5:00 pm
Munich, Showpalast Munich
Ticket presale from April 23, 2024
https://www.brso.de/en/concerts-tickets/tickets/
Prices: € 25 | 15 | 10
Special concert
Programme
Percy Aldridge GraingerLincolnshire Posy
Lorenz Dangel/“PHON”
(commissioned by the Symphonieorchester des Bayerischen Rundfunks, world premiere)
Interval
Hector Berlioz/“Grande symphonie funèbre et triomphale”, op. 15
Timo Dellweg/“Kaiserin Sissi”
Martin Scharnagl/“Euphoria”
FUNKHAUS MUNICH
Sir Simon Rattle is new to Bavaria and wants to get to know the country and its people – through what he loves to do most: music. Music and Bavaria? That doesn't work without wind band music.
We are celebrating the arrival of the BRSO's new chief conductor, Sir Simon Rattle, with a major project in which we bring together musical traditions in Bavaria and its people: brass band and symphony orchestra.
This was the announcement from the Radio company. In cooperation with the Bavarian Brass Music Association, we invite brass music ensembles from all over Bavaria to make music together. Apply and be there when Sir Simon Rattle and around 300 musicians from all over Bavaria take the stage! Mutual visits, joint sessions and the big final concert are part of the year-long project, in which amateurs and professionals from all generations and from all over Bavaria will come together to make music together.
More about the project: https://wSIMON RATTLE INTERVIEW SATURDAY 24 FEB
Symphonischer Hoagascht
Blasmusik meets BRSO
INTERVIEW WITH SIR SIMON RATTLE
I interviewed Simon during rehearsals for a concert I shared with him and Clark Rundell with the Merseyside Youth Orchestra last February.
Tim Reynish ”Simon, can you possibly fill us in on this incredible project in Munich?”
Sir Simon Rattle “I was looking for a way in Bavaria to do a big project which would get us in touch with people but would mean that we touched all of Bavaria Everything in this country seems to be horribly centred around London In Bavaria of course people forget that there is anywhere other than Munich and the rest of Bavaria gets a bit frustrated. When I started in Berlin we did 10 years of dance projects which brought different people from all over into the centre; I was searching for something that could make a musical connection and one of the players said Well you know Simon a whole lot of us come from this Blasorkesterworld which is in a way the equivalent of British Brass Band, not totally like the American wind band world but of course there is an unbelievable amount of music and particularly from the 19th century and a lot of music which crosses the borders from what’s the Czech republic, what’s Austria and what’s Bavaria; they said there are a lot of orchestras of very high standards and maybe you should look at this so we went away and thought and I had the idea that we should find what the groups were and get somebody to write a piece, all of them would have their different personalities so we put out a call. Nowadays social media makes it much easier than it would have been 20 or 30 years ago and I thought well we’ll get ten or fifteen groups replying and it will be wonderful to hear them. Within two weeks we had 120 and we promised that whatever we would listen to all of them I have to say I only listened to 25 but members of the orchestra and other people listened to them all, and they sent videos and recordings and also they sent little introductions to what they are and what their region is and some of them sent special messages Oh you might like to visit this region because there is this special thing this is the place where we make the best little dumplings in the area, all incredibly sweet so warm, it was very difficult to choose even once we had whittled it down to 20 something, we realised that we couldn’t have more than about 300 musicians on the same stage at once. We wanted obviously most of our orchestra there, even with another 4 groups so we found 4 very different groups, one incredibly tradition, another which was mostly very young people, very large more like an American wind band that you and I would know and indeed playing a lot of American music., one astonishingly from the place where they made the best schwetzli in Bavaria, is a real old fashioned Salvation Army British brass band and they play salvation army music like my father’s old school friend William Overton a name you would know, principal trumpet of the BBC Symphony Orchestra. I used to play in the Sally Bands for him, the same kind of music and the same kind of spirit, I then spent three days travelling around and over those 3 days we drove 1500 km going to spend a morning or an afternoon with each group hearing them play, rehearsing them, normally being given refreshments , just hanging out, you realise that these people understand what an orchestra is doing because they understand what rehearsing is, they understand