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Christiane Karg

Christiane Karg © Gisela Schenker

Matthias Goerne

Matthias Goerne © Marie Staggat / Deutsche Grammophon

Christoph Eschenbach

Christoph Eschenbach © Manu Theobald

Wiener Symphoniker / Wiener Singakademie / Karg / Nigl / Eschenbach

Brahms: Ein deutsches Requiem

Thursday 29 September 2022
19:30 – ca. 20:45
Großer Saal

 

Performers

Wiener Symphoniker

Wiener Singakademie

Christiane Karg, Sopran

Georg Nigl, Bariton

Christoph Eschenbach, Dirigent

Programme

Johannes Brahms

Ein deutsches Requiem op. 45 (1854–1868)

Note

Chefdirigent Andrés Orozco-Estrada hat seine Funktionen bei den Wiener Symphonikern niedergelegt. Wir freuen uns, dass Christoph Eschenbach das Dirigat übernimmt.
Matthias Goerne musste seine Mitwirkung krankheitshalber leider absagen. Das Wiener Konzerthaus dankt Georg Nigl, der sich kurzfristig bereit erklärt hat, einzuspringen.
Dieses Konzert wird im Rahmen einer Kooperation zwischen der Wiener Konzerthausgesellschaft und den Wiener Symphonikern veranstaltet. Weitere Informationen zur Datenverarbeitung bei Kooperationsveranstaltungen, Speicherdauer und Ihren Rechten finden Sie in unserer Datenschutzerklärung.

Subscription series Festkonzerte der Wiener Symphoniker
Brahms im Abo

Links https://www.wienersingakademie.at
https://www.wienersymphoniker.at
https://www.christianekarg.com

Presented by Wiener Konzerthausgesellschaft

Magic of Poetry

The Vienna Symphony Orchestra played a major role in establishing Johannes Brahms' reputation as an orchestral composer. The »German Requiem« also links them to the history of the Vienna Konzerthaus. In total, Johannes Brahms tinkered twelve years with his most famous composition for soloist:inside, choir and orchestra. That is why he said, »I don't like to hear that I wrote the Requiem for my mother!«. It is characterized above all by the intensive exchange with Clara Schumann. »Surely a German text can please you as much as the familiar Latin one?« he wrote to the friend. Brahms used Luther's translation of the Old and New Testaments as the basis for »A German Requiem.« »As far as the text is concerned, I will confess that I would also quite gladly leave out the 'German' and simply put the 'human',« he said. For Brahms, it was above all the suffering who needed encouragement. 

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