Leonidas Kavakos (photo: Marco Borggreve)

Adam Fischer and Leonidas Kavakos

Dark tones in every shade dominate the beginning of this concert. For example, Alban Berg's Violin Concerto, written in memory of the 19-year-old Manon Gropius, is one of the most poignant works of Modernism. Anton Webern’s delicate Passacaglia was written with the death of the composer’s own mother still fresh in his mind. In contrast to these is Antonín Dvořák's Ninth Symphony From the New World with its folkloric cheerfulness and ingenious combination of American and Bohemian idioms. The concert is conducted by the Hungarian Adam Fischer who makes his debut with the Berliner Philharmoniker standing in for an indisposed Bernard Haitink.

Berliner Philharmoniker

Adam Fischer conductor

Leonidas Kavakos violin

Anton Webern

Passacaglia, op. 1

Berliner Philharmoniker, Adam Fischer conductor

Alban Berg

Concerto for Violin and Orchestra “To the Memory of an Angel”

Berliner Philharmoniker, Adam Fischer conductor, Leonidas Kavakos violin

Johann Sebastian Bach


Antonín Dvořák

Symphony No. 9 in E minor, op. 95 From the New World

Berliner Philharmoniker, Adam Fischer conductor

Dates and Tickets

Thu, 08 Feb 2018, 20:00

Philharmonie | Introduction: 19:00

Serie B

Fri, 09 Feb 2018, 20:00

Philharmonie | Introduction: 19:00

Serie E


When the American violinist Louis Krasner asked Alban Berg to write a violin concerto for him in February 1935, the composer told the musician he should be prepared for a long wait. But then everything changed: the death of the 18-year-old Manon Gropius, the daughter of Alma Mahler from her marriage to Walter Gropius, both shook Berg deeply and unleashed his creative powers, with the result that he composed the work within a few weeks. With this concerto, entitled “To the memory of an angel”, he created not only a musical monument to the young girl with whose family he was acquainted, but also wrote his own requiem. Shortly after its completion, Berg died. The piece, based on a twelve-tone row, affectionately, intimately and expressively describes Manon’s youthful innocence, her joie de vivre and her tragic death that finds its catharsis and exaltation in the quotation from the Bach chorale “Es ist genug!” (It is enough). “Berg invites us all to surrender ourselves to something that is bigger than us,” says Leonidas Kavakos, the soloist of the programme who, since his Philharmoniker debut in 2003, has performed not only the violin concertos of Ludwig van Beethoven and Johannes Brahms, but also the major concertos of the 20th century with the orchestra.

Anton Webern’s Passacaglia from 1908, which opens the programme, was also written in the wake of death, namely of his own mother. In this work, based on Baroque formal models, Webern – a student of Arnold Schoenberg like Berg – successfully combines lyrical and dramatic moods with strict counterpoint. The second part of the concert features Antonín Dvořák’s Ninth Symphony, a work the Czech composer wrote in 1892 during his stay in the United States. “The Americans expect great things of me,” wrote Dvořák. “First and foremost, I am to show them the way to the Promised Land and to the realm of new, independent art, in short, a national style of music!” In fact, the composer, in his Ninth, known as From the New World, created a unique soundscape thanks to the happy blend of American and Bohemian idioms. The piece is one of Dvořák’s most popular works. The concert is conducted by the Hungarian Adam Fischer who makes his debut with the Berliner Philharmoniker standing in for an indisposed Bernard Haitink.

About the music

“Journeyman’s Piece”, Farewell Work and Visions of Future

Works by Anton Webern, Alban Berg and Antonín Dvořák

Anton Webern’s Passacaglia op. 1

In 1902 Anton Webern took up his studies in musicology, philosophy and art history at the University of Vienna. Two years later he began studying composition with Arnold Schoenberg – not as an inexperienced beginner, however, but as someone who had already taught himself autodidactically most of what one needs to compose. Schoenberg helped him find his own particular path. That this happened in a completely non-authoritarian and unorthodox way is confirmed in an essay which Webern wrote about Schoenberg’s teaching methods in 1912. Among other things, he wrote: “Schoenberg teaches no style; he preaches the use of neither old nor new artistic means. ... With the greatest energy he follows the traces of the pupil’s personality, attempts to deepen it, to enable it to achieve a breakthrough.” Nevertheless, the teacher advised his student to concentrate primarily on instrumental chamber music to begin with – and that is even documented from the first lesson. Webern did not devote himself to works for larger ensembles until his studies with Schoenberg had ended. The Passacaglia was, in his own words, his “journeyman’s piece”.

