Programme Guide

Jörg Widmann was commissioned to compose his viola concerto by Antoine Tamestit himself – and created an extraordinary work for an extraordinary violist. The bespoke solo part is not only notated music, but is also a theatrical performance. Tamestit wanders through the orchestra in seven stages, seeking out different allies along the way. The solo part unfolds an enormous spectrum of expression, ranging from a beginning that consists solely of tapping on the body of the instrument, the dramatic attainment of one’s own bow, technical absurdities, singing, and screaming. Widmann, a witty instrumentalist, mirrors and envelops this unfettered soloist with ever new, dazzling soundscapes for the large orchestra.

If you simply let the Romantic atmospheric images of Bruckner’s Fourth drift over you, you won’t be aware of the hard work the composer put into it. It took Bruckner several attempts to find the final form of the four movements. In the process, the finale in particular gained in importance. As a profound conclusion, it now stands at the end of a symphony with exuberant hunting calls and charming melodies. Daniel Harding has often demonstrated his flair for large-scale works when conducting the Berliner Philharmoniker, impressively succeeding in creating a symbiosis of agility and sonority.