›Die Vorstellung des Chaos‹ from the oratorio ›Die Schöpfung‹ (The Creation)
›Ramifications‹ for string orchestra
Introduction from ›Winter‹ from the oratorio ›The Seasons‹
›Hamburgisches Konzert‹ for horn and chamber orchestra
›Macabre Collage‹ for large orchestra, arranged by Elgar Howarth from the opera ›Le Grand Macabre‹, rev. version 2021
Symphony No. 60 in C major
The concert is part of the Berlin Philharmonic Biennale 'In Search of a New Modernity - Music and Art of the 50s and 60s'.
Robin Ticciati Conductor
- Alec Frank-Gemmill Horn
Deutsches Symphonie-Orchester Berlin
About the concert
As recognised masters of the string quartet, Joseph Haydn and György Ligeti occasionally meet in chamber music programmes, but much less frequently in symphony concerts. Yet both composers came from the same Central European cultural area, once united in the Austro-Hungarian Empire; and Haydn and Ligeti both had great influence in music history precisely because of their pronounced individualism. Music Director Robin Ticciati and the DSO present a double portrait of the great composers and experimenters on this unusual evening. At the same time, a journey through almost all genres of the repertoire with orchestra takes place: Haydn comes to the fore with symphonies and excerpts from oratorios, the jubilarian Ligeti, whose 100th birthday is in May, as the composer of a solo concerto, an orchestral study and the opera ‘Le Grand Macabre’, from which an instrumental suite is on the programme.
The concert opens with Haydn using dissonances in the opening section of his ‘Schöpfung’ (‘The Creation’) that were unusually radical at the time of its composition; depicted is the chaos that precedes creation, which is then presented in a world of harmonious order. Ligeti’s ‘Ramifications’, on the other hand, the original version of which was premiered in 1969 by the DSO (then called Radio-Symphonie-Orchester Berlin) under the direction of Michael Gielen, shows a composition created under the condition of emancipated dissonance. While the instrumental winter music from Haydn’s ‘The Seasons’ oratorio is characterised by the expression of an irresistible sadness, Ligeti distorts traditional models such as chorale, aria and dance in his ‘Hamburg Concerto’ through the use of natural horns, which deviate from the familiar tempered tuning through their overtones. Joseph Haydn is considered the founding father of the symphony as the supreme orchestral genre in the Classical and Romantic periods. This concert features his unconventional six-movement symphony Number 60. Finally, the humour that Ligeti expressed in a rather abysmal version in his opera ‘Le Grand Macabre’ represents another characteristic that connects the music of both composers.