The Berlin Philharmonic


Exactly 120 years ago, on May 1st 1882, a group of musicians broke away from their orchestra. This was nothing else than a mutiny as their conductor, Benjamin Bilse, had expected them to play under such poor conditions that summer that they refused and left under protest. This was a bold thing to do at that time, but soon afterwards they were already giving concerts as the ?Ex-Bilse Orchestra?. They were lucky too as the concert agent Hermann Wolff took them under his wing and already that same summer (1882) advertised their programmes as ?Philharmonic Concerts?.
They were extremely lucky once more in that they soon found a concert hall: an ex-skating ring situated in the Bernburger Strasse, which turned out to have excellent acoustics and which remained their home until it was destroyed by bombs in 1944.
The first years otherwise were difficult, in particular from the financial point of view. But when Hans von Bülow took over the Philharmonic concerts in 1887 things began to look up. Bülow was the first in a glorious row of artistic directors, already had had a great career and stayed until his death in February 1894.
He was followed by Arthur Nikisch, another musician of genius. He too stayed until his death - 27 years later. By all accounts Nikisch was a man with a stable psyche and who was able to communicate his intentions to orchestra and audience alike. Apparently his hands were particularly expressive. He undertook big tours with the orchestra.
Many were those who wanted to take over from Nikisch, but it was the young Wilhelm Furtwängler who was chosen. He was a musician equally gifted, but surely a much more tragic figure than Nikisch. Furtwängler saw himself first as a composer – something posterity did not comply with. His concerts, even if they sometimes lacked technical polish as this was not important to him, set orchestra and audience in a sort of trance. He led the orchestra through the difficult years of the Second World War, protecting it, but being himself attacked afterwards for not having emigrated.
At the end of the war Furtwängler was banned from conducting and the orchestra had to look around for new conductors. Yet again they were lucky: they found a young Rumanian student who had virtually no experience, but turned out to be an exceptional talent - Sergiu Celibidache. He was scrupulous in preparation, stimulating in his quest for the right blend of sound and had an overwhelming success with the public.
Nevertheless when Furtwängler was allowed to conduct again he took over his old orchestra once more. But he was afflicted by bouts of ill health, by an increasing impairment of his hearing and shattered by the attacks from colleagues and cultural personalities concerning his role during the Second World War. He died a broken man on November 30th 1954.
Contrary to Nikisch?s succession, that of Furtwängler was a clear thing: the Austrian conductor Herbert von Karajan was the rising star who clearly had a magnetic quality.
He had already carved out for himself a successful career – so successful indeed that Furtwängler had become wary. Karajan took over from Furtwängler at short notice the first large tour to the United States and Canada in February 1955. After the victorious completion of that tour he was offered a lifetime appointement by the orchestra.
Since then he never looked back and led the orchestra from one triumph to the next. Needless to say he had his detractors, but the words ?Herbert von Karajan and the Berlin Philharmonic? became absolutely synonymous. Karajan also led the orchestra into the opera pit. He founded his own Salzburg Easter Festival, opening it on 19.3.1967 with ?Die Walküre?, and ever since then the orchestra plays opera once a year. Very important to Karajan was also his belief in the vital role of records and television to promote interest in classical music. He devoted much time in these activities and the records he made with the orchestra are legion. Much has been said about the ?Karajan sound?. He stresses the significance of a beautiful, smooth sound.
So it is particularly sad that the end of his tenure was marked by disputes and controversies. The upheaval surrounding a new (female) clarinettist in 1984 was mastered, but further quarrels followed and on 24.4.1989, after nearly 35 years with the orchestra, Karajan handed in his resignation. He died 3 months later.
Needless to say, the transition was neither so smooth nor so easy this time. Succeeding Karajan was considered a nearly impossible act. Nevertheless all the world?s maestri coveted this position, arguably the top job in the musical world. On 8.10.1989 the orchestra voted for Claudio Abbado – a choice which surprised many, but found the near unanimous praise of the press as well as the music lovers around the world.
The same as his predecessor Claudio Abbado had already had an extremely successful career before he crowned it with this nomination. It is futile to recall in these pages Claudio Abbado?s life, suffice it to say that he conducted the Berlin Philharmonic for the first time in 1966 (after having to cancel a first invitation in 1965) and had led the orchestra regularly ever since. During his years as artistic director the orchestra was greatly rejuvenated and the sound became much more transparent. So it was an unpleasant surprise when Abbado announced on 13.2.1998 that he would not seek a prolongation of his contract beyond 2002.
As a result the orchestra voted for Sir Simon Rattle as successor on 23.6.1999. He takes up his post in September 2002. He stipulated as a condition for his acceptance the end of the double existence of the orchestra – the concert orchestra Berliner Philharmonisches Orchester on the one hand and the orchestra which made records , the Berliner Philharmoniker, on the other.
As a result since 1.1.2002 the orchestra?s official name is Berliner Philharmoniker, the old, traditional one having been given up. The official status is now a different one too: it is a foundation and no longer a Senate department. This hard to explain administrative difference brings with it a greater independance. The orchestra does not depend entirely on the Senate of Berlin any more. It is governed by a body of players taken from its own ranks and including as well the executive director. Thus the Berlin Philharmonic are well equipped to meet the challenges of this everchanging world.

