Name: Sibelius Mahler
Start: 2024-04-05T00:00:00.000Z
End: 2024-04-06T00:00:00.000Z
Location: Isarphilharmonie

Organization

Conductor

Daniel Harding

Orchestra

Munich Philharmonic

Gasteig

Sibelius Mahler

Munich

Germany

Isarphilharmonie

Sibelius Mahler: Tapiola, op. 112 Sibelius (+1 More)

Public

Tapiola

Symphony No. 5 in C-Sharp Minor

Approved

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

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

Bass-baritone

Singer

Baritone

Soprano

Countertenor

Mezzo-soprano

Contralto

Tenor

Spoken

Child vocalist

Silent

Alto

Continuo

Dass Gustav Mahler und Jean Sibelius, die beiden größten Symphoniker ihrer Zeit, ganz konträre Ansichten zum Wesen der Symphonie hatten, erstaunt bis heute. Bei einem gemeinsamen Treffen im November 1907 in Helsinki betonte Mahler seine Forderung, eine Symphonie müsse »wie die Welt sein und alles umfassen«, wohingegen Sibelius den Standpunkt vertrat, dass eine Symphonie »strenge innere Logik« zeigen müsse. DANIEL HARDING bringt mit diesem Programm beide Komponisten zusammen. Für »Tapiola« von Sibelius entführt Harding das Publikum in die Weite der finnischen Wälder. In seinem letzten Orchesterwerk erzählt Sibelius von »des Nordlands düstre[n] Wäldern« und von »Waldgeistern« in der Dunkelheit. Es ist ein später Höhepunkt seines Schaffens im Übergang zwischen Romantik und Moderne. Obwohl Gustav Mahler sich beklagte, seine »Fünfte« sei ein »verfluchtes Werk«, weil niemand sie kapiere, zählt sie heute zu seinen beliebtesten Symphonien. Schuld daran hat wahrscheinlich das ergreifende »Adagietto«, das durch die Verwendung in Viscontis filmischer Adaption von Thomas Manns »Tod in Venedig« auch außerhalb des Konzertsaals zu Berühmtheit gelangte.

Deutsch

The fact that Gustav Mahler and Jean Sibelius, the two greatest symphony composers of their day, had such wildly diverging views on the nature of the symphony remains perplexing. When they met in Helsinki in November 1907, Mahler voiced his conviction that a symphony should be “like the whole world, encompassing everything”, whereas Sibelius took the view that a symphony should exhibit a “strict inner logic”.

Daniel Harding brings the composers together with this programme. With Sibelius’s Tapiola, he takes the audience into the vastness of the Finnish forests. In his last orchestral work – a late high point in the transition between Romanticism and Modernism – Sibelius tells of “the gloomy forests of Nordland” and of “forest spirits” in the darkness.

Though Gustav Mahler complained that his Fifth was a “cursed work” as no one understood it, it is today one of his most popular symphonies. This is likely due to the moving Adagietto, which became universally known through its use in Visconti’s film adaptation of Thomas Mann’s Death in Venice.

English

Sibelius Mahler by Sibelius, Mahler, ol. 05 api. 2024, Noiztik (2024/2024), Zuzendaria Daniel Harding, Isarphilharmonie, Munich, Germany

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