Sunday 14. Apr. 2019, 11.00 am | Elbphilharmonie, Großer Saal
Pierre Boulez: Rituel in memoriam Bruno Maderna
Wolfgang Amadeus Mozart: Great Mass in C minor, K. 427
Dirigent: Kent Nagano
Sopran 1: Lydia Teuscher
Sopran 2: Marie-Sophie Pollak
Tenor: Julian Prégardien
Bass: Dominik Köninger
Choreinstudierung: Alexander Lüken
Philharmonisches Staatsorchester Hamburg
Kent Nagano is renowned for interpretations of clarity, elegance and intelligence. He is equally at home in music of the classical, romantic and contemporary eras, introducing concert and opera audiences throughout the world to new and rediscovered music and offering fresh insights into established repertoire. In September 2015, he took up the position of General Music Director of the Hamburg State Opera and Chief Conductor of the Hamburg Philharmonic State Orchestra. Since 2006 he has been appointed Honorary Conductor of the Deutsches Symphonie-Orchester Berlin and has been Music Director of the Orchestre symphonique de Montréal (OSM) since September 2006. Further, in September 2013 he became Principal Guest Conductor of the Gothenburg Symphony Orchestra.
Aware of the important tradition of the Hamburg State Opera and the Hamburg Philharmonic State Orchestra, Kent Nagano, together with Artistic Director Georges Delnon, develops a unique and recognizable profile for Hamburg as a city of music between the careful cultivation of a broad repertoire and a bold passion for the new.
Highlights of Kent Nagano’s previous seasons in Hamburg were the premiere of Berlioz‘ Les Troyens, the world premiere of Hosokawa’s Stilles Meer, Messiaen’s Turangalîla with the Hamburg Ballett John Neumeier, the premieres of Wagner’s Parsifal and Beethoven’s Fidelio, the „Philharmonische Akademie“ – a project in the tradition of musical academies of the 18th/19th century –, as well as the South America Tour with the Hamburg Philharmonic State Orchestra, the premieres of Berg’s Lulu and Strauss’ Frau ohne Schatten and the world premiere of Jörg Widmann’s oratorio ARCHE – composed on the occasion of the inauguration of the Elbphilharmonie in January 2017. The live recording of this concert was released on CD by ECM in autumn 2018.
Kent Nagano will go on a Europe tour with the OSM in March 2019, with concerts in Berlin, Vienna, Munich, etc.
In January 2019 he toured through Spain with the Hamburg Philharmonic State Orchestra. At the Hamburg State Opera Kent Nagano conducts the premieres of Schumann’s Szenen aus Goethes Faust and George Benjamin’s Lessons in Love and Violence as well as performances of the entire Ring by Wagner in autumn 2018.
In July 2018, Kent Nagano conducted Krzysztof Penderecki’s St. Luke Passion with the OSM on the occasion of the Salzburg Festival opening concert. In August 2018 he stood at the rostrum of Vienna Philharmonic, conducting the new production of Hans Werner Henze’s The Bassarids at the Salzburg Festival.
Kent Nagano started season 2018/19 with an OSM tour into arctic Quebec.
A milestone in Kent Nagano’s collaboration with the (OSM) was the inauguration of the orchestra’s new concert hall La Maison Symphonique in September 2011. In October 2016, he conducted the world premier of José Evangelista’s Accelerando – a commission by the OSM on the occasion of the 50th anniversary of Montréal’s metro. In November of the same year he conducted a semi-staged production of the Matthäus-Passion. Further highlights with the orchestra include the complete cycles of Beethoven and Mahler symphonies, Schoenberg's Gurrelieder, concert versions of Wagner's Tannhäuser, Tristan und Isolde, Das Rheingold, Honegger’s Jeanne d’Arc au Bûcher, Messiaen's Saint François d'Assise, and concert series featuring the works of Dutilleux (2010 to 2011) and Boulez (2011 to 2012). Nagano has taken the orchestra on a coast-to-coast tour of Canada and also to tours to Japan, South Korea, Europe and South America. Their last tour was in spring 2016 through the US, with stops in Washington, Boston and New York. Their recordings together include Mahler’s Orchestral Songs with Christian Gerhaher, Beethoven’s Piano Concertos Nos. 4 & 5 and a complete recording of all the Symphonies by Beethoven of which the album “Ideals of the French Revolution” with Symphony No. 5 won a Juno award. In March 2015 Kent Nagano conducted the North American Premiere of L’Aiglon, a rare opera of Honegger and Ibert. This production was recorded and released by Decca. Danse Macabre followed as second production with Decca, with works by Dukas, Dvořák, Mussorgsky, Balakirev, Saint-Saens and Ives in October 2016. In June 2018, A quiet place by Leonard Bernstein were released also with Decca as third mutual production.
