Gustav Mahler Symphony No. 5

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Gustav Mahler Symphony No. 5

Teodor Currentzis - musicAeterna

Gustav Mahler Symphony No. 5
Teodor Currentzis - musicAeterna
Dates: Fri 08. October 2021
Venue: Concert Hall
Prices: 220 180 140 100 60 30
Wheelchair tickets: +41 (41) 226 77 77
Doors Open: 18:30 Uhr
Start: 19:30 Uhr
End approx.: 21:00 Uhr
Dates: Fri 08. October 2021
Venue: Concert Hall
Prices: 220 180 140 100 60 30
Wheelchair tickets: +41 (41) 226 77 77
Doors Open: 18:30 Uhr
Start: 19:30 Uhr
End approx.: 21:00 Uhr

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Artists:
Teodor Currentzis - Leitung
MusicAeterna
Info:
Gustav Mahler: Symphony No. 5

Alexey Retinsky: «Anaphora» for symphony orchestra (2021)

To Mahler, symphonies always were a means of discussing the most convoluted philosophical problems which couldn’t be clearly resolved verbally. The grand structure of the five-part Fifth Symphony goes all the way from the Funeral March to the roaring finale — a naive but sincere attempt to resolve the tragic conflict with the surrounding world. The famous fourth part of the symphony — Adagietto — is a beautifully mysterious flower which every conductor envisions in their own personal manner. As one of the 20th century’s most influential conductors, Mahler himself redefined the conductor’s role in the process of musical performance. Mahler the conductor was just as integral to his own musical works as Mahler the composer was. When you go up to the conductor’s stand and open the score, you get to recreate that musical universe from scratch. Teodor Currentzis and the musicAeterna orchestra have been performing Mahler’s symphonies all around the world for years, and the Fifth symphony has earned its place as one of the highlights of the cycle.


On the same night, the orchestra will perform music by the first resident of musicAeterna’s composer laboratory in Saint Petersburg: Alexey Retinsky, who is a graduate of the Zurich University of the Arts as well as the University of Music and Performing Arts in Graz (under Prof. Beat Furrer). Retinsky’s works are frequently performed in Russian and European concert halls.
«Anaphora» is composed for a large symphonyorchestra, electric guitar, three simantrons, and a hundred water whistles. Such a juxtaposition of a classically established instrumentation with atypicalinstruments comes from the dramaturgical idea of a qualitative transition intoa new state due to a quantitative accumulation, which seemingly breaks throughthe familiar orchestral texture. Here it finds an exit from the conventionalsystem of axes, moving beyond the borders of the legitimate temperament and timbralhierarchy. And, as it turns out in the end, the train that has gone off therails is equipped with wings. This way your visit becomes an overall experience:
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