The London Symphony Orchestra’s second concert with Sir Simon Rattle features the same winning combination as the previous programme—a repertoire selection (this time, Beethoven), a 20th-century piece, and a new contemporary work.
With Sir Simon Rattle conducting, a programme that nicely balances Brahms’ final symphony with Boulez’s Éclat and a French premiere, the suite from Benjamin’s opera Lessons in Love and Violence.
An all-British programme of Tippett, Turnage and Vaughan Williams inspired by opera and jazz – including an unmissable world premiere, to celebrate Sir Simon Rattle’s 70th birthday.
A bewitching programme of contrasts: Pierre Boulez’s glittering sound world, late Johannes Brahms, and a lyrical world premiere from George Benjamin – to celebrate Sir Simon Rattle’s 70th birthday.
Kick-start your evening with a 60-minute Half Six Fix concert. Introduced by the performers, with screens in the hall to bring you closer to the action.
Sir Simon Rattle will once again conduct the BRSO in this year’s SZ Benefit Concert. Joining the orchestra and its Chief Conductor at this traditional event will be Korean pianist Seong-Jin Cho, one of the new international stars of classical music. A Berliner by choice, his playing achieves a natural balance between energy and virtuosity. He is a “perfect match” for Brahms’ Second Piano Concerto, in which the composer assigned the soloist a new role (in contrast to the failed First): he holds the reins and initiates the musical narrative, is almost always active, dialogues with the orchestra, and drives the action forward.
This programme is unusually diverse even for the musicians of the Bavarian Radio Symphony Orchestra. Yet the musical worlds of Ligeti, Wagner, and Webern, which merge more or less seamlessly in this concert, are not as far apart as one might think. And in the second half there is Bruckner’s auratic Ninth Symphony, a true monolith. “It seems that the Ninth is a limit. If one wishes to go beyond it, one must leave this world. Those who wrote a Ninth were already too close to the hereafter” – this was Schönberg’s prophetic statement regarding Mahler, who died without ever having heard his Ninth Symphony. Bruckner is also said to have been afraid of this fatal number: “I don’t want to start on my Ninth at all, I don’t dare.” He died while working on the fourth movement.
This programme is unusually diverse even for the musicians of the Bavarian Radio Symphony Orchestra. Yet the musical worlds of Ligeti, Wagner, and Webern, which merge more or less seamlessly in this concert, are not as far apart as one might think. And in the second half there is Bruckner’s auratic Ninth Symphony, a true monolith. “It seems that the Ninth is a limit. If one wishes to go beyond it, one must leave this world. Those who wrote a Ninth were already too close to the hereafter” – this was Schönberg’s prophetic statement regarding Mahler, who died without ever having heard his Ninth Symphony. Bruckner is also said to have been afraid of this fatal number: “I don’t want to start on my Ninth at all, I don’t dare.” He died while working on the fourth movement.
In 2018, Harrison Birtwistle, one of the most influential contemporary British composers, wrote a typically intense, rugged piece lasting less than four minutes (that turned out to be one of his last) and dedicated it to Sir Simon. The piece acts as a fitting opening for the decidedly monumental work that follows: Mahler’s Seventh, to which Rattle turns his attention after having already performed the Sixth and Ninth with the BRSO. Mahler found it particularly difficult to complete the work at the time. While trying to compose an appropriate opening, he suffered from a debilitating writer’s block that plunged him into deep depression. On a rowing trip across Lake Wörthersee, he is said to have conceived the redemptive idea for the first movement – a tenor horn solo that leads directly into the emotional cosmos of the symphony.
In 2018, Harrison Birtwistle, one of the most influential contemporary British composers, wrote a typically intense, rugged piece lasting less than four minutes (that turned out to be one of his last) and dedicated it to Sir Simon. The piece acts as a fitting opening for the decidedly monumental work that follows: Mahler’s Seventh, to which Rattle turns his attention after having already performed the Sixth and Ninth with the BRSO. Mahler found it particularly difficult to complete the work at the time. While trying to compose an appropriate opening, he suffered from a debilitating writer’s block that plunged him into deep depression. On a rowing trip across Lake Wörthersee, he is said to have conceived the redemptive idea for the first movement – a tenor horn solo that leads directly into the emotional cosmos of the symphony.
“Thus might we die, that together / ever one, without end / never waking, never fearing / namelessly enveloped in love / given up to each other / to live only for love!” In Act 2 of the music drama, Tristan and Isolde assure each other of their boundless love, which outlasts even death. “And regardless of how often you perform it, it continues to be shocking,” says Sir Simon Rattle. For the BRSO Chief Conductor, this music by Wagner, in which every bar trembles and sways until everything finally dissolves, is a narcotic, an addictive drug. Rattle continues his series of Wagner operas in concert performances with the brilliant Lise Davidsen as Isolde, who is singing this role for the first time. This will undoubtedly be an eagerly awaited highlight of the early part of the concert season.
Since becoming the BRSO’s Chief Conductor, Sir Simon Rattle has also been a mentor of the Orchestra Academy, as the promotion of young talent is particularly close to his heart. He calls it a “no brainer” – such promotion is self-evident. He performed his first project with the BRSO Academy last season, and will continue his work with the scholarship recipients in the new season with this special concert. This concert is exclusively geared towards young people: Sir Simon has carefully selected works for this ensemble and for Tsotne Zedginidze, the incredible young pianist from Georgia that Sir Simon had introduced to Munich audiences last season.
“Thus might we die, that together / ever one, without end / never waking, never fearing / namelessly enveloped in love / given up to each other / to live only for love!” In Act 2 of the music drama, Tristan and Isolde assure each other of their boundless love, which outlasts even death. “And regardless of how often you perform it, it continues to be shocking,” says Sir Simon Rattle. For the BRSO Chief Conductor, this music by Wagner, in which every bar trembles and sways until everything finally dissolves, is a narcotic, an addictive drug. Rattle continues his series of Wagner operas in concert performances with the brilliant Lise Davidsen as Isolde, who is singing this role for the first time. This will undoubtedly be an eagerly awaited highlight of the early part of the concert season.
»As artists, we can show our love with music.« These words were spoken by Sir Simon Rattle – and our audience is in for a treat as the collaboration between the top Bavarian orchestras continues. This time the Bavarian Radio Symphony Orchestra will be conducted in our concert hall by its new Chief Conductor, whose personal style is characterised by charisma and complete humanity – and who likens a harmonious relationship between conductor and orchestra to a good marriage. With our Munich colleagues, it was certainly love at first sight. In this concert by the Bavarian ensemble, the Bamberg audience is treated to a programme of Sir Simon Rattle’s choice. It bears his typical signature, as it includes a broad spectrum of rarely heard repertoire.For the wide-ranging programme, the likeable star conductor will be joined on the podium by several of his artist friends as soloists – including the famous piano duo Katia and Marielle Labèque. We are in for an evening full of excitement with enchanting pieces that will captivate the ears and touch the heart: The list includes an irresistible choice of vivacious works written by Manuel de Falla, Igor Stravinsky, Osvaldo Golijov and Leonard Bernstein. And one thing is clear from this contrasting programme of classical music, jazz, tango, and other tunes from other regions: how valuable the unifying power of music is for life - in the words of Sir Simon Rattle, who, when asked what he wanted to give the audience as a conductor, said: »That music shows us what it means to be human. That we are not alone, that someone feels the same way.«
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.
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.
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.
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.
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