As a much sought after guest conductor, Nagano has worked with most of the world’s finest orchestras, just as the Bavarian Radio Symphony Orchestra, Munich Philharmonic, London Symphony Orchestra, BBC Symphony Orchestra, Tonhalle Orchestra Zurich, WDR Symphony Orchestra, Concerto Köln, Finnish Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rom and the Chicago Symphony Orchestra. From 2014 to 2016 he led his own festival as part of the AUDI Sommerkonzerte, called Vorsprung-Festival. He has an ongoing relationship with Decca and Sony Classical and has also recorded for Analekta, Erato, FARAO Classics, Teldec, Pentatone, Deutsche Grammophon and Harmonia Mundi, winning Grammy awards for his recordings of Busoni’s Doktor Faust with Opéra National de Lyon, Peter and the Wolf with the Russian National Orchestra and Saariaho’s L’amour de Loin with the Deutsches Symphonieorchester Berlin.
At the Bayerische Staatsoper, where he was General Music Director from 2006 to 2013, Kent Nagano commissioned new operas such as Babylon by Jörg Widmann, Das Gehege by Wolfgang Rihm and Alice in Wonderland by Unsuk Chin. New productions included Mussorgsky’s Boris Godunov and Khovanshchina, Idomeneo, Eugene Onegin, Ariadne auf Naxos and Die Schweigsame Frau, Les Dialogues des Carmélites, St François d’Assise, Wozzeck, George Benjamin’s Written on Skin and Der Ring des Nibelungen. With the Bayerisches Staatsorchester Nagano has toured throughout Europe and in Japan and together they have recorded Bruckner Symphonies No. 4, 7 and 8. In January 2014, Kent Nagano returned to the Bayerische Staatsoper to conduct a revival of Widmann’s Babylon.
A very important period in Nagano’s career was his time as Artistic Director and Chief Conductor of the Deutsches Symphonie-Orchester Berlin, from 2000 to 2006. He performed Schönberg’s Moses und Aron with the orchestra (in collaboration with Los Angeles Opera), and took them to the Salzburg Festival to perform both Zemlinsky’s Der König Kandaules and Schreker’s Die Gezeichneten, as well as to the Festspielhaus Baden-Baden with Parsifal and Lohengrin in productions by Nikolaus Lehnhoff. Recordings with the Deutsches Symphonie-Orchester Berlin for Harmonia Mundi include repertoire as diverse as Bernstein’s Mass, Bruckner’s Symphonies Nos. 3 & 6, Beethoven’s Christus am Ölberge, Wolf Lieder, Mahler’s Symphony No. 8 and Schönberg’s Die Jakobsleiter and Friede auf Erden, as well as Brahms’s Symphony No. 4 and Schönberg’s Variationen für Orchester Op. 31. In June 2006, at the end of his tenure with the orchestra, Kent Nagano was given the title Honorary Conductor by members of the orchestra, only the second recipient of this honour in their 60-year history. To this day he has a close friendship to the orchestra.
