Organization

Conductor

Andris Nelsons

Orchestra

Berliner Philharmoniker

Concert

In this ingenious programme, Andris Nelsons presents composers from the early 20th century who were creatively and innovatively inspired by music of the past – such as Gregorian chant, revitalised by Hans Pfitzner in his prelude to Palestrina, Baroque music in Heinrich Kaminski’s Dorian Music, and the Viennese waltz in Richard Strauss’s Der Rosenkavalier. Wolfgang Rihm’s Marsyas, in contrast, is thoroughly modern yet always melodious.

Concert Various

Public

Approved

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Tenor

Singer

Contralto

Mezzo-soprano

Soprano

Bass-baritone

Countertenor

Baritone

Spoken

Child vocalist

Silent

Alto

Continuo

For the Berliner Morgenpost, it was a “sensational debut”, when Andris Nelsons performed in concert with the Berliner Philharmoniker for the first time last October. For his return, he put together an equally interesting and rich programme. It shows that the composers of the early 20th century were inspired not only by a faith in progress and modernity, but also looked to the past.

Hans Pfitzner’s Palestrina is, as the subject of the opera suggests, permeated by echoes of Gregorian chant, and is given a distinctive archaic flavour with its crashing fanfares, such as in the prelude to the second act. The main work of the first part of the concert is Heinrich Kaminski’s Dorian Music, written in 1933 and is likely to be known to only a few music fans. Kaminski, born in Germany in the Black Forest and trained in Berlin, creates an atmospheric work in which Baroque grace and late-Romantic sonorities form a successful synthesis. 

Richard Strauss’s Der Rosenkavalier, on the other hand, evokes the world of Viennese rococo, without resorting to the music of that time. Velvety lines, unusual accents, now and then a waltz: these are the ingredients of the sometimes glittering, sometimes ironic scenes of the opera. Composed in 1999, Wolfgang Rihm’s Marsyas is the only work in this concert to find itself musically in its own time – a working of an ancient myth, an exciting interchange of free rhapsody and high drama. Two members of the Berliner Philharmonker are to be heard in the solo parts: Gábor Tarkövi, principal trumpet since 2005, and the percussionist Jan Schlichte who has been a member of the orchestra since 1998.

English

Concert by Various, Alkaen (2011/2011), Musiikinjohto Andris Nelsons

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