what high standards are.snd of course as I had been warned the standard was very high. What I hadn’t quite expected was with one band in particular that they would play in a type of rhythmic way which knocked me sideways I told them, “you know I have been trying to get orchestras to play Mahler with the kind of rhythms that you play me whole career; sometimes we get close but we never get it accurate and tight This is the most traditional of all the bands the one where there has been one conductor for 25 years basically he arranges all the music the other music that they play is very much from this Czech tradition, every phrase is slightly swung in a way I had not really come across. Because the Bavarian marches; I live in Prussia, lets face it, Berlin is Prussia still and a march goes rap pa pa pa pa pa You get to Bavaria and a march is ra da ra da ra da you could not notate it because it is not a 5; its like if it were a 7 it would be like a 4 and a 3 it is something completely natural and gradually built up because most of these bands are of multiple generations, people have their parents and grandparents and kids, 3 generations of people playing together and they are playing a repertoire that we hardly know in a way that we hardly know how to play it. So it was just as much of a shock to me as when I went to play timpani in the G.U.S Footwear Band as a teenager and heard whatever it was 20 cornets playing Berlioz’ Le Corsaire immaculately. Any of my snobbery about brass bands if I’d even had a few percent of it, that was out of the window, but what is fascinating is that each of these groups is from a different region in Bavaria with very different traditions and this poor wonderful composer who has done a great amount of film music so he can write any style, Lorenz Dangel, he has travelled round to them and learned how different they are so he has to write a piece in which the Bayersische Rundfunk Symphony Orchestra including the strings because they said we are not going to be left out of this we want to play; a lot of the brass players come from this world. Each orchestra plays in a different way so he will write a piece in which we can almost do call and response and each group has its own particular personality and then we will start with the Lincolnshire Posy played by the Bayerische Rundfunk orchestra who have never played it in their 75 years of existence and I think they will also find that fascinating Grainger was a real master lets face it in this world there is nobody who quite opened it out in quite the way that he did, and so then we will play Lorenz’s piece which will be about 35 minutes and then there is a gigantic re-set and we play the Berlioz Symphonie Funebre et Triomphale which will be really an experience and then at the end we play a couple of traditional pieces where we will all play together I think that the Bayerische Rundfunk will be really struggling to play alongside them and of course already we had times in Munich when some of the bands who did not get selected came and spent time with us and sat in at rehearsal We had one rehearsal with 500 of them there listening to Mahler no 6; someone said” Simon you told us it was big symphony orchestra but you only have 6 clarinets, what is this. We then spent as lot of time together simply joining the world together. For me its extraordinary I’ve met really wonderful generous warm people with an accent which for a moderate German speaker is like coming and hearing a room full of Scouse people but somehow we managed to communicate. But also we made beautiful music together, I did not know the name of one single composer out of 8 or 9 over the weekend, so it’s a great learning process and I’m sure we will have made so many real friends. And so much contact. This is a very special piece. This will just be the start of something.
It is on July, rehearsals Friday 5 Saturday 6 and concert on Sunday 7, 5 o’clock in Munich in this enormous place where they have circuses and big horse shows, the Odeonsplatz.
5:00 pm
Symphonischer Hoagascht
Blasmusik meets BRSO
Munich, Showpalast Munich
Ticket presale from April 23, 2024
Prices: € 25 | 15 | 1
Sir Simon Rattle conductor
Luise Kinseher
Dominik Glöbl
Ulrichsbläser Büchlberg
Jugendblasorchester Marktoberdorf e.V.
Blaskapelle Möckenlohe
Brass Band Unterallgäu
Symphonieorchester des Bayerischen Rundfunks
Sir Simon Rattle conductor
Ulrichsbläser Büchlberg
Jugendblasorchester Marktoberdorf e.V.
Blaskapelle Möckenlohe
Brass Band Unterallgäu
Symphonieorchester des Bayerischen Rundfunks
rogramme
Percy Aldridge Grainger
Lincolnshire Posy
Lorenz Dangel
“PHON”
(commissioned by the Symphonieorchester des Bayerischen Rundfunks, world premiere)
Interval
Hector Berlioz
“Grande symphonie funèbre et triomphale”, op. 15
Timo Dellweg
“Kaiserin Sissi”
Martin Scharnagl
“Euphoria”
Simon Rattle
Symphonieorchester des Bayerischen Rundfunks