Kent Nagano became the first Music Director of Los Angeles Opera in 2003 having already held the position of Principal Conductor for two years. His work in other opera houses has included Shostakovich’s The Nose (Staatsoper Berlin), Rimsky Korsakov’s The Golden Cockerel (Châtelet, Paris), Hindemith’s Cardillac (Opéra national de Paris), Les Dialogues des Carmélites (Metropolitan Opera) and at the Salzburg Festival Les Contes d’Hoffmann, Zemlinsky’s Der Koenig Kandaules, Schreker’s Die Gezeichneten and the world premiere of Saariaho’s L’amour de loin. Other world premieres include Bernstein’s A White House Cantata and operas by Peter Eötvös (Three Sisters), and John Adams (The Death of Klinghoffer and El Niño).
Born in California, Nagano maintains close connections with his home state and was Music Director of the Berkeley Symphony Orchestra from 1978 to 2008. His early professional years were spent in Boston, working in the opera house and as assistant conductor to Seiji Ozawa at the Boston Symphony Orchestra. He played a key role in the world premiere of Messiaen’s opera Saint François d’Assise at the request of the composer, who became a mentor and bequeathed his piano to the conductor. Nagano’s success in America led to European appointments: Music Director of Opéra National de Lyon (1988 to 1998) and Music Director of the Hallé Orchestra (1991 to 2000).
Since 2005 Kent Nagano is honorary doctorate of McGill University in Montréal and since May 2018 of San Francisco State University.
Lydia Teuscher was born in Freiburg, Germany and studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim.
Highlights in her 2017/18 season include Haydn’s The Creation with the City of Birmingham Symphony Orchestra and Mirga Gražinytė-Tyla, Bach's Johannes-Passion with the Academy of Ancient Music and Bernard Labadie, Telemann's Brockes-Passion with Il Giardino Armonico and Giovanni Antonini and Mahler's Des Knaben Wunderhorn with the Saito Kinen Orchestra and Nathalie Stutzmann.
In opera, Lydia has sung Pamina Die Zauberflöte at the Salzburg Mozartwoche, Festival d’Aix-en-Provence, the Bolshoi, the Bayerische Staatsoper, Munich and Deutsche Staatsoper, Berlin; Susanna Le nozze di Figaro at the Glyndebourne Festival, Dresdner Semperoper, Staatstheater Karlsruhe and at the Hyogo Performing Arts Center in Japan; Hero Béatrice et Bénédict at the Saito Kinen Festival in Japan; Zerlina Don Giovanni for the Bolshoi and Gretel Hänsel und Gretel for the Glyndebourne Festival, Dresdner Semperoper and Saito Kinen Festival.
She collaborates regularly with conductors such as René Jacobs, Jonathan Cohen, Emmanuelle Haïm, Sir Roger Norrington, Helmuth Rilling, Markus Stenz and Bernard Labadie and recent highlights have included Schönberg's Pierrot Lunaire with the Ensemble of the Bayerische Staatsoper; Mahler’s Symphony No. 4 with the London Symphony Orchestra and Daniel Harding; Mozart’s Mass in C Minor with the Deutsche Kammerphilharmonie Bremen and Sylvain Cambreling and Handel’s Messiah with the Orchestre National de Lille and Jan Willem de Vriend.
Diploma with distinction at the Hochschule für Musik und Theater Munich under Prof. Gabriele Fuchs
Roger Vignoles, Helmut Deutsch, Wolfgang Katschner and Cornelia Kallisch
Federal prize winner of the competition "Jugend Musiziert" (2006) and finalist at the International Singing Competition for Baroque Opera "Pietro Antonio Cesti"
Deutschlandstipendium, sponsored by the organization Yehudi Menuhin Live Music Now and scholarship holder of the Christl und Klaus Haack Foundation
L’Amour (Orphée et Eurydice), Despina (Così fan tutte), Tamiri (Il re pastore), Almirena (Rinaldo), Morgana (Alcina), J. S. Bach „Weihnachtsoratorium“, Passionen und Kantaten, J. Haydn „Jahreszeiten“, W. A. Mozart „c-moll Messe“, Brahms „Ein deutsches Requiem“, Mendelssohn „Elias“, F. Martin „Et in terra pax“, et al.
