Angels and Demons
Esa-Pekka Salonen conducts the Philharmonia Orchestra in music from the torrid but culturally rich years of Weimar Berlin which followed the First World War.
Weimar Berlin: the Philharmonia Orchestra explore music written in the aftermath of the First World War.
In a typically provocative programme, Esa-Pekka Salonen conducts the Philharmonia Orchestra in music which takes us from the louche world of Berlin cabaret to the Lutheran certainties of Bach's chorales. Schoenberg filters Bach through his own febrile ear. Alban Berg includes a quotation from a Bach chorale in his concerto dedicated to the memory of the 18-year-old daughter of Bauhaus founder Walter Gropius. After the interval, Hindemith seeks inspiration in the late Medieval world of painter Matthias Grünewald and his apocalyptic altarpieces.
Hindemith: Rag Time (well-tempered)
Bach arr. Schoenberg: Two Chorale Preludes - Schmucke dich, O liebe Seele BWV. 654 and Komm, Gott Schopfer, heiliger Geist BWV.667
Berg: Violin Concerto
8.10pm Interval: Esa-Pekka Salonen reflects on the cultural melting pot that was the Weimar Republic. Plus a quartet movement by Zemlinksy father-figure to many of the composers of the Weimar Republic and an erstwhile friend of Alma Schindler-Mahler. And a motet by Heinrich Isaac, a contemporary of Matthias Grünewald whose Choralis Constantinus was edited by the young Anton Webern.
Hindemith: Symphony (Mathis der Maler)
Christian Tetzlaff (violin)
Esa-Pekka Salonen (conductor)
Image credit: Philharmonia Orchestra / Harrison Agency