Events in München | ConcertPulse

Sir Simon Rattle (Conductor), Symphonieorchester des Bayerischen Rundfunks

Today, they are usually heard separately. However, there is much to suggest that Mozart’s last three symphonies form an inner unity, a triad, a world of their own. The number 3 possesses symbolic significance and appears numerous times, for example in the three repeated chords at the beginning and end of the Jupiter Symphony. Particular pitch patterns create coherence. And the fact that the symphonies can be regarded as a self-contained, interrelated triptych is also due to their diversity. Each has its own sound world (with a different set of wind instruments), possesses a distinctive expressive range, and is based on unique musical archetypes. With the last three symphonies, Sir Simon Rattle continues his BRSO Mozart cycle, which began with Idomeneo and is far from over.

February 7, 2025

Sir Simon Rattle

Fri, Feb 7, 2025, 20:00

Sir Simon Rattle (Conductor), Symphonieorchester des Bayerischen Rundfunks

Today, they are usually heard separately. However, there is much to suggest that Mozart’s last three symphonies form an inner unity, a triad, a world of their own. The number 3 possesses symbolic significance and appears numerous times, for example in the three repeated chords at the beginning and end of the Jupiter Symphony. Particular pitch patterns create coherence. And the fact that the symphonies can be regarded as a self-contained, interrelated triptych is also due to their diversity. Each has its own sound world (with a different set of wind instruments), possesses a distinctive expressive range, and is based on unique musical archetypes. With the last three symphonies, Sir Simon Rattle continues his BRSO Mozart cycle, which began with Idomeneo and is far from over.

Prinzregententheater (München)

February 9, 2025

Sir Simon Rattle · BRSO hip

Sun, Feb 9, 2025, 11:00

Sir Simon Rattle (Conductor), Carolyn Sampson (Soprano), Tim Mead (Countertenor), Thomas Hobbs (Tenor), Konstantin Krimmel (Bariton), Bavarian Radio Chorus, BRSO hip (Baroque Ensemble)

“HIP” is not only the abbreviation for ’Historically Informed Performance,’ but above all denotes Sir Simon Rattle’s initiative to expand the BRSO repertoire with baroque music – played on period instruments. The Chief Conductor commences with three of Bach’s most beautiful cantatas. Herr, gehe nicht ins Gericht is full of poignant friction and sigh-laden progressions. Every note of Liebster Gott, wenn werd ich sterben contains a longing for death, but also the assurance of an eternal life. Was Gott tut, das ist wohlgetan is probably most akin to chamber music: with its sparse instrumentation and the omission of a final chorale, it occupies a unique position among Bach’s cantatas.

February 13, 2025

Sir Simon Rattle

Thu, Feb 13, 2025, 20:00

Sir Simon Rattle (Conductor), Lucy Crowe (Soprano), Andrè Schuen (Bariton), Bavarian Radio Chorus, Symphonieorchester des Bayerischen Rundfunks

No hell, no Last Judgement, no wrath, no fear, no dread. Not even Jesus’ name is mentioned in this Requiem, which Brahms simply called “German.” Brahms dispenses with religious exaltation and, in a letter to Clara Schumann, refers to one of the pinnacles of his musical output as “the work of a human being.” And Brahms underlines its deeply human message through the use of words from the Sermon on the Mount in the opening measures: “Blessed are those who mourn / for they shall be comforted.” The work is intended for those seeking hope and light. While it may be a Mass for the dead, Brahms does not dedicate it to the deceased but rather to those who are left behind. Providing a fitting complement is Turnage’s Remembering, which was written after the untimely death of a musician friend’s son from cancer.