Elbphilharmonie Hamburg, Wiener Musikverein, Wiener Konzerthaus, Tonhalle Zürich, Rudolfinum Prag, Tonhalle Düsseldorf, Konzerthaus Berlin, Auditorio Nacional de Madrid, Théatre du Chatêlet, Potsdamer Musikfestspiele Sanssouci, Innsbrucker Festwochen der Alten Musik, Schubertiade Hohenems, Münchener Biennale, Stuttgarter Musikfest, Trans-Sibirian Art Festival Novosibirsk, et al.
Cooperation with directors:
John Neumeier, Christoph von Bernuth, Olivier Fredj, Isabel Ostermann, et al.
Cooperation with conductors:
Kent Nagano, Thomas Hengelbrock, Jean-Christophe Spinosi, Hans-Christoph Rademann, Václav Luks, Alessandro de Marchi, Alexander Liebreich, et al.
Born in Frankfurt in 1984, tenor Julian Prégardien was trained in the choirs of Limburg Cathedral. After having studied voice in Freiburg and at the Aix-en-Provence Opera Festival Academy, he was a member of the soloist ensemble of Frankfurt Opera from 2009 to 2013. In parallel, he developed an international solo career, collaborating particularly often with conductors specialized in historical performance practice. 2008 marked his first collaboration with René Jacobs, his participation in a widely hailed recording of Bach’s St John Passion with La Chapelle Rhénane, and his début performances at the Theater an der Wien (in Gluck’s Ezio) and at Opéra de Monte Carlo (in Haydn‘s L'infedeltà delusa). His first Lieder recitals took place as a member of the “Young Elite” at Mecklenburg-Vorpommern Festival, as one of the “Jeunes Étoiles” at the Menuhin Festival in Gstaad, and at Rheingau Music Festival. In 2010 he went on European tour as soloist with Collegium Vocale Gent and Concerto Köln in Bach’s Christmas Oratorio.
In the meantime, Prégardien has become one of the outstanding young vocalists on the international scene. In recent years he gave his début at Aix-en-Provence Festival, at Hamburg State Opera, at Bavarian State Opera in Munich, and at the Opéra Comique in Paris. Salzburg Festival has been regularly inviting for concert appearances since 2015; now he will give his first stage performance in Salzburg in 2018 as Narraboth in Richard Strauss’s Salome, staged by Romeo Castellucci, with the Vienna Philharmonic conducted by Franz Welser-Möst.
Kent Nagano regularly invites Prégardien to perform with the two orchestras of which he is Music Director: Montreal Symphony Orchestra and Hamburg State Opera. Sharing the stage with his father Christoph Prégardien, Julian also sang the title role in a concert performance of Mozart’s Idomeneo with the ensemble Concerto Köln, likewise with Nagano conducting.
Julian Prégardien has collaborated with René Jacobs and with Christophe Rousset in a great number of projects featuring opera and concert repertoire of the Baroque and Classical eras, including works by Lully, Charpentier, Rameau, Carissimi, Pergolesi, Bach, and Mozart.
He has sung the role of the Evangelist in widely hailed recordings of Bach’s St John Passion and St. Matthew Passion with the Bavarian Radio Choir and Concerto Köln; in 2018 he will go on tour with Basel Chamber Orchestra in Bach’s Christmas Oratorio; then, in 2019, he will sing the St. Matthew Passion with the Bach Collegium Japan. Prégardien will teach a master class in November 2018 on the subject of the St John Passion in collaboration with McGill University, the Montreal Bach Festival, the Université de Montréal, and the Conservatoire de Musique.
In his career, Julian Prégardien lays particular emphasis on Lied recitals along with chamber music projects. He was one of the vocalists selected to participate in the complete performance of the Lieder of Franz Schubert at the Schubertiade in Hohenems and Schwarzenberg (Austria), at Wigmore Hall, and at the new Boulez Hall in Berlin. Along with this father and the early music ensemble Anima Eterna conducted by Jos van Immerseel, he conceived a special Monteverdi recital featuring excerpts from the operas Ulisse and Orfeo along with madrigals: the programme was featured at the Salzburg Whitsun Festival, at Dresden Music Festival and at Versailles Castle.
