Contemporary music with Matthias Pintscher and the Karajan Academy
Scholars of the Karajan Academy
Matthias Pintscher conductor
Leandra Brehm clarinet
Mouvement (– vor der Erstarrung)
Hans Werner Henze
Le Miracle de la Rose – Imaginäres Theater II
bereshit for large Ensemble
Fri, 25 May 2018, 20:00
Chamber Music Hall | Introduction: 19:00
Karajan-Akademie der Berliner Philharmoniker e.V.
Helmut Lachenmann’s Mouvement (– vor der Erstarrung) brings to mind Kafka’s Gregor Samsa, who wakes up one morning as a beetle, lying on his back, unable to turn over without help: the piece is characterised by the “unsuccessful” attempts to create traditionally tonal sound figures. “A music of dead movements,” which “display an inner paralysis that precede external appearance, [...] imagination that gives up all expressive utopias before a perceived threat and, like a beetle floundering helplessly on its back, freewheels in reconfirming acquired mechanisms” (Lachenmann). With the quotation from the Viennese folk song “O du lieber Augustin, alles ist hin”, it becomes clear that the Old is fading – but without something optimistically New in its place. Lachenmann’s Mouvement opens this concert by the students of the Berliner Philharmoniker’s Karajan Academy under the direction of Matthias Pintscher.
A “theatre of the imagination” follows in Hans Werner Henze’s Le Miracle de la Rose after the novel of the same name by the French writer Jean Genet, in which the characters are personified by various instruments: cor anglais and solo clarinet portray the 16-year-old double murderer Harcomone who is in prison awaiting his execution. The four black-dressed gentlemen who enter the condemned cell are represented by trumpet (judge), horn (clergyman), trombone (attorney) and heckelphone (hangman).
The concert closes with Matthias Pintscher’s ensemble piece bereshit, named after the first word of the Torah, from the Old Testament. In the work, the music traces the biblical creation myth: “bereshit,” the composer writes, “emerges from an initial sound as if from an absolute nothing, from a sound which subsides into percussive noises, from which elements then disentangle themselves and condense. [...] The composition emerges from the idea of freeing an entire compendium of sounds, gestures, rhythms, orchestrations from an original state of sound.”