February 14, 2025

Sir Simon Rattle

Fri, Feb 14, 2025, 20:00

Sir Simon Rattle (Conductor), Lucy Crowe (Soprano), Andrè Schuen (Bariton), Bavarian Radio Chorus, Symphonieorchester des Bayerischen Rundfunks

No hell, no Last Judgement, no wrath, no fear, no dread. Not even Jesus’ name is mentioned in this Requiem, which Brahms simply called “German.” Brahms dispenses with religious exaltation and, in a letter to Clara Schumann, refers to one of the pinnacles of his musical output as “the work of a human being.” And Brahms underlines its deeply human message through the use of words from the Sermon on the Mount in the opening measures: “Blessed are those who mourn / for they shall be comforted.” The work is intended for those seeking hope and light. While it may be a Mass for the dead, Brahms does not dedicate it to the deceased but rather to those who are left behind. Providing a fitting complement is Turnage’s Remembering, which was written after the untimely death of a musician friend’s son from cancer.

March 22, 2025

Sir Simon Rattle

Sat, Mar 22, 2025, 20:00

Sir Simon Rattle (Conductor), Stefan Tischler (Tuba), Norbert Ommer (Sound design), Bavarian Radio Chorus, Symphonieorchester des Bayerischen Rundfunks

Boulez, Berio, and Lachenmann: all three are celebrating anniversaries in 2025, and all three have contributed landmark works to modern music. Three of these exceptional works will be presented by Sir Simon Rattle, the Bavarian Radio Chorus, and the Symphonieorchester des Bayerischen Rundfunks in this concert. First on the program will be Cummings ist der Dichter – a work in which Boulez convincingly accentuates the phonetic and semantic dimension of the words in an extremely refined and breathtakingly colorful manner. Laborintus II combines the anarchic charm of the 1960s with a quasi-baroque opulence. In his tuba concerto Harmonica, Helmut Lachenmann explores the sonic boundaries between eruption and silence. Stefan Tischler, principal tuba of the BRSO, will be the soloist.

May 29, 2025

Sir Simon Rattle

Thu, May 29, 2025, 20:00

Isarphilharmonie (München)

Sir Simon Rattle (Conductor), Bavarian Radio Chorus, Symphonieorchester des Bayerischen Rundfunks

May 30, 2025

Sir Simon Rattle

Fri, May 30, 2025, 20:00

Isarphilharmonie (München)

Sir Simon Rattle (Conductor), Bavarian Radio Chorus, Symphonieorchester des Bayerischen Rundfunks

Today, they are usually heard separately. However, there is much to suggest that Mozart’s last three symphonies form an inner unity, a triad, a world of their own. The number 3 possesses symbolic significance and appears numerous times, for example in the three repeated chords at the beginning and end of the Jupiter Symphony. Particular pitch patterns create coherence. And the fact that the symphonies can be regarded as a self-contained, interrelated triptych is also due to their diversity. Each has its own sound world (with a different set of wind instruments), possesses a distinctive expressive range, and is based on unique musical archetypes. With the last three symphonies, Sir Simon Rattle continues his BRSO Mozart cycle, which began with Idomeneo and is far from over.

Sir Simon Rattle · BRSO hip

“HIP” is not only the abbreviation for ’Historically Informed Performance,’ but above all denotes Sir Simon Rattle’s initiative to expand the BRSO repertoire with baroque music – played on period instruments. The Chief Conductor commences with three of Bach’s most beautiful cantatas. Herr, gehe nicht ins Gericht is full of poignant friction and sigh-laden progressions. Every note of Liebster Gott, wenn werd ich sterben contains a longing for death, but also the assurance of an eternal life. Was Gott tut, das ist wohlgetan is probably most akin to chamber music: with its sparse instrumentation and the omission of a final chorale, it occupies a unique position among Bach’s cantatas.

No hell, no Last Judgement, no wrath, no fear, no dread. Not even Jesus’ name is mentioned in this Requiem, which Brahms simply called “German.” Brahms dispenses with religious exaltation and, in a letter to Clara Schumann, refers to one of the pinnacles of his musical output as “the work of a human being.” And Brahms underlines its deeply human message through the use of words from the Sermon on the Mount in the opening measures: “Blessed are those who mourn / for they shall be comforted.” The work is intended for those seeking hope and light. While it may be a Mass for the dead, Brahms does not dedicate it to the deceased but rather to those who are left behind. Providing a fitting complement is Turnage’s Remembering, which was written after the untimely death of a musician friend’s son from cancer.