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Abendprogramm Israel Philharmonic Orchestra 16.09.2019 PDF, 2,2 MB Berliner Festspiele # musikfestberlin MUSIK In Zusammen­ arbeit mit der Stiftung FEST Berliner BERLINPhilharmoniker 16.9. 2019 Gastspiel: Jerusalem / Tel Aviv Israel Philharmonic Orchestra Zubin Mehta Berliner Festspiele Karajan-Akademie der Berliner Philharmoniker Wu Wei Trio mit Sheng Mi 20:00 So 16:00 18.9. Kammermusiksaal 22.9. Kammermusiksaal Olga Neuwirth IPPNW-Benefizkonzert Aello – ballet mécanomorphe für Flöte solo, 2 gedämpfte Trompeten, Zugunsten des Vereins Streicherensemble, Synthesizer und „MitMachMusik – Ein Weg zur Schreibmaschine Integration von Flüchtlingskindern e.V.“ Gérard Grisey Begrüßung: Dr. Peter Hauber (IPPNW) Quatre chants pour franchir le Seuil „35 Jahre IPPNW-Concerts: der Versuch, mit Kultur Politik zu machen.“ für Sopran und 15 Instrumentalist*innen Mit Werken von Juliet Fraser Stimme Claudio Monteverdi, Emmanuel Pahud Flöte Georg Philipp Telemann, Karajan-Akademie der Johann Sebastian Bach, Orlando Berliner Philharmoniker Gibbons und Antonio Vivaldi Susanna Mälkki Leitung Wu Wei Trio: Wu Wei Sheng Martin Stegner Viola, Moderation Matthew McDonald Kontrabass 30.8.– 19.9. MUSIK 2019 In Zusammen ­ arbeit mit der Stiftung FEST Berliner BERLINPhilharmoniker Bildnachweise S.0 1 Johan Barthold Jongkind, La Côte_Saint-André, Aquarellzeichnung, 1882, Foto: Wikimedia Commons S.2 1 Ödön Pártos 1957, Foto: Wikimedia Commons Felix Mendelssohn Bartholdy, 1837, Lithographie von Friedrich Jentzen nach einem Gemälde von Theodor Hildebrandt, Foto: Wikimedia Commons S.4 1 Pierre Petit, Hector Berlioz © Bibliothèque National de France, Foto: Wikimedia Commons S.5 1 Gil Shaham © Luke Ratray Israel Philharmonic Orchestra © Pressefoto S.6 1 Zubin Mehta © Marco Borggreve MUSIKFEST BERLIN 2019 Montag 16. September 20:00 Uhr Konzertprogramm S. 5 Orchesterbesetzungen S. 6 Daniel Barenboim Das Israel Philharmonic Orchestra und Zubin Mehta S. 7 Olaf Wilhelmer Träume, Leidenschaften S. 8 Komponisten S. 12 Interpret*innen S. 15 Musikfest Berlin 2019 im Radio und online S. 21 Musikfest Berlin 2019 Programmübersicht S. 22 Impressum S. 24 3 Bitte schalten Sie Ihr Mobiltelefon vor Beginn des Konzerts aus. Bitte beachten Sie, dass Bild- und Tonaufnahmen aus urheberrechtlichen Gründen nicht gestattet sind. Das Konzert wird von Deutschlandfunk Kultur am 17. September 2019 ab 20:03 Uhr übertragen. Deutschlandfunk Kultur ist in Berlin über 89,6 MHz, Kabel 97,50, bundesweit über Satellit, DAB+ und über Livestream auf www.deutschlandfunkkultur.de zu empfangen. 4 PROGRAMM Gastspiel : Jerusalem / Tel Aviv Farewell­Tournee von Zubin Mehta mit dem Israel Philharmonic Orchestra Ödön Pártos ( 1907 – 1977 ) Concertino für Streichorchester ( 1932 ) Felix Mendelssohn Bartholdy ( 1809 – 1847 ) Violinkonzert e-Moll op. 64 ( 1844 ) I Allegro molto appassionato – II Andante – Allegretto non troppo – III Allegro molto vivace Mo, 16.9. Pause 20:00 Hector Berlioz ( 1803 – 1869 ) Philharmonie Symphonie fantastique .op 14 ( 1830 ) Episode aus dem Leben eines Künstlers in fünf Teilen Einführung 19:10 I Rêveries – Passions (Träumereien – Leidenschaften) mit Olaf Wilhelmer Largo – Allegro agitato e appassionato