2016-17 Fall Program Book 138Th
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Berliner Philharmoniker
Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com. -
'Botschafter Der Musik': the Berlin Philharmonic Orchestra and The
Working Papers in the Humanities 1 ‘Botschafter der Musik’: The Berlin Philharmonic Orchestra and the Role of Classical Music in Post-War German Identity Lauren Freede University of Edinburgh Abstract This working paper looks at the role of classical music in the establishment of modern German identity. My wider doctoral research project examines the importance of music in shaping differing senses of positive collective identity in both West Germany and Austria since the 1920s, and explores the exclusion of classical music from critical memory narratives, with particular reference to musical autobiographies. This paper focuses more narrowly on the situation in Germany immediately after World War II. While traditional accounts of the period tend to deal with individual musicians, I argue that musical institutions were central to a sense of being German. A brief case study of the Berlin Philharmonic Orchestra illustrates the tangled relationship between music and politics, and shows the ways in which musical identity was contested. Germans saw positive continuity in their mastery of the classical tradition, while the American occupiers saw the German belief in their musical superiority as a dangerous and unstable base for national restoration. My analysis of the Orchestra reveals that classical music was adopted as a politically neutral source of national pride despite being both highly susceptible to political manipulation and implicated in past militaristic and racist ideologies from which it was supposedly aloof. Thomas Mann once argued: ‘Soll Faust der Repräsentant der deutschen Seele sein, so müßte er musikalisch sein’.2 Since the middle of the nineteenth century, classical music has indeed been the art form most closely identified with the development of the German nation, and musicians and writers have argued that the art form itself belongs to Germany. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Ob in Berlin, London Oder Paris, Den Vereinig- Ten Staaten
Kammerkonzert der Berliner Philharmoniker vom 14. Januar 2003 im Kammermusiksaal der Berliner Philharmonie in der Reihe „Quartetto“ Ob in Berlin, London oder Paris, den Vereinig- erschöpflichen künstlerischen Auseinandersetzung ten Staaten, Japan oder Südamerika, ob auf mit den Klassikern – auch jenen des .Jahrhun- dem Konzertpodium oder im Tonstudio: das derts –, zum anderen aber vom Engagement für P Q B hat sich selten zu hörende Streichquartette, etwa von in den sechzehn Jahren seines Bestehens als ein Hindemith (Nr. ), Reger (op. ), Schulhoff Maßstäbe setzendes, in aller Welt hoch angesehe- (Nr. ) oder Szymanowski (Nr. ): Interpretatio- nes und gefragtes Kammermusik-Ensemble eta- nen, die allesamt auch auf CD dokumentiert sind. blieren können. Der Primarius des Philharmonia Quartetts, So bezeichnete der Chicago Tribune das Daniel Stabrawa, kam aus seiner Heimatstadt Philharmonia Quartett als „top-flight-ensemble“ Krakau zu den Berliner Philharmonikern und und der Boston Globe bescheinigte den vier Musi- avancierte drei Jahre später zum Ersten Konzert- kern „celestial playing and a heart-melting sound“. meister. Sein Kollege Christian Stadelmann, der Bereits zwei ihrer CDs gewannen den Deutschen bei Thomas Brandis in Berlin studierte, trat Schallplattenpreis (Reger und Schostakowitsch) in das Orchester ein und ist seit Erster Stimm- und wurden von der Süddeutschen Zeitung als führer der zweiten Violinen. Neithard Resa, Schü- „herausragend“ bewertet. Für die Einspielung ler von Michel Schwalbé und Max Rostal, spielt von Beethovens Streichquartett op. sowie der seit als Erster Solo-Bratscher bei den Berliner großen Fuge op. wurde dem Philharmonia Philharmonikern. Bereits ein Jahr früher war Jan Quartett der Echo-Klassikpreis verliehen. Diesselhorst in die weltberühmte Cellistengruppe Das vielseitige und entdeckungsfreudige Re- aufgenommen worden; er absolvierte sein Studium pertoire des Ensembles umfasst inzwischen mehr bei Alexander Molzahn in Frankfurt am Main und als hundert Werke. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
Berliner Philharmoniker Kirill Petrenko
