2018年2月10日

柏林爱乐乐团成员
西蒙·拉特爵士

马克思·哈勃, 米奥斯拉夫·拉克

  • 菲利克斯·伯纳德
    保罗·怀特曼和他的乐队——金曲集锦 (3 分钟)

  • 比利·梅尔斯与埃尔默·勋博尔
    无人认领的甜心 (4 分钟)

  • 乔治·格什温
    蓝色狂想曲 (18 分钟)

    米奥斯拉夫·拉克 钢琴

  • 米特亚·尼吉什
    酒神节 (2 分钟)

  • 瓦尔特·唐纳森
    我的蓝色天堂 (5 分钟)

    马克思·哈勃

  • 特纳·莱顿
    自君别去 (4 分钟)

    马克思·哈勃

  • 维克多·杨
    可爱的苏 (5 分钟)

    马克思·哈勃

  • 杰罗姆·科恩与奥托·哈尔巴赫
    烟雾弥漫你的眼 (4 分钟)

    马克思·哈勃

  • 瓦尔特·唐纳森
    马金沃培 (4 分钟)

  • 琳赛·麦克菲尔与瓦尔特·米歇尔斯
    乔乔桑 (8 分钟)

None other than Duke Ellington, who appeared regularly with his band at the glamorous Cotton Club in Harlem in the 1920s and 1930s, acclaimed his rival Paul Whiteman as the musician who “catapulted jazz to the forefront” – for the “King of Jazz”, as Whiteman was called, “brought his music to the ears of reputable audiences – and as a result, people liked jazz”. Indeed, it was thanks to America’s most famous bandleader that jazz left the milieu of the bootleggers and gangsters of Prohibition behind it, and the gap between Tin Pan Alley (28th Street between Fifth Avenue and Broadway, where most musical theatres were) and the “serious” concert hall was at least temporarily bridged.

It was Whiteman after all who commissioned the young George Gershwin to write a work for piano and jazz orchestra, the Rhapsody in Blue, which was orchestrated by the Whiteman band’s arranger, Ferde Grofé. The premiere, cleverly entitled “An experiment in modern music”, which took place at New York’s Aeolian Hall on 12 February 1924 with the composer at the piano, was an overwhelming success: “Fifteen minutes before the start of the concert,” said Whiteman, “I gave in to my nervousness and curiosity, hid my tails under an overcoat and crept around the building to the entrance. ... Although it was snowing hard, the people were crowding like in the subway, scuffling around the entrance and fighting for the last tickets, something which otherwise only happens at a baseball game or a boxing match”.

In this Late-Night concert which could be called “A tribute to Paul Whiteman”, Sir Simon Rattle, members of the Berliner Philharmoniker and singer Max Raabe put their affinity to the jazz of the ʻRoaring Twentiesʼ to the test. The programme features a variety of arrangements with which Whiteman presented orchestral jazz in his time with unusual precision and dynamic differentation.

立即观看

体验数字音乐厅

体验数字音乐厅

观看由西蒙·拉特爵士指挥的路德维希·范·贝多芬的交响乐音乐会。

观看免费音乐会