(photo: Musikfest Berlin)

Musikfest Berlin

Isabelle Faust violin

Anne Katharina Schreiber violin

Antoine Tamestit viola

Danusha Waskiewicz viola

Jean-Guihen Queyras cello

Christian Poltéra cello

Mahler Chamber Orchestra

Sir George Benjamin conductor

Susanna Andersson soprano

Krisztina Szabó contralto

Composer in Residence

Arnold Schoenberg

Verklärte Nacht for string sextet, op. 4

Isabelle Faust violin, Anne Katharina Schreiber violin, Antoine Tamestit viola, Danusha Waskiewicz viola, Jean-Guihen Queyras cello, Christian Poltéra cello

Sir George Benjamin

Into the Little Hill, A lyric tale in two parts

Mahler Chamber Orchestra, Sir George Benjamin conductor, Susanna Andersson soprano, Krisztina Szabó contralto

This concert is part of a residency dedicated to composer and conductor George Benjamin. A Berliner Festspiele/Musikfest Berlin event in cooperation with the Berliner Philharmoniker Foundation and the Mahler Chamber Orchestra. With the support of the Aventis Foundation

Dates and Tickets

Wed, 12 Sep 2018, 20:00

Chamber Music Hall | Introduction: 19:00

Online Sale


A love poem by Richard Dehmel inspired Arnold Schönberg to write his String Sextet op. 4. A couple are walking by night: she is pregnant from a (brief) earlier liaison and he adopts the unborn child she is expecting. However, the poem’s decisive ingredient is not its raw content but its psychological-philosophical aura of transformation: Dehmel called this mythical power (of love) transfiguration. In his structure and expression, Schönberg remained faithful to the situations in the poem. However, the music is able to suggest the actual, psychological and quasi spiritual process far more effectively than the lyrics, which recede into the background once they are known. Even the poet himself experienced this the first time he heard Schönberg’s Sextet.

The circumstances of George Benjamin’s Into the Little Hill are rather different. The British composer waited a long time before daring to compose a piece of music theatre – and when he did, he chose to approach it via forms of chamber music. All the roles in the piece – that is based on the myth of the Pied Piper of Hamelin – are sung by two singers. This “acknowledges at all times the artificial nature of sung drama, while still permitting dialogue and characterization,” says the composer. “Martin Crimp’s text remains faithful to the traditional myth but it evokes disturbing contemporary resonances too. It also reflects upon the power of music as well as its exploitation in today’s world. […] The orchestration employs some highly unusual timbres – ranging from bass flute and cimbalom to banjo and basset horns. The resultant sonority is often discreet and transparent so that the vocal lines can occupy the foreground. Above all I wanted to embed these lines into the harmonic environment that surrounds them. In this fusion, I believe, lies a crucial expressive resource on the lyric stage.”

(photo: Musikfest Berlin)

(photo: Matt Lloyd)