Yutaka Sado’s debut with the Berliner Philharmoniker


Berliner Philharmoniker
Yutaka Sado

  • Tōru Takemitsu
    From me flows what you call time for five percussionsts and orchestra (00:38:01)

    Franz Schindlbeck, Simon Rössler, Raphael Haeger, Wieland Welzel Percussion (Takemitsu), Jan Schlichte

  • Dmitri Shostakovich
    Symphony No. 5 (00:59:47)

  • free

    Yutaka Sado on the fulfilment of his musical dream (00:16:51)

When Yutaka Sado was in sixth grade at school and was asked what his life's ambition was, he answered: I want to conduct the Berliner Philharmoniker one day.” In the meantime, Sado can now look back on an impressive career. He accompanied Leonard Bernstein as his assistant to the Schleswig-Holstein music festival, and has worked together with Seiji Ozawa and many famous orchestras. This May, Sado's youthful dream comes true when he makes his debut with the Berliner Philharmoniker.

To open the concert, Yutaka Sado has brought music from his mother country: From me flows what you call time by Tōru Takemitsu, Japan's most famous composer internationally. Audiences should not jump to the wrong conclusion because the work employs five percussionists. From me flows what you call time is no brutal percussive piece, rather a meditative kaleidoscope of delicate colours and accents. Composed just a few years before Takemitsu's death, the work gives us an insight into his wide-ranging interests, from eastern tradition and western avantgarde, to his extensive work as composer of film music.

While this concert will be the first time that the Berliner Philharmoniker play From me flows what you call time, Shostakovich's Fifth Symphony is regularly to be found in the orchestra's concert programmes. The composer himself called the work “a Soviet artist's creative response to justified criticism”, after his Fourth Symphony had been banned by the Stalin dictatorship for being “formalistic”. With his Fifth, he performed a balancing act: it was to be popular and celebratory, but Shostakovich could not stop himself from formulating his revulsion at the hypocrisy of the regime between the lines. As a result, this symphony is a fascinating puzzle, in which grandiosity changes suddenly to the ridiculous and merriness to desperation.

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