Visiting : Bremen & Berlin
RIAS Kammerchor Berlin, Deutsche Kammerphilharmonie Bremen
Justin Doyle, conductor
Haydn | Rihm | Cherubini
This concert will take place; its programme has been modified and the seating capacity is reduced.
Beethoven had reservations with regards to Christ: Yes, the Nazarene was an exemplary human being, but did he have to call himself the son of god? And yet, he would not go as far as his Franconian contemporary Jean Paul. In his novel “Siebenkäs”, the poet describes Jesus coming down from the heavens and telling the dead, who are awake during the witching hour, that there is no god. As a result, a universe collapsed. It was only a nightmare. In “Andere Schatten”, Wolfgang Rihm composed fragments from this text. He intensified the effect of the dream, which claims a logic and truth of its own. The music takes its shape from the fragmentation of the language and opens up an expressive, suggestive space for imagination.
Jean Paul described chaos as the end of the world. Haydn composed it as the world’s beginning. In his “Creation”, it rises out of C minor and ranges across the scope of sound from there – from the same scale that Luigi Cherubini soon after chose for his first requiem. Beethoven was so fascinated by this work that he wished for it to be played at his own funeral. This oratorio without soloists is not all that far removed from Jean Paul: The apocalyptic strikes of the “Dies irae” and the sombre colour that clothes the eponymous plea for eternal peace both point in a similar direction. Eternal peace needs no god; and what is it compared to a full life?
Jean Paul (1763 – 1825)
“Rede des toten Christus vom Weltgebäude herab, dass kein Gott sei”
from: Jean Paul, Siebenkäs, chapter 47 (1796/97)
Joseph Haydn (1732 – 1809)
Die Vorstellung des Chaos
from the oratorio Die Schöpfung (1796 – 1798)
Wolfgang Rihm (*1952)
Musical scene for soloists, mixed choir and orchestra (1985)
Luigi Cherubini (1760 – 1842)
Requiem No. 1 in C minor (1815)