The Deutsches Symphonie-Orchester Berlin (DSO) has a strong reputation for masterful interpretation of Austro-German music from the turn of the century, an era that marks the beginning of musical modernity. In two evenings, the orchestra will play major symphonic works by Brahms, Bruckner, Wagner and Webern.

Ingo Metzmacher, one of the most sought-after and internationally acclaimed conductors of his generation, is known for his vivid interpretations and innovative programming. A regular guest conductor with the world’s most prestigious orchestras, his 8-year tenure as head of the Hamburg State Opera was marked by groundbreaking work and multiple awards. He is the DSO’s first German-born Music Director.

For the HKAF concerts, Metzmacher is joined by an impressive artistic force. Highly respected Lieder singer Matthias Goerne, who has received international praise for his warm, fluid baritone and profound interpretations, will sing Mahler’s Lieder in one concert. In another exciting evening, Christian Tetzlaff, described as “one of the most brilliant and inquisitive artists of the new generation” (The New York Times), plays Berg’s violin concerto.

Conductor: Ingo Metzmacher

Matthias Goerne
Baritone

The New York Times describes Matthias Goerne as having “a wonderful voice, imagination to burn and a formidable technique”. Lauded as one of the most outstanding Lieder interpreters in the world, Goerne has recently embarked on the ambitious project of recording the Goerne Schubert Edition, a collection of twelve disks to be released over the next several years.

Christian Tetzlaff
Violin

Christian Tetzlaff is recognised as one of the most important violinists of his generation. His musical integrity, technical assurance, compelling interpretations have set the standards by which violin performances are now measured. His recording ranges from Haydn to Bartók. In honour of his artistic achievements, Musical America named Tetzlaff the “Instrumentalist of the Year” in 2005.

A German History of Worldwide Recognition
The Deutsches Symphonie-Orchester Berlin visits Hong Kong for two concerts

by Benjamin Dries

For more than 60 years, the Deutsches Symphonie-Orchester Berlin (DSO) has distinguished itself as one of Germany’s leading orchestras. Its development is closely connected to Germany’s post-war history and the scope and variety of its work make the ensemble unique. The DSO and its Principal Conductor, Ingo Metzmacher, will perform two concerts at Hong Kong’s Cultural Centre for the 2009 Hong Kong Arts Festival.

The orchestra was founded in 1946 as the RIAS-Symphonie-Orchester by the broadcasting station in the American sector of Berlin. Ferenc Fricsay, a former student of Béla Bartók, Zoltán Kodály, Ernö Dohnányi and Leo Weiner, became the orchestra’s first Principal Conductor, setting the standard and defining the orchestra’s repertoire.

In 1956, the ensemble served two broadcasters and the name was changed to Radio-Symphonie-Orchester (RSO). With this increased exposure, the orchestra soon earned an excellent reputation; it quickly became well known for its commitment to 20th century music, and its ability to attract first-rate conductors, including Lorin Maazel, Riccardo Chailly and Vladimir Ashkenazy. In 1993, to avoid confusion in Berlin’s newly reunited cultural landscape, the orchestra decided to change its name in favour of its present one – Deutsches Symphonie-Orchester Berlin.

Kent Nagano was named Principal Conductor and Artistic Director at the beginning of the 2000/2001 season. The unique partnership that quickly developed between orchestra and conductor has been met with enthusiasm by audiences and critics alike. In 1999, Nagano went on tour in Japan with the DSO – a tour that was voted Best International Performance by the Japanese press. Recordings under the baton of Nagano were awarded major international prizes such as the Diapason d’Or and the Gramophone Award. In 2005 the DSO received the Echo Klassik Award for their recording of the 3 Opera Set of Ernst Krenek. Nagano remained in his position until 2006 and now serves as the orchestra’s Conductor Laureate.

In 2007, Ingo Metzmacher became Principal Conductor and Artistic Director of the DSO, the first German conductor to hold this position. Metzmacher studied piano, music theory and conducting in Hannover, Salzburg and Cologne. He found his first artistic home at the Ensemble Modern in Frankfurt, initially as a pianist and later as a conductor. He achieved his breakthrough in 1988 when he stepped in to conduct the premiere of Schreker’s opera Der ferne Klang in Brussels.

Landmarks of Metzmacher’s career include a series of highly acclaimed New Year’s Eve concerts in Hamburg from 1999 to 2004, entitled Who is afraid of 20th-Century Music?, his production of Luigi Nono’s Prometeo at the Salzburg Festival in 1993 and his recording of the complete symphonies of Karl Amadeus Hartmann for EMI with the Bamberg Symphony Orchestra, where he was Principal Guest Conductor from 1995 to 1999. He made his debut with the Berlin Philharmonic Orchestra, conducting the world premiere of Hans Werner Henze’s 9th Symphony, which was recorded live by EMI. Metzmacher’s book Keine Angst vor neuen Tönen/Don’t be Afraid of New Tones, published in 2005, is a highly successful plea for pioneering composers such as Charles Ives, Olivier Messiaen, Arnold Schoenberg, Edgar Varèse, Karlheinz Stockhausen and John Cage. Productions of Tristan und Isolde and Saint François d’Assise in May and June this year marked his farewell from the Netherland Opera in Amsterdam, where he was Chief Conductor over three seasons.

In his first year as Music Director of the Deutsches Symphonie-Orchester Berlin, Metzmacher explored the specific relation between the German mind and music in the chosen theme, On the German Soul. For the 2008/2009 season Metzmacher will take the DSO on another thematic journey. He will investigate the musical revolutionary impulses and changes during the period between 1900 and World War I – a time in which the concept of tonality was being increasingly shaken and put into question, until it finally collapsed, marking the beginnings of musical modernity.

Benjamin Dries is an expert in 20th-century music history and a cultural manager based in Berlin.