Philharmonie Premium 2 Berliner Philharmoniker Kirill Petrenko Mittwoch 19. Februar 2020 20:00 Bitte beachten Sie: Ihr Husten stört Besucher und Künstler. Wir halten daher für Sie an den Garderoben Ricola-Kräuterbonbons bereit. Sollten Sie elektronische Geräte, insbesondere Mobiltelefone, bei sich haben: Bitte schalten Sie diese zur Vermeidung akustischer Störungen unbedingt aus. Wir bitten um Ihr Verständnis, dass Bild- und Tonaufnahmen aus urheberrechtlichen Gründen nicht gestattet sind. Wenn Sie einmal zu spät zum Konzert kommen sollten, bitten wir Sie um Verständnis, dass wir Sie nicht sofort einlassen können. Wir bemühen uns, Ihnen so schnell wie möglich Zugang zum Konzertsaal zu gewähren. Ihre Plätze können Sie spätestens in der Pause einnehmen. Bitte warten Sie den Schlussapplaus ab, bevor Sie den Konzertsaal verlassen. Es ist eine schöne und respektvolle Geste den Künstlern und den anderen Gästen gegenüber. Mit dem Kauf der Eintrittskarte erklären Sie sich damit einverstanden, dass Ihr Bild möglicherweise im Fernsehen oder in anderen Medien ausgestrahlt oder veröffentlicht wird. Vordruck/Lackform_1920.indd 2-3 17.07.19 10:18 Philharmonie Premium 2 Berliner Philharmoniker Kirill Petrenko Dirigent Mittwoch 19. Februar 2020 20:00 Pause gegen 20:50 Ende gegen 22:00 PROGRAMM Igor Strawinsky 1882 – 1971 Symphony in Three Movements (1942 – 45) Quarter Note = 160 Andante – Interlude Con moto Bernd Alois Zimmermann 1918- 1970 Alagoana (1950 – 55) Caprichos Brasileiros. Ballett-Suite für Orchester Ouvertüre Sertanejo Saudade Caboclo Finale Pause Sergej Rachmaninow 1873 – 1943 Sinfonische Tänze op. 45 (1940) für Orchester Non allegro – Lento – Tempo primo Andante con moto. Tempo di valse Lento assai – Allegro vivace 2 ZU DEN WERKEN Musik und Tanz sind – über das Element des Rhythmischen – eng miteinander verknüpft. -
Digital Concert Hall Die Berliner Philharmoniker Live Im Internet
www.digital-concert-hall.com DIGITAL CONCERT HALL DIE BERLINER PHILHARMONIKER LIVE IM INTERNET PROGRAMM 2013/ 2014 3 WILLKOMMEN WILLKOMMEN IN DER DIGITAL CONCERT HALL Ein kleines Jubiläum ist zu feiern: Seit fünf Jahren übertragen die Berliner Philharmoniker ihre Konzerte in der Digital Concert Hall — live und in exzel- lenter HD-Qualität. Über 200 Produktionen mit rund 450 Werken sind bisher entstanden und bleiben dauerhaft im Video-Archiv verfügbar. Hinzu kommen zahlreiche Künstlerinterviews und vielfältige Bonus-Videos. All das lässt sich nicht nur über die Website der Digital Concert Hall abrufen, sondern ebenso als App für Mobilgeräte und Fernseher. — Für viele Konzert-Highlights der neuen Saison 2013/2014 zeichnet Chefdirigent Sir Simon Rattle verantwortlich. Nach seinem Eröffnungs- konzert mit einem Mozart-Programm ist vor allem das Festkonzert zum 50-jährigen Bestehen der Philharmonie zu nennen, ebenso die Wieder- aufnahme der hoch gelobten Matthäus-Passion in der halbszenischen Fassung von Peter Sellars, der in dieser Spielzeit außerdem seine Lesart der Johannes-Passion präsentieren wird. — Wie immer bereichern bedeutende musikalische Gäste — New- comer wie Altmeister — den Konzertkalender: von Gustavo Dudamel bis Claudio Abbado, von Andris Nelsons bis Nikolaus Harnoncourt. Eine gute Nachricht gibt es außerdem für alle Freunde Lorin Maazels, der nach langer Pause mit einem Strauss-Abend in die Philharmonie zurückkehrt. Und wir erleben zwei weitere Jubiläen mit Daniel Baren- boim und Bernard Haitink, die beide seit einem halben Jahrhundert mit den Berliner Philharmonikern musizieren. — Unser Partner Deutsche Bank unterstützt die Digital Concert Hall seit ihrem Start 2008. Sony stellt die audiovisuelle Aufnahmetechnik zur Verfügung. Bis heute ist dieser virtuelle Konzertsaal ein weltweit einzigartiges Angebot. -
Digital Concert Hall Programme 2018/2019 3
2 DIGITAL CONCERT HALL PROGRAMME 2018/2019 3 WELCOME TO THE DIGITAL CONCERT HALL The 2018/2019 season marks a very special Zubin Mehta. Another highlight is the return phase in the history of the Berliner Philhar- on two occasions of Sir Simon Rattle, and moniker. Following on from the end of the with several debuts, new artistic connections Simon Rattle era, it is characterised by look- will also be made. Among the top-class guest ing forward to a new beginning when Kirill soloists is the pianist Daniil Trifonov to name Petrenko takes up office as chief conductor. but one, the Berliner Philharmoniker’s current Although this is not due until the summer of Artist in Residence. 2019, exciting joint concerts are on the hori- zon, beginning with the season opening con- Another special feature of this season: cert which is dedicated to the core repertoire the 10th anniversary of the Digital Concert of the Berliner Philharmoniker: a Beethoven Hall. On 17 December 2008, this unprece- symphony and two symphonic poems by dented project went online, followed by a first Richard Strauss. In the Digital Concert Hall live broadcast on 6 January 2009. Since then, we are also showing a tour concert from Lu- around 50 live concerts have been shown cerne, a programme with works by Schoen- per season. The video archive now holds more berg and Tchaikovsky in the spring of 2019, than 500 concert recordings, from the and Kirill Petrenko appears at the helm of the present day back to the Karajan era. There National Youth Orchestra of Germany as well. -
The 1963 Berlin Philharmonie – a Breakthrough Architectural Vision
