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10th Philharmonic Concert
Omer Meir Wellber • BRUCH / ASSIGINAAK
Das 10. Philharmonische Konzert vereint drei außerordentliche musikalische Handschriften: Hilary Hahn spielt Max Bruchs Violinkonzert Nr. 1 g-Moll op. 26. Für dessen ersten Satz hat Barbara Assiginaak die Überschreibung „Niibaashkaa – Travels at Night“ komponiert: „Es ist eine Art von Zeitreise, bei der man eine Unterhaltung mit dem Komponisten führt“, beschreibt die Kanadierin ihre Arbeit. Was für ein Finale im letzten ZeitSpiel dieser Saison!
Program
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Dirigent
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Violin
TIME GAME TEN:
MAX BRUCH / BARBARA ASSIGINAAK
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Violin Concerto No. 1 in G minor op. 26
I. “Niibaashkaa - Travels at Night”
(transcription by Barbara Assiginaak, premiere)
II. adagio
III. finale. Allegro energico
Antonín Dvorák
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Symphony No. 9 in E minor op. 95 “From the New World”
The Concert
- Venue Elbphilharmonie, Grand Hall
- Duration 120 m
- Age recommendation From 10 years
The Hamburg State Orchestra's Philharmonic Concerts become ZeitSpielen and transcend the boundaries of the ordinary: In this concert, Barbara Assiginaak's compositional interpretation of Max Bruch's sonic imagination will be heard - for the first movement of his Violin Concerto will be replaced by a new composition from her pen, inspired by the original. Bruch meets us today as a mirror of the past and at the same time, through Assiginaak, as part of the here and now! This musical game without fear of contact opens up new perspectives on our musical culture, our way of thinking and being, on our way of receiving music.
“It's a kind of time travel where you have a conversation with the composer. I did something like this a few years ago with Beethoven's second symphony. In my imagination, I transformed myself into an insect and flew back to the year 1802, directly into his ear. On this journey, I witnessed the emergence of his ideas - his eccentricity, his frustration, his humor and his innermost thoughts.” BARBARA ASSIGINAAK
“It's a kind of time travel where you have a conversation with the composer. I did something like this a few years ago with Beethoven's second symphony. In my imagination, I transformed myself into an insect and flew back to the year 1802, directly into his ear. On this journey, I witnessed the emergence of his ideas - his eccentricity, his frustration, his humor and his innermost thoughts.” BARBARA ASSIGINAAK