Philharmonie »Late Night«

Deeper meaning and humour

Ironic, witty and surprising – that sums up the programme at this “Late Night” concert with Simon Rattle. For instance, the creation of the world is an exceptionally jazzy affair in Darius Milhaud’s La Création du monde; Igor Stravinsky makes cheerful use of Baroque models in his chamber concerto “Dumbarton Oaks”; and in Richard Ayres’ NONcerto for horn, even the title announces the humorous play with the audience’s expectations.

Members of the Berliner Philharmoniker

Sir Simon Rattle Conductor

Stefan Dohr Horn

Darius Milhaud

La Création du Monde, Ballett La Création du Monde

Richard Ayres

NONcerto for horn and large ensemble

Stefan Dohr Horn

Igor Stravinsky

Concerto in E flat Dumberton Oaks for chamber orchestra

Dates and Tickets

Sat, 20 Feb 2016 10 p.m.


Live in the Digital Concert Hall go to broadcast


“In the beginning God created the heaven and the earth,” states the beginning of the Old Testament Book of Genesis. But the Bible was not the force behind Darius Milhaud’s ballet music La Création du monde, premiered at the Paris Théâtre des Champs-Élysées in 1923 with set and costumes by Fernand Léger, but rather African creation myths. And things are irresistibly jazzy in this musical creation of the French composer, who was born in Aix-en-Provence in 1892 and died in Geneva in 1974. Not without good reason: after all, jazz, which Milhaud was attracted to throughout his life and which inspired his composing, was invented by musicians whose African forefathers had been hauled off as slaves all over the world.

Igor Stravinsky wrote his Concerto in E-flat major, Dumbarton Oaks, 15 years after Milhaud’s ballet music; it was intended as a musical homage to Johann Sebastian Bach’s Brandenburg Concertos. The occasion at the time for this witty composition, which plays with musical traditions and entrenched listening habits, was the 30th wedding anniversary of an American diplomat and patron of the arts. For two decades, with compositional wit and skilled craftsmanship, Richard Ayres has been exhaustively attempting to get to the bottom of the genre of the (solo) concerto as a musical and social phenomenon. The works he has termed “NONcertos” for solo instrument(s) and orchestra invite listeners and interpreters to embark on musical journeys of discovery of a special kind.

(c) Monika Rittershaus

(c) Monika Rittershaus