In the course of the 2018/2019 season, Prégardien will perform Lied recitals with pianists Kristian Bezuidenhout, Michael Gees, Martin Helmchen, Eric le Sage, Rudi Spring, and Lars Vogt.
Prégardien has launched the media platform P.RHÉI, a multimedia editorial project that throws new light on the performance history and practice of Schubert’s Winterreise. The project includes a recording of Hans Zender’s orchestral version of Winterreise, to be released on the Alpha Classics label in 2018.
In November 2017, Julian Prégardien was appointed Professor of Voice at the Hochschule für Musik und Theater in Munich. He is a member of the Schumann Network and a patron of Canto elementar, a programme that actively supports children’s singing activities in Kindergärten.
The German baritone Dominik Köninger studied at the opera school in Karlsruhe with Prof. Roland Hermann. He also gained important impulses in master classes with Brigitte Fassbaender, Ann Murray, Rudolf Piernay and Kurt Moll.
First engagements took him to the Schwetzingen Festival, to the Badische Staatstheater Karlsruhe, and to the Ludwigsburger Schlossfestspiele, before becoming an ensemble member of the Tiroler Landestheater in Innsbruck in 2006/07. He then became a member of the International Opera Studios at the Staatsoper in Hamburg for two years. Afterwards numerous guest performances led him to the Hamburg State Opera, the Theater an der Wien, the State Opera Stuttgart, the Volksoper Vienna, the Deutsche Oper Berlin, and the Bavarian State Opera. His operatic repertoire includes Pagageno (The Magic Flute), Guglielmo (Così fan tutte), Conte Almaviva (Le Nozze di Figaro), Dandini (Rossini / La Cenerentola), Dr. Falke (The Bat), Orfeo (Monteverdi / Orfeo) and Figaro (Rossini/ Il Barbiere di Seviglia). He has worked with such conductors as Yves Abel, Herbert Blomstedt, Bertrand De Billy, Alessandro de Marchi, Christopher Hogwood, Manfred Honneck, Kent Nagano, Antonello Manacorda, Konrad Junghänel, Helmut Rilling, Stefan Soltesz and Simone Young, as well as directors such as Barrie Kosky, Robert Carsen, Pierre Audi, Brigitte Fassbaender, Philip Stölzl or Tobias Kratzer.
Early on, he also made a name for himself as a concert singer. His broad repertoire, ranging from Baroque to contemporary compositions, led him to renowned locations such as the Baden-Baden Festspielhaus, Stuttgarter Liederhalle, the Philharmonie Berlin, Laeiszhalle Hamburg, Rudolfinum Prag, the Schleswig-Holstein Music Festival (SHMF), Concertgebouw Amsterdam, DeSingel in Antwerp, the Glocke / Bremen and Israel. In the summer of 2009 he was the Jesus in the German premiere of the scenic "Johannes Passion" by Robert Wilson at the Schleswig-Holstein Music Festival.
After his First Prize at the Wigmore Hall Song Contest 2011, he received the Wigmore Hall / INDEPENDENT OPERA Postgraduate Voice Fellowship 2011-2013 for two years. Since the season 2012/13 he has been a member of the Ensemble of the Komische Oper Berlin, where he celebrated a giant success in the title role of Monteverdis Orfeo. Shortly afterwards, he also sang Papageno and Schaunard.In 2013, he debuted as Guglielmo at the New National Theater in Tokyo. At the Komische Oper he has also been, among other things, among others. Also as Guglielmo (Così fan tutte), Orest (Iphigenia on Tauris), as Count Almaviva (Le Nozze di Figaro) and lastly as Figaro (Barber of Seviglia) on the stage.