The passacaglia finale from Brahms’s Fourth Symphony may have been the model for the form of his first “large” composition. The passacaglia – or chaconne – was originally a Baroque dance and variation form in triple metre. The repeated bass line (“basso ostinato”), generally consisting of four or eight bars, serves as the basis for a series of variations. Webern’s theme is eight bars long, played in unison by pizzicato strings. In the first variation the theme is harmonized, and a countertheme is presented by the flute. It is followed by 23 variations and a coda. That may sound relatively simple, but it happens “in such a highly complicated way that anyone who wants to follow the development analytically is well advised to listen for the return of the eight-bar form common to all the variations. The listener should be prepared for major changes in the tempo, however, and not be distracted by the three powerful climaxes. The main theme or parts of it will be found again in every register, albeit with increasing difficulty, since it is gradually being decomposed” (Jens Hagestedt).

Alban Berg’s Violin Concerto

Apparently straightforward, easy to understand and yet complex and meticulously organized down to the last detail – this seemingly paradoxical description also applies to Alban Berg’s Violin Concerto.Another factor contributes to the ambivalent effect of the work: this first strictly twelve-tone solo concerto unmistakably follows the classical tradition. Berg recalls this tonal tradition and incorporates it into the composition with twelve notes. In this respect he differs from Schoenberg and Webern.

The official occasion for the composition was a commission from the Ukrainian-born American violinist Louis Krasner, who asked Berg to write a concerto for him in spring 1935. In addition to this official reason there was also a personal motive: on 22 April 1935 Manon Gropius, Alma Mahler’s daughter from her brief marriage to Walter Gropius, died of polio at the age of 19. Berg, a friend of Alma and Fritz Werfel, her third husband, was devastated. He interrupted work on his opera Lulu and began composing the violin concerto a few days later at Wörthersee [a lake in southern Austria] – with the intention of “translating features of the young girl’s character into musical terms”.

The concerto comprises two movements, each consisting of two sections: Andante – Allegretto, Allegro – Adagio. The three-part Andante can be understood as a characterization of the young Manon Gropius. The opening is strange, almost disconcerting: the soloist gently and hesitantly strokes the open strings of the violin, as though tuning himself and his instrument. A scherzo with two trios follows without interruption (Allegretto) – with echoes of waltzes and Ländler (reminiscences of Mahler) and the Carinthian folk song “Ein Vogerl auf’m Zwetschgenbaum” [A bird on the plum tree], in a pleasant, cheerful mood. The second movement “describes” the illness and death of Manon Gropius. The events reach their culmination in the Allegro, and the concerto comes to its dramatic climax with an almost brutal outburst from the orchestra, interrupted by the violin cadenza. The Adagio follows with a Bach chorale, first played by the woodwinds, which is heard in two variations. The close again recalls the beginning of the concerto. The violin soars to transcendental heights, to a spiritual plane, as it were. A sorrowful, poignant tone prevails. Berg paints a “portrait of farewell” (Willi Reich), but perhaps with conciliatory gestures.

The twelve-tone row on which the composition is based consists of a series of rising triads on G minor (G-B flat-D), D major (D-F sharp-A), A minor (A-C-E) and E major (E-G sharp-B), with three whole steps (C sharp-D sharp-F) at the end. They are also the opening notes of the chorale Es ist genug [It is enough] from Bach’s Cantata O Ewigkeit, du Donnerwort [O eternity, you word of thunder], which Berg incorporated into the finale of the work.

Despite its virtuosity, Berg’s work is not a concerto in the traditional sense, in which the soloist strongly dominates the proceedings and appropriately puts himself in the limelight. The solo violin is often integrated into the orchestral texture and absorbed into the sound of the orchestra. The orchestral writing is always on an equal level with the solo part; it never serves only an “accompanying” function. Although the composition is not a symphonic poem à la Liszt or Strauss, it is a tone poem, a dramatic concerto which can be described as programmatic simply because of the title “To the memory of an angel”.

Helge Grünewald

Antonín Dvořák’s Ninth Symphony

Towards the end of the 19th century New York’s musical life was still strongly influenced by German and Italian traditions. Only gradually did the desire for a distinctively American music grow. Jeannette Thurber, a music lover and daughter of a Danish immigrant violinist, contributed significantly to the achievement of this aim. She established the National Conservatory of Music of America in New York in 1885. Six years later she sent Antonín Dvořák a telegram inviting him to become its director. For only eight months of teaching and six concerts a year he would receive $15,000 – 25 times his income in Prague. Dvořák arrived in New York in September 1892. Two months later the composer wrote to a friend in Prague: “The Americans expect great things of me and the main thing is, so they say, to show them to the promised land and the kingdom of a new and independent art, in short, to create a national music!”

