The first season with new music director Robin Ticciati
In September 2017, 34-year old Robin Ticciati will take up his post as the eighth Music Director of the Deutsches Symphonie-Orchester Berlin. The British conductor is shaping his first season with curiosity and openness; together with the ensemble he explores a broad musical spectrum, opening up new perspectives – unusual programme combinations, works by contemporary composers, discovering new concert venues and forms.
With four projects in rapid succession, Ticciati’s assumption of his new position will become a small festival – and an invitation to get to know many of his facets. As a preview, three days before the first concert, he will welcome all of Berlin on 23 September to make music jointly – at the fourth ‘Symphonic Mob’ in the Mall of Berlin. He kicks off his official inaugural concert on 26 September in the Philharmonie with a Baroque work that is itself about beginning – ‘Les éléments’ by Jean-Féry Rebel. He juxtaposes it against Thomas Larcher’s Second Symphony from the year 2016, in which existential shocks and symphonic thinking interact in high tension, and concludes the dramatic arc with the idea of creation from Nietzsche’s perspective, on which Richard Strauss reflected in ‘Also sprach Zarathustra’. Just three days later at the Kraftwerk Berlin, on 29 September, Ticciati will explore very different territory. Under the title ‘Parallax’ and in cooperation with the festival ‘Berlin Atonal’, the monumental industrial building on the Spree will become a meeting point where Bach, Berio, Debussy, Ives and Ligeti encounter electronic modern compositions and the soundscapes finally blend in a new work by Moritz von Oswald. On 3 October, Robin Ticciati will again be heard in the Philharmonie conducting the DSO, for the fourth time in eleven days. At the same time, Linn Records will release a first joint CD recording with works by Debussy and Fauré with the participation of mezzosoprano Magdalena Kožená in September.
Contemporary music is of prime importance in Ticciati’s programmes. He either places it at the heart of his programmes – like Jörg Widmann’s violin concerto and Helen Grime’s ‘Virga’ – or chooses it as an access to music from history: he places Toshio Hosokawa’s ‘Meditation’ before Gustav Mahler’s Third Symphony; Magnus Lindberg’s ‘Chorale’ is followed by Alban Berg’s early orchestral songs and Anton Bruckner’s Sixth Symphony; Roy Harris’s Third Symphony prepares one to listen to Schönberg’s piano concerto and Sibelius’s Seventh Symphony. Experiencing that a musical work is perceived anew time and again in new surroundings, he explores Mozart’s last symphony for inspirations from Bach, and Schumann’s violin concerto for Baroque influences. He opens up the relationship between sound, space and time with the trinity of Duruflé, Wagner and Messiaen. The spatial aspect comes particularly to the fore in the spectacular architecture of the Philharmonic Hall in the stage setting for Berlioz’s oratorio ‘L’enfance du Christ’. Ticciati and Fiona Shaw, the Irish actress who will direct, benefit from their opera experience at the Glyndebourne Festival.