Edinburgh unveils 2002 programme

Claudio Abbado conducts Wagner's Parsifal this year

Organisers of the Edinburgh International Festival have unveiled a diverse programme for this year's event, which runs from 11 August until the end of the month.
The International Festival is the oldest of the Scottish capital's summer festivals, which also include the Fringe and the film festival.

Festival organisers are making a special attempt to reach more people with the classical music programme, organising a series of late-night concerts for £5 at the city's Usher Hall.

Rotterdam's Ro Theater presents Macbeth

James Waters, associate director of the festival, told the BBC: "We've noticed over the last two or three years that the concerts we've put on late at night at the Usher Hall have attracted a younger audience.

"So this year we've set up an entire series with some very major artists, and there'll be tickets available for everything on the day.

"We think it's an exciting way of getting an audience for classical music who might otherwise not go."

Another highlight is a co-production between the Edinburgh International Festival and the Salzburg Easter Festival of Wagner's last opera, Parsifal.

"It's conducted by probably the world's greatest conductor, Claudio Abbado, and directed by Peter Stein and it's not to be missed," said James Waters.

Other operatic high points are expected to be provided by Scottish Opera's production of Siegfried, from Wagner's Ring Cycle, and Luc Bondy's version of Benjamin Britten's The Turn of the Screw.

'Unique'

Theatrical highlights include new plays from two leading Scottish playwrights, Douglas Maxwell and David Harrower.

And one of the world's great theatre companies, the Vienna Burgtheater, returns with a production of Schiller's Maria Stuart.

Festival director Brian McMaster said the combination of events was "unique in the world".



I think the festivals in Edinburgh are incredibly important to the economy of the city

Festival organiser
Joanna Baker

The programme was "aimed equally at attracting people from as far away as Los Angeles as well as exciting our local audience", he said.

The £5, one-hour classical concerts are scheduled to take place at 2230 each evening at the city's 2,000-seat Usher Hall, and tickets will go on sale from mid-July.

"We hope the offer will attract people who perhaps don't usually come to classical music concerts," festival organiser Joanna Baker said.

Diverse programme

"I think the festivals in Edinburgh are incredibly important to the economy of the city."


The festival will showcase Indian dance


Ms Baker said she was concerned that the events of 11 September might have an impact on the festival.

But she noted that festival audiences were known for their loyalty to the event.

A rich, diverse programme would include a wide range of music, from Bach to Stravinsky, she said.

For dance lovers, Emio Greco and Pieter C Scholten return to Edinburgh with two new pieces, and Japanese choreographer Saburo Teshigawara's company, Karas, will be performing.

There will also be a chance to experience the six major forms of Indian classical dance - Kathak, Odissi, Manipuri, Kuchipudi, Bharatnatyam and Mohiniattam - over three days.