The first season has gone well for the new chief conductor of the Rundfunk-Sinfonieorchester Berlin. You can flick through the daily mirror-criticism of Vladimir Jurowski, there is a lot of praise, to the euphoria. And the audience pulls. 400 subscribers could not win the RSB is new, the concert with Mahler’s “song of the earth” in October, so many single ticket buyers lured to the cash register and for how long.
of Course, there are also regulars, Marek Janowski pining, Jurowskis predecessor, the drilled starting in 2002, in a deliberately traditional Kapellmeister of the style of the RSB from an Ensemble of impressive technical precision and in terms of content, a focus on the German Repertoire of the 19th century. Century has placed. The 33-year-younger Jurowski is as aware of other ways, his Repertoire is enormous, splayed, he has an open ear for the Contemporary, as well as a tendency to musically justified the Experiment. That’s why he included Schoenberg’s “Survivor from Warsaw” at the new year’s eve concert in 2017, between the two sets of Beethoven’s ninth, Mozart, Zemlinsky’s late-romantic and Arvo pärt-sounding silence.
Jurowski is an Intellectual
Consistently demanding Jurowskis second Berlin presents a season now, challenging for the audience as it is for its musicians. Because of the 1972 Moscow-born conductor who studied at the Hanns Eisler Hochschule, and in 1996 his first Engagement at the Komische Oper, is an Intellectual.
He estimates that besides the music all the other arts, especially in literature, immersed himself in philosophical issues. And hopes his players an interest in the works that goes beyond pure performance in practical questions, the context of the emergence of mitreflektiert. Because even if classical is not operating as a co-determination model to work, it is from Jurowskis point of view for a conductor “is always better, the know-it-a line, as the Ignorant”.
joy
In his work with the RSB, the conductors to the horizon extensions. “I’m always happy like a child on the samples, to the creative process, if I bring an orchestra on a new piece.” As you are now, “El Niño”. All the world plays in the season of Advent, the famous Bach’s cantatas, Jurowski, with the turn of the Millennium, premiered in the oratory of the American Minimal-Music-master John Adams a counterpoint. It is also about Christmas, but from the female perspective. Because the traditional Bible texts are combined with poems of South American authors.
“It comes to pregnancy, the anticipation of a child, the condition of the mother after birth,” says Jurowski, and adds: “I find it brave of a man to put himself into the soul of a woman.” At the same time, but also made a reference to specific political events when, in analogy to the killing of newborn babies by Herod, the massacre of Tlatelolco will be commemorated, in the 1968, around 300 peaceful demonstrators were killed at the end of students by the Mexican military. “Such an interesting socio-political context for the simple, spiritual story.”
The final stirred him to tears
Vladimir Jurowski has long been a Fan of John Adams. “El Niño” has he already directed the London Philharmonic Orchestra, whose chief since 2007, as well as his Festival of contemporary music in Moscow. “The piece presents the orchestra in a technically enormous demands, because it is based on precision. Between right and wrong, only a touch is a thin difference,“ says Jurowski. “But in the end the effort is rewarded by an incredible emotional range.”
Some critics talk of Kitsch, especially in the finals, if Adams makes the children’s chorus of the palm report, which tends to be in the desert and the people are presented with fruits. “Adams is not a European avant-garde, he is not afraid of beauty”, the conductor. For him, the conclusion is “a simple folk song, reminiscent of, coincidentally, to Hollywood. Personally, I’m touched to tears – although I’m not a sentimental person“.
An Ecumenical piece
the authors deal with the problem complex of the present, for Vladimir Jurowski was a “moral responsibility”, your audience is not without hope: “hope is the Transfiguration of the not-seen, reality is always”. That Adams keeps in mind, white is the conductor. “Every child that is born, is a gift. El Niño is also an Ecumenical piece, it shows the Connections that Christianity has with other religions of the world.“
the Whole of Central Europe, the Selection is marked then the traditional RSB – concert on the 23. December, when works by Bach, Honegger and Milhaud, Pärt, Zemlinsky and Lutoslawski sound. Jurowskis idea here is to let the human voice is as diverse as possible sounded: “Because Christmas is the Feast in which the glad tidings is proclaimed.” That’s why he has invited for the evening, the Berlin sing Academy, a boys ‘and a girls’ choir.
argument must begin each Time anew
on new year’s eve then follows, as usual, Beethoven’s 9. Symphony, but in combination with a world premiere, given by Jurowski with Georg Katzer, the 1935-born composer who was a pioneer of electronic music in the GDR. Katzer recalls in his piece, the constructive culture of debate, which threatens to Yes in the increasingly heated social discourse straight.
“The Ninth must not be a routine event,” says Jurowski. “It is a complex work, also due to the front Desk, including abuse by various dictatorships. The discussion has to start every Time.“ That’s why he has decided to leave in the future, also the other conductors of the end-of-year concert – orchestra, as well as the audience, with contrasting Interpretations.
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Vladimir Jurowski, So it makes the audience an accomplice
Frederik Hanssen
Jurowski conducts “El Niño” on 15. December 20 at the concert hall.
