost anything written before or since. Just think of the famous alto aria “Erbarme dich.” Rattle, the BRSO, and the Bavarian Radio Chorus have been waiting for this moment for three years. Fortunately, this is the same exquisite line-up of vocal soloists as the previously planned concert that had to be cancelled at short notice due to the pandemic, and which could only be watched via livestream. This line-up includes the British tenor Mark Padmore, one of the most charismatic Evangelists of our time. For the BRSO, it represents a most joyful reunion with a long-standing artistic companion and former Artist in Residence.