Concert hymns of the past years were a song recital at the Wigmore Hall in London and at the Beethovenfestival Bonn, Bach cantatas with the WDR Radio Choir under Stefan Parkman, Händel and Bach with the NDR Hanover under Bernard Labadie. Carmina Burana with the Orchester Philharmonique de Monte Carlo, a concert tour with Bach's Christmas oratorio with B'Rock under the baton of Réné Jacobs, a re-invitation to both the Bremen Philharmonic with Handel's Messiah and orchstral songs by Gustav Mahler, and to B'Rock, with another scenic St. John Passion under the musical direction of Andreas Spering, directed by Pierre Audi.
So far the following CD recordings with Dominik Köninger: 2009 Schubert Fairs in A major and Magnificat D486 (Immortal Bach Ensemble, Leipzig Chamber Orchestra, Morten Schuldt-Jensen, Naxos); 2011 Dialogues of the Carmelites, Theater an der Wien, ORF-Radiosinfonie-Orchester, Bertrand de Billy (Oehms); 2011 C.Orff, Carmina burana, Schleswig-Holstein Festival Choir, Martin Grubinger, piano duo Önder (Sony).
CHORWERK RUHR is one of Germany’s leading chamber choirs. Founded in 1999, this vocal ensemble has developed into an established beacon of the vocal arts in the German-speaking world. Its most remarkable quality is to be able to satisfy the exacting demands of solo casting and at the same time achieve perfect fusion of the ensemble within a choral sound.
In November 2011 the multi-award-winning conductor Florian Helgath took over as Artistic Director. He regards the focal point of his work as highlighting new choral music in the context of traditional musical forms, thereby enabling the listener to appreciate its innovation against the background of our rich musical history. With this top-class ensemble he produces choral music at the very highest level. The ensemble’s remarkable quality is also evident in the numerous commissioned compositions and world premieres by distinguished contemporary composers that have been achieved in close co-operation with CHORWERK RUHR’s partners.
CHORWERK RUHR has established itself as one of the most illustrious artistic names associated with the Ruhr metropolitan region and one of Germany’s top choirs. Since it was founded, the ensemble has performed concerts of music from all periods up to and including the present day with such prominent conductors as Frieder Bernius, Sylvain Cambreling, Reinhard Goebel, Robin Gritton, Rupert Huber, Susanna Mälkki, Kent Nagano, Peter Neumann, Emilio Pomàrico, Peter Rundel, Marcus Stenz, Bruno Weil and Hans Zender.
In concerts with distinguished orchestras including the Deutsche Kammerphilharmonie Bremen, Concerto Köln, Ensemble Resonanz, l’arte del mondo, Ensemble Musikfabrik, the Schönberg Ensemble Amsterdam, Ensemble Modern, the Junge Deutsche Philharmonie, the Bochumer Symphoniker, the SWR Symphony Orchestra of Baden-Baden and Freiburg and the Bavarian Radio Symphony Orchestra CHORWERK RUHR has consistently delighted audiences and earned excellent reviews. Numerous recordings with WDR and DLF as well as regular appearances at music festivals both in Germany and abroad reflect the popularity of this excellent ensemble. Every year CHORWERK RUHR performs in a special co-operative project as part of the Ruhrtriennale.
CHORWERK RUHR is an integral part of Kultur Ruhr GmbH, funded by the Ministry of Culture and Science of the State of North Rhine-Westphalia.
The Philharmonic State Orchestra is Hamburg’s largest and oldest orchestra, looking back on many years of musical history. When the “Philharmonic Orchestra” and the “Orchestra of the Hamburg Municipal Theatre” merged in 1934, two tradition-steeped orchestras combined. Philharmonic concerts have been performed in Hamburg since 1828, artists such as Clara Schumann, Franz Liszt and Johannes Brahms being regular guests of the Philharmonic Society. The history of the opera company goes back even further: Hamburg has been home to musical theatre since 1678, even if a regular opera or theatre orchestra was only formed later. To this day, the Philharmonic State Orchestra has embodied the sound of the Hansa City, a concert and opera orchestra in one.
