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FROHE BOTSCHAFT? Als Thomas Adès 1999 mit America – A Prophecy den Auftrag Kurt Masurs für New York Philharmonic erfüllte, war er selbst überrascht, wie düster ihm die Musik geriet. Keine heroische Vision einer stolzen Nation floss ihm aus der Feder, sondern ein verzweifelter Aufschrei im Angesicht der Apokalypse. Masur, der einen optimistischen Beitrag zur Reihe musikalischer »Messages for the Millenium« erhofft hatte, stockte der Atem. Gewaltiger Erfolg bei Publikum und Presse zeigte: Der 27 Jahre junge Komponist und sein kühner Premierendirigent trafen einen Nerv der Zeit. Mit den Terroranschlägen des 11. September 2001 schien die Prophecy von Adès’ Orchesterwerk schließlich auf verstörende Weise Realität zu werden. Seitdem ringt Adès mit einem dritten, ins Positive gewandten Teil. Kann das dieser Tage gelingen? Die krisengeschüttelte Welt hätte es nötiger denn je. STERNSTUNDE Weniger astronomische als astrologische Phänomene hatte der Mädchenschullehrer, Wochenendkomponist und Hobbysterndeuter Holst im Sinn, als er den Teilen seiner großartigen Orchestersuite Planetennamen verlieh. Sieben Sätze umfasst der Zyklus: Im Zentrum strahlt die fulminante Klangpracht Jupiters, des größten Planeten unseres Sonnensystems. Um ihn kreisen der infernalisch aufmarschierende Mars – komponiert kurz vor Ausbruch des 1. Weltkriegs – und die betörende Venus. Dem eilig dahinhuschenden Merkur folgen Saturn, der mit Harfe, Heckelphon, Altflöte und Glocken überrascht, der bezaubernde Uranus und der sonnen- und erdferne Neptun. In dessen mystische Musik mischen sich menschliche Stimmen und beschwören wortlos den Zustand kosmischer Harmonie.
FROHE BOTSCHAFT? Als Thomas Adès 1999 mit America – A Prophecy den Auftrag Kurt Masurs für New York Philharmonic erfüllte, war er selbst überrascht, wie düster ihm die Musik geriet. Keine heroische Vision einer stolzen Nation floss ihm aus der Feder, sondern ein verzweifelter Aufschrei im Angesicht der Apokalypse. Masur, der einen optimistischen Beitrag zur Reihe musikalischer »Messages for the Millenium« erhofft hatte, stockte der Atem. Gewaltiger Erfolg bei Publikum und Presse zeigte: Der 27 Jahre junge Komponist und sein kühner Premierendirigent trafen einen Nerv der Zeit. Mit den Terroranschlägen des 11. September 2001 schien die Prophecy von Adès’ Orchesterwerk schließlich auf verstörende Weise Realität zu werden. Seitdem ringt Adès mit einem dritten, ins Positive gewandten Teil. Kann das dieser Tage gelingen? Die krisengeschüttelte Welt hätte es nötiger denn je. STERNSTUNDE Weniger astronomische als astrologische Phänomene hatte der Mädchenschullehrer, Wochenendkomponist und Hobbysterndeuter Holst im Sinn, als er den Teilen seiner großartigen Orchestersuite Planetennamen verlieh. Sieben Sätze umfasst der Zyklus: Im Zentrum strahlt die fulminante Klangpracht Jupiters, des größten Planeten unseres Sonnensystems. Um ihn kreisen der infernalisch aufmarschierende Mars – komponiert kurz vor Ausbruch des 1. Weltkriegs – und die betörende Venus. Dem eilig dahinhuschenden Merkur folgen Saturn, der mit Harfe, Heckelphon, Altflöte und Glocken überrascht, der bezaubernde Uranus und der sonnen- und erdferne Neptun. In dessen mystische Musik mischen sich menschliche Stimmen und beschwören wortlos den Zustand kosmischer Harmonie.
