Transitus for orchestra
Trio Concerto for violin, cello and orchestra Première commissioned by the West German Broadcasting, Dallas Symphony and Tonhalle (Zürich)
Symphony No. 8 in C major
A Berliner Festspiele/Musikfest Berlin event
“In art there is no beginning and no end, there is also nothing new and nothing old in an absolute sense. There is just the motion, the interchangeability, both are nothing deliberate, violent, but natural occurrences of organic life that never stands still but constantly gives birth to new forms and proves its inner strength with precisely this perpetual drive.” (Paul Bekker 1924)
Wolfgang Rihm's composition Transitus for orchestra already contains a reference to audibility in its title. “What matters, says Rihm, is which and how much energy is put into motion. Music is a transfer of energy.” With Transitus he wanted to write a piece that materialized on its own, where one thing grew out of another, yet all events flow into an interminability that is the ambient noise of every music. Transitus as a passage or movement process is an image for human existence par excellence. In his most recent work, the Konzertstück für Klaviertrio und Orchester which will premiere on this evening, two different musical forms will be brought together: intimate chamber music and orchestral music.
Both works, composed in 2012-2014, will be placed in context with the great C major symphony by Franz Schubert from 1825/26. This constellation is not only fed by the contrast between current and historical events. It is also not a nostalgic glance backwards, but rather an expression of a conception that regards the before and the after of historical construction as permeable and incomplete.