PRZEGLĄD ZACHODNI I, 2017 BEATA KORNATOWSKA Poznań THE 1963 BERLIN PHILHARMONIE – A BREAKTHROUGH ARCHITECTURAL VISION „I’m convinced that we need (…) an approach that would lead to an interpretation of the far-reaching changes that are happening right in front of us by the means of expression available to modern architecture.1 Walter Gropius The Berlin Philharmonie building opened in October of 1963 and designed by Hans Scharoun has become one of the symbols of both the city and European musical life. Its character and story are inextricably linked with the history of post-war Berlin. Construction was begun thanks to the determination and un- stinting efforts of a citizens initiative – the Friends of the Berliner Philharmo- nie (Gesellschaft der Freunde der Berliner Philharmonie). The competition for a new home for the Berlin Philharmonic Orchestra (Berliner Philharmonisches Orchester) was won by Hans Scharoun whose design was brave and innovative, tailored to a young republic and democratic society. The path to turn the design into reality, however, was anything but easy. Several years were taken up with political maneuvering, debate on issues such as the optimal location, financing and the suitability of the design which brought into question the traditions of concert halls including the old Philharmonie which was destroyed during bomb- ing raids in January 1944. A little over a year after the beginning of construction the Berlin Wall appeared next to it. Thus, instead of being in the heart of the city, as had been planned, with easy access for residents of the Eastern sector, the Philharmonie found itself on the outskirts of West Berlin in the close vicinity of a symbol of the division of the city and the world. -
St. Matthew Passion (U.S
10-07 WL St Matthew_GP 9/24/14 12:00 PM Page 1 Tuesday and Wednesday Evenings, October 7–8, 2014, at 7:00 St. Matthew Passion (U.S. premiere production) Berliner Philharmoniker Simon Rattle , Conductor Peter Sellars , Director Mark Padmore , Evangelist Christian Gerhaher , Jesus Camilla Tilling , Soprano Magdalena Kožená , Mezzo-soprano Topi Lehtipuu , Tenor Eric Owens , Bass-baritone Rundfunkchor Berlin Simon Halsey , Chorus Master Boy Choristers of St. Thomas Church John Scott , Chorus Master This performance is approximately three hours and 40 minutes long, including intermission. Co-presented by Lincoln Center’s White Light Festival and Park Avenue Armory (Program continued) The White Light Festival is sponsored by Time Warner Inc. These performances are supported by The Andrew W. Mellon Foundation. Additional support provided by The Fan Fox and Leslie R. Samuels Foundation, Inc. and members of the Producers Circle. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. Wade Thompson Drill Hall, Please make certain all your electronic devices Park Avenue Armory are switched off. WhiteLightFestival.org 10-07 WL St Matthew_GP 9/24/14 12:00 PM Page 2 Endowment support is provided by the American Upcoming White Light Festival Events: Express Cultural Preservation Fund. Thursday–Saturday Evenings, October 9–11, MetLife is the National Sponsor of Lincoln Center. at 8:00 in Baryshnikov Arts Center, Jerome Robbins Theater Movado is an Official Sponsor of Lincoln Center. Chalk and Soot (New York premiere) Dance Heginbotham United Airlines is the Official Airline of Lincoln Brooklyn Rider Center. Co-presented with Baryshnikov Arts Center WABC-TV is the Official Broadcast Partner of Friday Evening, October 10, at 7:30 Lincoln Center. -
Classical Music, Propaganda, and the American Cultural Agenda in West Berlin (1945–1949)
Music among the Ruins: Classical Music, Propaganda, and the American Cultural Agenda in West Berlin (1945–1949) by Abby E. Anderton A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2012 Doctoral Committee: Professor Jane Fair Fulcher, Chair Professor Steven M. Whiting Associate Professor Charles H. Garrett Associate Professor Silke-Maria Weineck To my family ii Acknowledgements While writing this dissertation, I have been so fortunate to have the encouragement of many teachers, friends, and relatives, whose support has been instrumental in this process. My first thanks must go to my wonderful advisor, Dr. Jane Fulcher, and to my committee members, Dr. Charles Garrett, Dean Steven Whiting, and Dr. Silke-Maria Weineck, for their engaging and helpful feedback. Your comments and suggestions were the lifeblood of this dissertation, and I am so grateful for your help. To the life-long friends I made while at Michigan, thank you for making my time in Ann Arbor so enriching, both academically and personally. A thank you to Dennis and to my family, whose constant encouragement has been invaluable. Lastly, I would like to thank my mom and dad, who always encouraged my love of music, even if it meant sitting through eleven community theater productions of The Wizard of Oz. I am more grateful for your help than I could ever express, so I will simply say, “thank you.” iii Table of Contents Dedication .......................................................................................................................