Claudio Abbado, Maurizio Pollini and Anna Prohaska

15/05/2011

Berliner Philharmoniker
Claudio Abbado

Anna Prohaska, Maurizio Pollini

  • Wolfgang Amadeus Mozart
    »Vorrei spiegarvi, oh Dio« - »Ah conte, partite«, aria for soprano and orchestra K. 418 (00:08:17)

    Anna Prohaska Soprano

  • Wolfgang Amadeus Mozart
    Die Zauberflöte: »Ach, ich fühl's, es ist verschwunden« (00:05:03)

    Anna Prohaska Soprano

  • Alban Berg
    Lulu Suite (00:22:43)

    Anna Prohaska Soprano

  • Wolfgang Amadeus Mozart
    Piano Concerto No. 17 in G major K. 453 (00:34:15)

    Maurizio Pollini Piano

  • Gustav Mahler
    Adagio from Symphony No. 10 (performing version by Deryck Cooke) (00:29:20)

  • free

    Claudio Abbado, Maurizio Pollini and Anna Prohaska on old and new musical friendships (00:17:55)

Claudio Abbado and Maurizio Pollini have covered a lot of their artistic careers together, giving many joint concerts. They have also often performed together with the Berliner Philharmoniker - not yet, however, with Mozart's Piano Concerto No. 17 in G major, a gap which will now be filled. The same evening, Claudio Abbado will perform the Adagio from Mahler's unfinished Tenth Symphony with his old orchestra for the first time.

The appeal of the G major concerto lies not least in the prominent role given to the woodwind. On an almost equal footing, they converse with the piano, awaking memories of ensemble scenes in Mozart's operas. And just as in an opera, the gamut of emotions is run: "Within its friendly key", the work is "full of secret smiles and secret sorrows," fittingly wrote the Mozart scholar Alfred Einstein. There is genuine theatrical drama in this concert with Mozart's concert aria K. 418, giving us the opportunity to meet Anna Prohaska, a young soprano from the Staatsoper Unter den Linden and a shooting star of the Berlin music scene.

The concert opens with Alban Berg's Symphonic Pieces from Lulu, which Berg put together to promote his opera, at a time when he saw the planned premiere threatened by the Nazi regime. The result is a fully-grown five-movement symphony resembling not least the symphonies of Mahler - a composer who Berg deeply admired and whose baton he once stole as a souvenir. Notably, the parallels between the last of the pieces, an adagio, and the Adagio from Mahler's Tenth are clear; both manifestations of the hopelessness of, and a farewell to life.