Berlin-based orchestras / Arnold Schönberg / Pelléas et Mélisande
Berliner Philharmoniker
Hokusai, “The Great Wave off Kanagawa”, 1830
© Wikimedia Commons
- Duration 2h, no interval
Past Dates
It was not only painting that experienced the emancipation of colour around the turn of the 19th to the 20th century, but also music. And the first place was in France, where Gabriel Fauré and Claude Debussy countered the impressionism of a Monet, Renoir or Pissarro with their very own new colour schemes. Arnold Schönberg, who – like his two French colleagues – was inspired to write his own composition for the drama “Pelléas et Mélisande” (which is not coincidentally marked by an impalpably dazzling water symbolism), intended in 1911 to formulate the vision of a “timbre melody”. Turning this vision into reality continues today to be an exercise in an unbroken force of fascination. Matthias Pintscher’s 2nd Violin Concert, which the composer will conduct himself at the Berliner Philharmoniker, represents one of the most exciting and contemporary solutions. And it also interprets the term impression in its own way – after all, the title “Mar’eh” can also refer to the “aura of a face” according to the composer: “a beautiful appearance, something wonderful that can suddenly appear in front of you.”
Gabriel Fauré [1845–1924]
Pelléas et Mélisande suite op. 80 [1898]
Matthias Pintscher [*1971]
Violin Concerto No. 2 Mar’eh [2010/11]
Arnold Schönberg [1874–1951]
Chamber Symphony No. 2 in E flat minor op. 38 [1907/08, 1939]
Claude Debussy [1862-1918]
La Mer, trois esquisses symphoniques pour orchestre [1903–1905]
Renaud Capuçon violin