Dvořák sympathized with the wish of his patron to support the black population in particular. At the conservatory he met the African-American vocal student Harry T. Burleigh, who earned money for his lessons by sweeping the floors. The Negro spirituals Burleigh sang as he worked fascinated the new conservatory director. In a newspaper interview in May 1893 he declared: “I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States.” Dvořák engaged Burleigh as his assistant; the student served as the composer’s copyist but often sang for him as well in order to provide him with inspiration for his work.

Without directly quoting spirituals, plantation songs or Native American music in his Ninth Symphony, the composer nevertheless drew on several characteristic elements. For example, the pentatonic scale and plagal cadences are already found during the slow introduction. In the main theme of the first movement Dvořák used the syncopated rhythm known as the “Scotch snap”. Other American peculiarities include the diminished sevenths and the accompanying drone fifths in the second theme. The melancholy English horn theme in the slow movement is based entirely on pentatonicism. Dvořák also recognized the technique of circling around a central key note, as he used it in the main theme of the finale, as a characteristic feature of American folklore. Unlike his earlier symphonies, in the new work he did not develop the themes symphonically for the most part but repeated them unchanged, making the work more accessible.

Dvořák’s symphony was announced as the result of his studies of “Negro and Indian music”, and the premiere by the New York Philharmonic was accompanied by great anticipation. The audience already cheered after the second movement, and Dvořák had to take a bow from his box. The triumph was even greater at the conclusion. The New York Herald Tribune praised the new work as “a symphony which proves that there is such a thing as American art music”.

Albrecht Dümling

Translation: Phyllis Anderson


Adam Fischer studied in his native Budapest and continued his education at the University of Music and Performing Arts Vienna in Hans Swarowsky’s master class. He was general music director in Freiburg (1981 – 1983), Kassel (1987 – 1992) and Mannheim (2000 – 2005), until he returned to his home town as artistic director of Budapest Opera from 2007 to 2010. Since 1998, Adam Fischer has been principal conductor of the Danish Chamber Orchestra in Copenhagen, and since 2015, he has been directing the Düsseldorfer Symphoniker in the same position. He founded the Wagner Festival in Budapest and the Haydn Festival in Eisenstadt. He also founded the Austro-Hungarian Haydn Philharmonic with whom he set new standards in Haydn interpretation in his long time there as chief conductor. A recipient of the Queen of Denmark’s Order of Dannebrog, he has appeared as a guest conductor with major orchestras and at prestigious opera houses worldwide. Adam Fischer’s first Berliner Philharmoniker Foundation concert was with the Junge Deutsche Philharmonie and included a performance of Gustav Mahler’s Seventh Symphony. He now makes his debut with the Berliner Philharmoniker.

Leonidas Kavakos was born in Athens, Greece, in 1967 and started playing the violin at the age of five. After studies at the Greek National Conservatoire in his hometown, an Onassis Foundation scholarship enabled him to attend master classes with Josef Gingold at Indiana University. In 1985 he won the Sibelius competition and then the Paganini competition in 1988. Following these successes, he received invitations from all corners of the world. Kavakos now appears in concert with the world’s great orchestras and conductors both in Europe and in North America, in addition to regular visits to renowned festivals worldwide. After having held the position of Principal Guest Artist of the Camerata Salzburg for six years, Kavakos was Artistic Director of the orchestra from 2007 until September 2009. Leonidas Kavakos has also established a strong profile as a conductor and has worked with the London, Boston and Houston Symphony orchestras, the Budapest Festival Orchestra and Deutsches Symphonie-Orchester Berlin among others. His partners in chamber music include Emanuel Ax, Renaud and Gautier Capuçon, Hélène Grimaud and Yuja Wang. In the 2017/18 season Kavakos is artist in residence at both the Concertgebouw in Amsterdam and the Vienna Musikverein. Since his debut in in May 2003 Leonidas Kavakos has appeared several times with the Berliner Philharmoniker. In the 2012/13 season he was the orchestra’s artist in residence. His last appearance with the Berliner Philharmoniker was in February 2015 under the direction of Sir Simon Rattle, performing Sibelius’s Violin Concerto. Leonidas Kavakos was voted Gramophone Artist of the Year 2014 and in 2017 he received the prestigious Léonie Sonning Music Prize.

Leonidas Kavakos (photo: Marco Borggreve)

Adam Fischer (photo: Attila Nagy)