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For more than six decades, the chamber concerts by musicians from the Staatskapelle have been a constant feature of the Staatsoper programme. This season, ensembles have come together to select music from different periods, styles and cultures under the theme of ‘playing together’. On eleven dates in the Apollosaal, which with its special atmosphere is an ideal venue for chamber music and communicative interaction between players and listeners, works from the Baroque to the present day will be performed in constellations that are both exciting and harmonious, in which tangible contrasts play just as important a role as a common resonance and the balancing of opposites.
Artist in Residence Seong-Jin Cho and members of the Berliner Philharmoniker unfold a panorama of Hungarian musical styles in this concert. Johannes Brahms was often inspired by Hungarian music in his works, for instance in the finale of his clarinet trio, which oscillates between deep emotion and serenity. The trio for violin, horn and piano, which the Hungarian György Ligeti wrote in homage to Brahms, is characterised by folk rhythms. The piano quintet by the young Béla Bartók, who would go on to revolutionise Hungarian music, is still very much rooted in the Romantic period. But even here – according to Seong-Jin Cho – you can sense “Bartók's musical future”.
In the popular chamber music series “Workshop.Dialogue.Music”, musicians of the Berliner Philharmoniker introducing themselves and their instruments, and talking in a relaxed atmosphere about the works presented, their interpretation and their approach. Questions and a dialogue with the audience are very welcome! A new feature is that visitors can enjoy a French breakfast from 11:00 onwards, before the concert begins at 11:30. Breakfast is included in the ticket price.
Our chief conductor was inspired to put together an unusual programme for this concert evening by a major concern: ‘I always want to open the audience's ears. We are playing John Cage's ‘4'33’, i.e. four and a half minutes of composed silence, attacca with Ligeti's ‘Atmosphères’ and a large Bach arrangement. I want to get away from our expectations of this music, which probably have nothing at all to do with how people heard it in Bach's time or how we could be moved by it if we leave out all the filters. I want to make it possible to experience the silence, to hear the vibrations of the universe in Ligeti, and then suddenly order comes into the universe with Bach and the C minor Fantasy.’ Ludwig van Beethoven's 5th Symphony from 1807/08 begins with four notes that are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
Our chief conductor was inspired to put together an unusual programme for this concert evening by a major concern: ‘I always want to open the audience's ears. We are playing John Cage's ‘4'33’, i.e. four and a half minutes of composed silence, attacca with Ligeti's ‘Atmosphères’ and a large Bach arrangement. I want to get away from our expectations of this music, which probably have nothing at all to do with how people heard it in Bach's time or how we could be moved by it if we leave out all the filters. I want to make it possible to experience the silence, to hear the vibrations of the universe in Ligeti, and then suddenly order comes into the universe with Bach and the C minor Fantasy.’ Ludwig van Beethoven's 5th Symphony from 1807/08 begins with four notes that are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
Herbert Fritsch, a renowned actor and director with a penchant for the absurd, is venturing into the concert realm. Following his turbulent and absurd Don Giovanni, he now presents György Ligeti's groundbreaking Poème symphonique for 100 Metronomes, alongside General Music Director James Gaffigan. He'll also guide us through his personal musical world, from Carl Maria von Weber to Iannis Xenakis.
The one-hour short concerts ‘8Zehn30’ on Thursdays from 18:30 at the Konzerthaus Berlin are always short and sweet: let go of everyday life and simply immerse yourself in 60 minutes of music without a break - regardless of whether the end of the working day is already in sight or another evening shift has to be put in. The orchestra musicians of the Konzerthausorchester Berlin accompany their audience through a short(er) concert evening - from the personal introduction to the after-concert drinks at the bar in the Beethoven Hall.Ludwig van Beethoven's 5th Symphony from 1807/08 begins with four notes that are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift his fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
