UNDER THE RADAR I Oct. 07, 2021_8 PM
György Ligeti_Jenö Takács_Sandor Veress

with: Mario Häring (Piano)

UNDER THE RADAR II Oct. 22, 2021_8 PM
Hanns Eisler_Andrzej Panufnik_Michal Spisak
Miloslav Kabeláč

with: Günter Papendell (Baritone)_Piotr Plawner (Violin)
A Cooperation with the Silesian Chamber Orchestra Katowice (Poland)

UNDER THE RADAR III Feb. 22, 2022_8 PM
Arvo Pärt_Alexander Lokschin_Victor Bruns
Petris Vasks_Grigori Frid

with: Martin Bruns (Baritone)_Jelka Weber (Flute)_Dominik Wollenweber (English Horn)

“UNDER THE RADAR” –
UNADAPTED MUSIC IN THE EASTERN BLOC

For many of the composers in this concert series, it is true that their names are still largely unknown in Europe – and this also applies to the most pronounced music connoisseurs – and their compositions are not performed. A multitude of unrefined musical treasures awaiting you, which have either long since been included in the repertoire of Classical Modernism or as pioneers of New Music on the podiums of concert halls.
In the Eastern Bloc these musicians were the few intellectuals, the remnants of the Second World War, who wanted to preserve, pass on and develop the entire national musical culture of their respective countries. They had to accept bitter destinies – marginalized, silenced, expelled, punished, discredited – and their forbidden works were under the radar of public perception.
Till today, there is no technical term for this musical era between World War II and the turn of 1989 that would do justice to that time – even the few well-known composers, whose works are in the context of the unknown in this programme – they all have nothing to do with “socialism culture. ” One reason is probably to be found in the composers' too isolated, too different, too lonely developments, in every biography the spatial or internal emigration is revealed, but also the energy to remain connected to one’s own cultural origin, to preserve and develop an identity, or to create musical “memories” as a reflection of that time.

sponsored by:
Logo Hauptstadtkulturfonds Logo Förderkreis Kammersymphonie
recorded by:
Logo Deutschlandfunk Kultur
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UNDER THE RADAR I Oct. 07, 2021_8 PM
György Ligeti_Jenö Takács_Sandor Veress

with: Mario Häring (Piano)

UNDER THE RADAR II Oct. 22, 2021_8 PM
Hanns Eisler_Andrzej Panufnik_Michal Spisak
Miloslav Kabeláč

with: Günter Papendell (Baritone)_Piotr Plawner (Violin)
A Cooperation with the Silesian Chamber Orchestra Katowice (Poland)

UNDER THE RADAR III Feb. 22, 2022_8 PM
Arvo Pärt_Alexander Lokschin_Victor Bruns
Petris Vasks_Grigori Frid

with: Martin Bruns (Baritone)_Jelka Weber (Flute)_Dominik Wollenweber (English Horn)

“UNDER THE RADAR” –
UNADAPTED MUSIC IN THE EASTERN BLOC

For many of the composers in this concert series, it is true that their names are still largely unknown in Europe – and this also applies to the most pronounced music connoisseurs – and their compositions are not performed. A multitude of unrefined musical treasures awaiting you, which have either long since been included in the repertoire of Classical Modernism or as pioneers of New Music on the podiums of concert halls.
In the Eastern Bloc these musicians were the few intellectuals, the remnants of the Second World War, who wanted to preserve, pass on and develop the entire national musical culture of their respective countries. They had to accept bitter destinies – marginalized, silenced, expelled, punished, discredited – and their forbidden works were under the radar of public perception.
Till today, there is no technical term for this musical era between World War II and the turn of 1989 that would do justice to that time – even the few well-known composers, whose works are in the context of the unknown in this programme – they all have nothing to do with “socialism culture. ” One reason is probably to be found in the composers' too isolated, too different, too lonely developments, in every biography the spatial or internal emigration is revealed, but also the energy to remain connected to one’s own cultural origin, to preserve and develop an identity, or to create musical “memories” as a reflection of that time.

sponsored by:
Logo Hauptstadtkulturfonds Logo Förderkreis Kammersymphonie
recorded by:
Logo Deutschlandfunk Kultur
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MORE INFOS ABOUT THE CONCERTS:

UNDER THE RADAR I Oct. 07, 2021

UNDER THE RADAR II Oct. 22, 2021

UNDER THE RADAR III Feb. 28, 2022

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UNDER THE RADAR I Oct. 07, 2021_8 PM
György Ligeti_Jenö Takács_Sandor Veress

with: Mario Häring (Piano)

UNDER THE RADAR I

BERLIN PHILHARMONIC, CHAMBER MUSIC HALL
PROGRAMME

Jenö Takàcs Sinfonia breve (in memory of Joseph Haydn) for orchestra
Jenö Takàcs concert for piano, strings and percussion op. 60
Sandor VeressOrbis tonorum
György Ligeticoncert romanesq for orchestra

Mario Häring – Piano
Jürgen Bruns – Conductor
Kammersymphonie Berlin

Jenö Takacs
In 1949, he left the communist Hungary at the last minute – the “Iron Curtain” had already been lowered. He wrote: “In a country with such restrictions on personal freedom, I could hardly stay any longer. Under the violent rule of the cult of persons around party leader Mätyäs Räkosi, no one was safe of his freedom, not even his life, not even the Communists – show trials, death sentences, deportation, arrests without giving reasons were the order of the day. ”

Sandor Veress
In Orbis tonorum (1986), he draws a historical and at the same time autobiographical arc, under which the suspended experiences of his composing reappear: the pentatonic, the humorous, the catastrophic collapse, the sonic stagnation, the unfolded plurality of free tonal orders, the parody of the blind mechanical – at the end the precarious and questionable melody.