During its long history, the orchestra encountered great artist personalities. Apart from composers of the 18th, 19th and 20th centuries, such as Telemann, Tchaikovsky, Strauss, Mahler, Prokofiev and Stravinsky, since the 20th century chief conductors such as Karl Muck, Joseph Keilberth, Eugen Jochum, Wolfgang Sawallisch, Horst Stein, Aldo Ceccato, Christoph von Dohnányi, Gerd Albrecht, Ingo Metzmacher and Simone Young have shaped the orchestra’s sound. Renowned conductors of the pre-war era such as Otto Klemperer, Wilhelm Furtwängler, Bruno Walter, Karl Böhm and Hans Schmidt-Isserstedt gave brilliant performances, as did outstanding conductors of our times: suffice it to mention Christian Thielemann, Semyon Bychkov, Kirill Petrenko, Sir Neville Marriner, Valery Gergiev and Sir Roger Norrington.
Starting with the 2015/2016 season, Kent Nagano has taken on the position of Hamburg’s General Music Director and Chief Conductor of the Philharmonic State Orchestra and the Hamburg State Opera. In his first season Kent Nagano initiated a new project, the Philharmonic Academy, focusing on experimentation and chamber music. In 2016 Nagano and the Philharmonic undertook a successful three-week concert tour in South America, a tour of Spain followed in 2019. Since 2017 Kent Nagano and the Philharmonic State Orchestra have continued the traditional Philharmonic Concerts at the new Elbphilharmonie, for which they commissioned Jörg Widmann to compose the oratorio ARCHE, which was given its world premiere during the hall’s opening festivities. The concert recording has been released at ECM.
The Philharmonic State Orchestra offers approximately 35 concerts per season and performs more than 240 performances per year at the Hamburg State Opera and the Hamburg Ballet John Neumeier, making it Hamburg’s busiest orchestra. The stylistic bandwidth covered by the 140 musicians, ranging from historically informed performance practice to contemporary works and including concert, opera and ballet repertoire, is unique throughout Germany. Chamber Music has a long tradition at the Philharmonic State Orchestra: what began in 1929 with a concert series for chamber orchestra has been continued since 1968 by a series of chamber music only.
In 2008 Simone Young and the Philharmonic State Orchestra won the Brahms Award of the Schleswig-Holstein Brahms Society. The orchestra has recorded the complete Ring by Wagner as well as the complete symphonies of Johannes Brahms and Anton Bruckner – the latter in the rarely-performed original versions – as well as works by Mahler, Hindemith and Berg, and has released DVDs of opera and ballet productions by Hosokawa, Offenbach, Reimann, Auerbach, J.S. Bach, Puccini, Poulenc and Weber.
The members of the Philharmonic State Orchestra feel equally beholden to Hamburg’s musical tradition and responsible for the city’s artistic future. Since 1978 the musicians have been participating in education programmes in Hamburg’s schools. Today, the orchestra maintains a broad education programme, including school and kindergarten visits, patronage for music projects, introductory events for children and family concerts. The orchestra’s own academy prepares young musicians for their professional careers. The Philharmonic’s musicians thereby make an equally enjoyable and valuable contribution to tomorrow’s music education in the music metropolis of Hamburg.
"Rituel" – a ceremony of remembrance for Boulez’ friend Bruno Maderna, the composer and conductor. The formulas repeat themselves, yet the outlines and perspectives change; a ceremony of fading, a ritual of disappearance and survival. The Mass – ancient Christian, Catholic liturgy, maintained over the course of centuries, rediscovered and newly articulated innumerable times, with new ideas within the old. In Mozart’s classical Viennese era, it was the “realm of the intermediate” – consider the Mass in C-minor, which remained a fragment. A chapter of Mozart’s life had ended in 1782: he had left behind Salzburg, his father, dependencies and obeisance. All that is not buried, but solemnly celebrated in a festive and dramatic ceremony of the Catholic Church. The music is aquiver with life experience, and for a moment, everything else falls silent. Which experiences may have persuaded Mozart not to finish this Mass? Almost ten years later, this was repeated in the case of his Requiem.
Venue: Elbphilharmonie, Großer Saal, Platz der Deutschen Einheit 4, 20457 Hamburg