Berliner Philharmoniker

Season 2014/2015

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Berliner Philharmoniker

Daniele Gatti’s journey from the Romantic to the modern era

On this concert, Daniele Gatti, who will guest conduct the Berliner Philharmoniker for the first time since 1997, will undertake a journey from the Romantic to the classical modern era: Brahms is followed by his antipode Wagner with orchestra music from “Götterdämmerung”, including the famous funeral march. The programme ends with Alban Berg, who was inspired by both Brahms and Wagner – but nonetheless unmistakeably marked the dawn of a new musical epoch.

Berliner Philharmoniker

Daniele Gatti Conductor

Richard Wagner

Dawn, Siegfried’s Rhine Journey, Siegfried’s Death and Funeral March from Götterdämmerung

Johannes Brahms

Variations on a Theme by Haydn in B flat major

Alban Berg

Three Pieces for orchestra

Dates and Tickets Introduction one hour before the concert begins.

Thu, 23 Oct 2014 8 p.m.


25 to 74 €

Fri, 24 Oct 2014 8 p.m.


25 to 74 €

Sat, 25 Oct 2014 7 p.m.


25 to 74 €


In the “principle of the developing variation”, Arnold Schoenberg identified a fundamental element of Johannes Brahms’s compositional technique. With the Haydn Variations op. 56a, called thus though actually based on a chorale tune of unknown origin, Brahms composed a work in 1873 that can be regarded as a precursor to his First Symphony, premiered three years later. At the same time it already extends towards the final movement of Brahms’s last symphony from 1884–85, which is constructed as a passacaglia. In this Berliner Philharmoniker concert conducted by Daniele Gatti, Richard Wagner is represented as musical antipode to Brahms with instrumental excerpts from Götterdämmerung, launched at the first Bayreuth Festival in 1876.

In addition, the programme includes Alban Berg’s Three Orchestral Pieces op. 6, undertaken shortly before the outbreak of the First World War and in part premiered by the Berlin Philharmonic in 1923 conducted by Anton Webern, Berg’s university friend. The work, which is dedicated to Berg’s “teacher and friend Arnold Schoenberg in immeasurable gratitude”, draws on the compositional rigour of Brahms’s compositions as well as Wagner’s instrumental refinements, but nonetheless marks the dawn of a new musical epoch.

Daniele Gatti

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