Gyorgy Ligeti
. . . wrote: “In Budapest a culture of “closed rooms” arose, in which the majority of artists opted for “inner emigration. ” Officially, “socialism realism” was imposed. Writing, composing and painting was done in secret and in the hardly available spare time: Working for the drawer was an honor. ”

UNDER THE RADAR I
October 07, 2021 - 8 PM
Berlin Philharmonic, Chamber Music Hall
TICKETS

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UNDER THE RADAR II Oct. 22, 2021_8 PM
Hanns Eisler_Andrzej Panufnik_Michal Spisak
Miloslav Kabeláč

with: Günter Papendell (Baritone)_Piotr Plawner (Violin)
A Cooperation with the Silesian Chamber Orchestra Katowice (Poland)

UNDER THE RADAR II

BERLIN PHILHARMONIC, CHAMBER MUSIC HALL
PROGRAMME

Andrzej Panufnik Harmony - Poem for chamber orchestra
Michael Spisak Andante and Allegro
Andrzej Panufnik violinconcert
Hanns Eisler Serious chants
Miloslav Kabelàc 4th symphony

Günter Papendell – Baritone
Piotr Plawner – Violin
Jürgen Bruns – Conductor
Kammersymphonie Berlin
Silesian Chamber Orchestra Katowice (Poland)

Andrzej Panufnik
It was in 1989, Panufnik composed the piece “Harmony” – dedicated to his wife Camilla. The title refers to the vertical sound of nine-tone scales, builds the horizontal sound on two three-tone melodic lines, and the “harmonic” use is based on even shifts of the meters. The composition is stereophonic, dialogues between strings and woodwinds symbolize equality.

Michael Spisak
After a scholarship from the Silesian Music Society to study in Paris with Nadja Boulanger, he left Poland in 1937. It was not clear to him, that France would become his second home for the rest of his life, which had a significant impact on the composer’s artistic development, who developed his own fine neoclassical style.

Hanns Eisler
The „Serious Songs“ from 1962 belong to the late works; they are Eisler’s last completed work and marked by political resignation. This is articulated by the composer of the GDR state anthem, albeit in a seclusion, with verses of Hölderlin and Leopardis. With their help, Eisler projects himself at the end of his life into a tradition of the failed.

Miloslav Kabelàc
. . . had been a professor of composition at the Prague Conservatory since 1958, but had to give up this position after a few years – he was unwilling to accept the socialism realism propagated as a yardstick by the Czech cultural bureaucracy. After the end of the Prague Spring, his work was largely ignored and silenced in his own country until his death. His 4th Symphony “Camerata” for chamber orchestra, written in the few happy years of his professorship in Prague, is one of his optimistic works, premiered in Prague in 1959.”

UNDER THE RADAR II
October 22, 2021 - 8 PM
Berlin Philharmonic, Chamber Music Hall
TICKETS

November 28, 2021
Repetition of the concert in Katowice (Poland)

 

 

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UNDER THE RADAR III Feb. 22, 2022_8 PM
Arvo Pärt_Alexander Lokschin_Victor Bruns
Petris Vasks_Grigori Frid

with: Martin Bruns (Baritone)_Jelka Weber (Flute)_Dominik Wollenweber (English Horn)

UNDER THE RADAR III

BERLIN PHILHARMONIC, CHAMBER MUSIC HALL
PROGRAMME

Arvo Pärt Silouan‘s Song
Alexander Lokschin 5th symphony
Victor Bruns concert for Flute and English Horn, Percussion and strings op. 74
Petris Vasks Musica dolorosa
Grigori Frid 3rd symphony for strings and timpani

Martin Bruns - Baritone
Jelka Weber - Flute
Dominik Wollenweber - English Horn
Jürgen Bruns - Conductor
Kammersymphonie Berlin

Arvo Pärt
. . . experimented in Tallinn and Moscow after his studies, with a wide variety of musical currents such as collage, twelve-tone technique or serialism – everything aroused the resentment of cultural functionaries and was considered not to conform to the system.

Alexander Lokshin
The Symphony No. 3 (1966) uses verses from Rudyard Kipling’s “Song of the Dead”. The ballad “Danny Deever” describes the morning of the execution of a soldier and then sings the march of the infantry column with the poem “Boots. ” Lokschin’s choice of text was clearly in strong contrast to the official state ideology and could not be performed at the time.

Victor Bruns
The terrible arbitrariness of Stalin did not spare the Bruns family, who came from Russia’s Ollila. Exile, camp detention and death were related to the usual, constructed accusations – counter-revolutionary activity, Trotskyist conspiracy – were joined by suspicion of espionage among the Germans living in the Soviet Union. Victor Bruns and his two brothers, imprisoned for months, escaped comparatively lightly when they were expelled from the Soviet Union in 1938.

Petris Vasks
In his 1983 “Musica dolorosa” he copied personal and national suffering distanced from each other in order to musically overcome the death of his sister and the oppression of his people. In the profound, ambiguous concentrate of construction and emotion, lines are seething and intersecting to form knots of sound with heartbeats deep inside, and the orchestra dissects the passion instead of displaying it in lament.

Grigori Frid
The compact language of his 3rd Symphony oscillates between gloomy landscapes and fateful slow movements singing the elegy of life. Only in the Allegro energico does the change from mechanical rhythms appear as a powerful, vital rebellion to chamber music passages: as an expression of knowledge about one’s own unbreakable path.

UNDER THE RADAR III
February 28, 2022 - 8 PM
Berlin Philharmonic, Chamber Music Hall
TICKETS

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