On 13 September 1874, one of the most influential and revolutionary composers in musical history was born in Vienna: Arnold Schönberg. Exactly 150 years later, the XXL-filled NDR Elbphilharmonie Orchestra under principal conductor Alan Gilbert and several hundred choristers along with top-class soloists congratulate him with a veritable mammoth serenade: the »Gurre-Lieder« is probably one of the most large-scale works in the entire repertoire of classical music. At the same time, a worthy start to the new NDR season full of further highlights! At the premiere of the monumental oratorio in 1913 in Vienna, Anton Webern enthused: »What a moment in my life! Unforgettable… The sensation of this roaring sound really moves me«. And this pupil of Schönberg was not the only one: the entire hall rejoiced when faced with the opulent, intoxicating sounds, which no one would have expected from Schönberg at all! The pioneer of atonality and twelve-tone music had long since distanced himself from his late-Romantic Jugendstil. When he completed the orchestration for this piece in 1910/11, which he had already started between 1900 and 1903, he, nevertheless, did not consider it obsolete, but as the »key to my entire development« and document of his musical origin. Five renowned solo singers, Thomas Quasthoff as the narrator, the combined radio choirs from Leipzig, Berlin and Hamburg as well as the NDR Elbphilharmonie Orchestra with double and triple wind, string and percussion strengths then let the tragic story of jealousy surrounding the Danish King Valdemar and his mistress Tove become the sonorous event for the opening of the 2024/25 NDR Season. Jens Peter Jacobsen set the medieval myth play at Gurre Castle in Zealand in 1868 in several poems, which provided Schönberg with text templates for his profound orchestral song cycle.
On 13 September 1874, one of the most influential and revolutionary composers in musical history was born in Vienna: Arnold Schönberg. Exactly 150 years later, the XXL-filled NDR Elbphilharmonie Orchestra under principal conductor Alan Gilbert and several hundred choristers along with top-class soloists congratulate him with a veritable mammoth serenade: the »Gurre-Lieder« is probably one of the most large-scale works in the entire repertoire of classical music. At the same time, a worthy start to the new NDR season full of further highlights! At the premiere of the monumental oratorio in 1913 in Vienna, Anton Webern enthused: »What a moment in my life! Unforgettable… The sensation of this roaring sound really moves me«. And this pupil of Schönberg was not the only one: the entire hall rejoiced when faced with the opulent, intoxicating sounds, which no one would have expected from Schönberg at all! The pioneer of atonality and twelve-tone music had long since distanced himself from his late-Romantic Jugendstil. When he completed the orchestration for this piece in 1910/11, which he had already started between 1900 and 1903, he, nevertheless, did not consider it obsolete, but as the »key to my entire development« and document of his musical origin. Five renowned solo singers, Thomas Quasthoff as the narrator, the combined radio choirs from Leipzig, Berlin and Hamburg as well as the NDR Elbphilharmonie Orchestra with double and triple wind, string and percussion strengths then let the tragic story of jealousy surrounding the Danish King Valdemar and his mistress Tove become the sonorous event for the opening of the 2024/25 NDR Season. Jens Peter Jacobsen set the medieval myth play at Gurre Castle in Zealand in 1868 in several poems, which provided Schönberg with text templates for his profound orchestral song cycle.
The accused is a national heroine, the trial a farce. In Arthur Honegger’s oratorio Jeanne d'Arc au bûcher, Joan of Arc looks back on her life, her visions, and her successes during a show trial in which she is sentenced to be burned at the stake. The work is a powerful drama and at the same time a revealing parable of corruption and the abuse of power. Honegger combines different musical styles here, from chorale to jazz-inflected music-hall sounds, to create a captivating sound painting. The conductor of the evening is Alan Gilbert. Actress and Oscar-winner Marion Cotillard will perform as the narrator.
The accused is a national heroine, the trial a farce. In Arthur Honegger’s oratorio Jeanne d'Arc au bûcher, Joan of Arc looks back on her life, her visions, and her successes during a show trial in which she is sentenced to be burned at the stake. The work is a powerful drama and at the same time a revealing parable of corruption and the abuse of power. Honegger combines different musical styles here, from chorale to jazz-inflected music-hall sounds, to create a captivating sound painting. The conductor of the evening is Alan Gilbert. Actress and Oscar-winner Marion Cotillard will perform as the narrator.
The accused is a national heroine, the trial a farce. In Arthur Honegger’s oratorio Jeanne d'Arc au bûcher, Joan of Arc looks back on her life, her visions, and her successes during a show trial in which she is sentenced to be burned at the stake. The work is a powerful drama and at the same time a revealing parable of corruption and the abuse of power. Honegger combines different musical styles here, from chorale to jazz-inflected music-hall sounds, to create a captivating sound painting. The conductor of the evening is Alan Gilbert. Actress and Oscar-winner Marion Cotillard will perform as the narrator.
The Frankfurt Radio Symphony, led by Alain Altinoglu, opens the Rheingau Music Festival at Eberbach Monastery with Poulenc's "Stabat Mater," a rare sacred work described as a "requiem without despair." Brazilian violinist Guido Sant'Anna joins them for Lalo's "Symphonie espagnole."
The Frankfurt Radio Symphony, led by Alain Altinoglu, opens the Rheingau Music Festival at Eberbach Monastery with Poulenc's "Stabat Mater," a rare sacred work described as a "requiem without despair." Brazilian violinist Guido Sant'Anna joins them for Lalo's "Symphonie espagnole."