assai II Un Bal (Ein Ball) Hermann­Wolff­Saal Allegro non troppo III Scène aux Champs (Szene auf dem Lande) Adagio IV Marche au Supplice (Der Gang zum Richtplatz) Allegretto non troppo V Songe d’une Nuit du Sabbat (Hexensabbat) Larghetto – Allegro Gil Shaham Violine Israel Philharmonic Orchestra Zubin Mehta Leitung Eine Veranstaltung der Berliner Festspiele / Musikfest Berlin 5 ORCHESTERBESETZUNGEN Ödön Pártos Concertino für Streichorchester Violinen I, Violinen II, Violen, Violoncelli, Kontrabässe Entstehungszeit: 1932, rev. 1953 Uraufführung: 1953 in der Schweiz unter Ferenc Friscay Felix Mendelssohn Bartholdy Violinkonzert e-Moll op. 64 Solovioline 2 Flöten 2 Oboen 2 Klarinetten 2 Fagotte 2 Hörner 2 Trompeten Pauken Violine I, Violine II, Violen, Violoncelli, Kontrabässe Entstehungszeit: 1838 – 1844, rev. 1845 Uraufführung: Am 13. März 1845 in Leipzig mit Ferdinand David als Solisten. Hector Berlioz Symphonie fantasique .op 14 2 Flöten (2. auch Piccolo) 2 Oboen (2. auch Englischhorn) 2 Klarinetten in C, A, B und Es 4 Fagotte 4 Hörner in C, Es, E, F und B tief 2 Kornette in A und B 2 Trompeten in B und C 3 Posaunen 2 Ophikleiden (in einigen späteren Ausgaben 2 Tuben) 2 Harfen Pauken (bis zu 4 Spieler*innen erforderlich) Große Trommel, Becken, Kleine Trommel, 2 Glocken in C und G Violinen I, Violinen II, Violen, Violoncelli, Kontrabässe Entstehungszeit: 1830 (rev. 1831/32) Uraufführung: Am 5. Dezember 1830 in Paris unter der Leitung von François­Antoine Habeneck. 6 ESSAY Daniel Barenboim Palphilorch Das Israel Philharmonic Orchestra und Zubin Mehta Das heutige Israel Philharmonic Orchestra wurde die Erneuerung des Orchesters und die Heraus- im Jahr 1936 als Palestine Symphony Orchestra, bildung eines eigenen Klangs und Stils zu gestalten. oder Palästinensisches Symphonisches Orchester Die Neuankömmlinge aus der Sowjetunion dominier- vom polnischen Geiger Bronisław Huberman ten die Streicherstimmen im Orchester, bei den gegründet. Das Orchester bestand zu Beginn aus Bläsern spielten vor allem amerikanische Musiker*- 75 jüdischen Musiker*innen, die alle aus Zentral- innen. Mitten im Kalten Krieg musizierten also und Osteuropa, aus Ländern wie Deutschland, sowjetische und amerikanische Juden höchst fried- Österreich, der Tschechoslowakei und Ungarn lich in einem israelischen Orchester zusammen – nach Palästina emigriert waren. Aufgrund der Her- und sprachen jetzt russisch und englisch miteinan- kunft und Tradition seiner Musiker*innen hatte der. Das musikalische Verständnis war vermutlich das Palestine Symphony Orchestra den typischen ausgeprägter als das sprachliche. Bemerkenswert. Klang eines zentraleuropäischen Or chesters. In den Proben wurde sogar deutsch gesprochen – Von 1936 bis 2010 war das IPO hauptsächlich ein obwohl in Deutschland die Nazis bereits an der Orchester aus Emigrant*innen und erst in den Macht waren. Das erste Konzert des Orchesters letzten 15 bis 20 Jahren veränderte sich die Zusam- fand am 26. Dezember 1936 in Tel Aviv statt mensetzung des Orchesters Stück für Stück. Heute und wurde von niemand geringerem als Arturo besteht es in erster Linie aus in Israel geborenen Toscanini geleitet. Dieser hatte gerade seine Musiker*innen, die hebräisch miteinander sprechen. Mit wirkung an den Bayreuther Festspielen aus Es ist äußerst selten, dass ein Orchester über so Protest gegen Hitlers Anwesenheit dort abgesagt. einen langen Zeitraum seine Musiker*innen sozu- Das Konzert in Tel Aviv war also in mehr als einer sagen „importiert“. Ich hatte das Glück, schon 1953 Hinsicht symbolträchtig. 