ConcertPulse
Guest performance
Philharmonie Berlin, Chamber Music Hall (Berlin)
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“Fold by fold”—pli selon pli—Pierre Boulez reveals a portrait of the poet Stéphane Mallarmé, arguably the most important literary influence on his music, in his eponymous work for soprano and orchestra. Michael Wendeberg, who worked closely with Boulez as pianist of the Ensemble intercontemporain, conducts excerpts from the composer’s most expansive score, in the piece’s Pierre Boulez Saal premiere. The program also includes the 1965 ensemble work Éclat as well as compositions by Maurice Ravel and Austrian composer Thomas Wally, born in 1981.
They are an unconventional and avowed duet: Vincent Dubois, titular organist of Notre-Dame in Paris, and accordionist Marie-Andrée Joerger have been performing together for many years. At their organ matinee, they transform the Philharmonie first into a French salon with works by Ravel and Debussy, then into an Argentinian café – with tangos such as Invierno porteño, Adiós Nonino and Decarisimo by Astor Piazzolla. Imposing works by celebrated French organ composers Louis Vierne and Maurice Duruflé round off the performance.
When she is on the podium, says Joana Mallwitz, she wants to take the audience with her “from the very first note”. This approach has already brought her a remarkably successful career. After holding positions as General Music Director in Erfurt and Nuremberg, she has been Chief Conductor of the Konzerthausorchester Berlin since 2023. In her debut with the Berliner Philharmoniker, she leads us through very different worlds of sound with works by Prokofiev, Hindemith and Ravel. Anna Vinnitskaya will be the soloist in Rachmaninov’s Piano Concerto No. 3, a work full of dreamy melancholy and pianistic brilliance.
When she is on the podium, says Joana Mallwitz, she wants to take the audience with her “from the very first note”. This approach has already brought her a remarkably successful career. After holding positions as General Music Director in Erfurt and Nuremberg, she has been Chief Conductor of the Konzerthausorchester Berlin since 2023. In her debut with the Berliner Philharmoniker, she leads us through very different worlds of sound with works by Prokofiev, Hindemith and Ravel. Anna Vinnitskaya will be the soloist in Rachmaninov’s Piano Concerto No. 3, a work full of dreamy melancholy and pianistic brilliance.
When she is on the podium, says Joana Mallwitz, she wants to take the audience with her “from the very first note”. This approach has already brought her a remarkably successful career. After holding positions as General Music Director in Erfurt and Nuremberg, she has been Chief Conductor of the Konzerthausorchester Berlin since 2023. In her debut with the Berliner Philharmoniker, she leads us through very different worlds of sound with works by Prokofiev, Hindemith and Ravel. Anna Vinnitskaya will be the soloist in Rachmaninov’s Piano Concerto No. 3, a work full of dreamy melancholy and pianistic brilliance.
The Champions League of Piano Music. Winners of the ARD Competition.
Seong-Jin Cho loves the “incredible wealth of colours” and “often orchestral sound” of Maurice Ravel's piano music, where he finds a special form of sensitivity. He sees in Ravel “a person who smiles gently, but with tears in his eyes”. To mark the 150th anniversary of the French composer's birth, our Artist in Residence will perform Ravel's complete works for solo piano, including the gravitational Pavane pour une infante défunte, the mysterious Gaspard de la nuit and the sometimes lively, sometimes dreamy Valses nobles et sentimentales.
Es liegt eine bittersüße Note in der Musik Wolfgang Amadeus Mozarts, die zu beschreiben sich die Menschen seit Jahrhunderten die Zähne ausbeißen. Ist es die Fröhlichkeit in der Tiefe? Oder das Melancholische in der Süße? Parallel zu Le nozze di Figaro entsteht mit dem Klavierkonzert Nr. 22 ein Werk, das eben genau jenen Charakterton in sich trägt und dessen sich der norwegische Pianist Christian Ihle Hadland annimmt: packend und tänzerisch – und nicht eine Sekunde banal. Ebenso leichtfüßig wie Mozart eröffnet Elena Kats-Chernins Dance of the Paper Umbrellas das Programm. Franz Schuberts 4. Sinfonie trägt den Beinamen »Tragische«, nimmt die Hörerschaft aber eher auf eine dramatische, musikalisch aufwühlende Reise mit. Zu dieser gibt Grażyna Bacewiczs rasante Ouvertüre für Orchester den Startschuss. Eine Achterbahn der (Frühlings-)Gefühle!
In an extraordinary and highly personal program, mezzosoprano Fleur Barron and pianist Kunal Lahiry explore the echoes of global colonial history in music and poetry. Artists who share dual Asian and Western heritages, they examine diverse perspectives of identity and belonging, repression and freedom, in both familiar and lesserknown works from the past 150 years.
Many composers in history have found inspiration in the fragile and mysterious world of plants and flowers. For his solo recital, Kirill Gerstein presents a diverse selection of piano works from three centuries by com posers ranging from Robert Schumann to Thomas Adès. Percy Grainger’s paraphrase of Tchaikovsky’s famous “Waltz of the Flowers” provides the link to Maurice Ravel’s La Valse and the Waltzes Toward Civilization by the young Spanish composer Francisco Coll.
When experiencing Pierre Boulez’s First Piano Sonata, one should leave all listening habits behind and become a blank page, as the composer himself intended to be—says Pierre-Laurent Aimard, long considered one of the most erudite performers of Boulez’s music. He presents this radically unconventional 1946 work together with George Benjamin’s Shadowlines and a new piece for piano duet, for which he is joined by the composer.
