Dates and tickets
Unfortunately, no further dates are planned for this production.
Overview
Art moves between the two poles of chaos and order. Pure chaos is not art, and neither is pure order. But venturing into one or the other extreme is always fascinating – as demonstrated by the programme of the 5th Symphony Concert. GMD Stephan Zilias conducts the State Orchestra of Lower Saxony, with wind players from the orchestras featured as soloists.
“It is the most wonderful thing in the world when orderly, methodical, veritable devices of art generate a chaos that turns the experience of a bottomless confusion into an experience of pleasure.” (Carl Friedrich Zelter).
In the orchestral preludes to their musical histories of creation, both Jean-Féry Rebel and Joseph Haydn describe chaos through the devices of music. Outrageously and with no consideration for listening habits, Rebel constructs a consonance of all notes, agglomerations of sounds of a kind that composers only began to stack up many centuries later.
“I ventured to combine the confusion of the elements with the confusion of harmony.”
(Jean-Féry Rebel)
Joseph Haydn achieves an impression of chaos by raising expectations with the greatest virtuosity, only to not fulfil them. Wolfgang Amadeus Mozart’s music, on the other hand, is so incredible in its artistry that is has been interpreted as an inexplicable, inimitable image of divine harmony, and its creator was considered a ‘heavenly genius’. (Leonard Bernstein).
“Art is the opposite of chaos. If it surrenders to chaos, it will immediately see its animated workings, its very existence under threat”. (Igor Stravinsky)
The world premiere of Igor Stravinsky’s ballet-score Le Sacre du printemps provoked a legendary theatre scandal: In this Rite of Spring, the longing of civilised mankind for a primordial unity with nature is combined with the Shamanic ritual of human sacrifice. Paradoxically, Stravinsky composed this escape into an archaic past using the most advanced musical devices. Its perceived chaos came as a veritable shock to the Parisian audience in 1913, and the force of the music still manages to immediately captivate its listeners today. Folklore becomes raw musical material and the entire orchestra transforms into one great, unpredictable percussion unit.
“It is the most wonderful thing in the world when orderly, methodical, veritable devices of art generate a chaos that turns the experience of a bottomless confusion into an experience of pleasure.” (Carl Friedrich Zelter).
In the orchestral preludes to their musical histories of creation, both Jean-Féry Rebel and Joseph Haydn describe chaos through the devices of music. Outrageously and with no consideration for listening habits, Rebel constructs a consonance of all notes, agglomerations of sounds of a kind that composers only began to stack up many centuries later.
“I ventured to combine the confusion of the elements with the confusion of harmony.”
(Jean-Féry Rebel)
Joseph Haydn achieves an impression of chaos by raising expectations with the greatest virtuosity, only to not fulfil them. Wolfgang Amadeus Mozart’s music, on the other hand, is so incredible in its artistry that is has been interpreted as an inexplicable, inimitable image of divine harmony, and its creator was considered a ‘heavenly genius’. (Leonard Bernstein).
“Art is the opposite of chaos. If it surrenders to chaos, it will immediately see its animated workings, its very existence under threat”. (Igor Stravinsky)
The world premiere of Igor Stravinsky’s ballet-score Le Sacre du printemps provoked a legendary theatre scandal: In this Rite of Spring, the longing of civilised mankind for a primordial unity with nature is combined with the Shamanic ritual of human sacrifice. Paradoxically, Stravinsky composed this escape into an archaic past using the most advanced musical devices. Its perceived chaos came as a veritable shock to the Parisian audience in 1913, and the force of the music still manages to immediately captivate its listeners today. Folklore becomes raw musical material and the entire orchestra transforms into one great, unpredictable percussion unit.
Musikalische Leitung Stephan Zilias
Solist:inn:en des Niedersächsischen Staatsorchesters Peter Amann / Katharina Arend / Eleanor Doddford / Felix Hüttel