1948 erklärte Israel erstmals mit dem Orchester zu spielen und dann seine Unabhängigkeit und das Orchester änderte die große Ehre, 1970 beim ersten Konzert des seinen Namen in Israel Philharmonic Orchestra. Orchesters in Berlin als Solist dabei zu sein, gemein- sam mit Zubin. Damals waren sogar noch ein paar Zubin Mehta dirigierte das IPO zum ersten Mal ehemalige Berliner im Orchester. 1961, als er 25 Jahre alt war. Er rief mich damals an um zu fragen, wofür denn „Palphilorch“ stünde – Zubin Mehta hat in den 50 Jahren, die er das IPO denn dies war die telegraphische Adresse, von leitet, einen außerordentlichen Klangkörper geschaf- der er die Einladung zum Dirigat per Telegramm fen. Die Qualität des Orchesters, seine Homogenität erhalten hatte. Es gab sofort eine enge Verbindung und auch die Qualität der einzelnen Musiker*innen zwischen Zubin und dem Orchester und 1969 sind das Ergebnis von Zubins musikalischer Autori- wurde er zum Chefdirigenten ernannt. 1981 wurde tät und seiner einzigartigen Art, mit den Musikern zu er Chefdirigent auf Lebenszeit. Die meisten arbeiten. Gemeinsam haben sie israelische Musik- Gründungsmitglieder des Orchesters gingen um geschichte geschrieben. 1970 in Pension und zur gleichen Zeit emigrierten viele Juden aus der damaligen Sowjetunion nach Israel. Zubin hatte also gleich von Beginn an die Originalbeitrag zum Journal des Musikfest Chance aber auch verantwortungsvolle Aufgabe, Berlin 2019 von Daniel Barenboim 7 ESSAY Träume, Leidenschaften Der Einzelne und die Masse in Werken von Pártos, Mendelssohn Bartholdy und Berlioz Solo für alle: Das Concertino für Streichorchester von Ödön Pártos Im Zeitalter der Virtuosen war die dramatische über Budapest nach Baku. Weil er sich dort nicht Gegenüberstellung von Individuum und Kollektiv in mit der KPdSU arrangieren wollte, folgte er 1938 der Orchestermusik besonders beliebt. Wer einem Ruf des Geigers Bronisław Huberman, der als Komponist einem Solisten in dieser Hinsicht ihn nach Tel Aviv als Solobratschisten in das nicht genug zu bieten hatte – wie das etwa in neu gegründete Palestine Orchestra – das heutige Hector Berlioz‘ Harold en Italie für Viola und Israel Philharmonic Orchestra – engagierte. Orchester der Fall war –, der galt als Außenseiter. Pártos schrieb seine nicht sehr zahlreichen Dass sich Virtuosen gleich welcher Schule ihre Werke überwiegend in den 1960er und 70er Jahren, Solokonzerte auch selbst schrieben, war nichts nachdem er das Orchester zugunsten seiner Ungewöhnliches, denkt man etwa an Franz Liszt Lehr- und Komponiertätigkeit verlassen hatte. Das oder an Joseph Joachim. Beiden verbunden war nur wenige Minuten dauernde Concertino für der ungarische Geiger Jenő Hubay, der im frühen Streichorchester aber ist ein Gruß aus der „Welt 20. Jahrhundert als Lehrer in Budapest ein un- von Gestern“, ein 1932 zunächst als Streichquartett trügliches Gespür für Wunderkinder
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