No program. No paper to hold on to. Not that, but with christian schwarz a highly competent presenter and payer, who has made the autumnal "festkonzert zum tag der deutschen einheit" (festival concert for the day of german unification) skillfully, sometimes politically exaggerated, tied together with his anecdotal bandern.
For the first time under a new name
He announced three premieres at the beginning: first, the first concert of the "staatsbad philharmonie kissingen" with the new brand name. Secondly, the new violin of the orchestra leader burghard toelke, and thirdly, the "worldwide unique new seating for the orchestra. Well, such superlatives are just worth the joke, much more important for the more than 400 visitors in the max-littmann-saal was to hear how the orchestra would deal with the new demands.
The moderator had announced a varied program and so it was. From B to W the unification day was served. From the revolution to the downfall to the cohesion in the resurrection, the composer knew how to introduce the pieces sensitively.
The fact that ludwig van beethoven (1770-1827) likes to start his pieces violently was also demonstrated by the "kissinger philharmoniker", who were in very good form implemented. The coriolan overture of 1807 and the overture to the opera "egmont should express a bit of revolutionary feelings, since the composer from the rhineland bonn was very close to the core statements "freedom, equality, fraternity" very close.
Max bruch (1838-1920) loved to transform events of the old testament into tone. Posthumously, he had been declared by the nazis to be a "jewish composer" ostracized.
The "state spa philharmonic kissingen" honored him with an orchestral prayer for the high jewish holiday yom kippur. Ilia zhukovski on violincello took over the solo part. In this piece in particular, the listeners were able to share in the turmoil, but also in the yearnings and profound reasons that still characterize jewish life in europe today. By the way, this is true for any religious activity.
A look at thuringia is always worthwhile. The rhon is a part of it. A coarse forest area bears the name of the country. There remains a lot of mystery in the bordering state. It is certain that the first contacts with the people from the former inner german border were "druben had. After the 9. November 1989, an armada of trabants raided the counties along the border. The orchestra had chosen a piece by ernst sachse (1810 – 1849) to represent the musical bridge to the neighbors. The fact that roman riedel shone in the solo part is due to the composer. Ernst sachse had been a trombonist in the hofkapelle weimar.
W for reunification also presupposes virtue, among other things. Were it the german virtues, such as diligence, punctuality or even tolerance, that moderator christian schwarz spoke of when the peaceful revolution of 1989 made germany want to become one again?? With karl-maria von weber (1786 – 1826), the philharmonic orchestra in the overture to the opera "euryanthe" has a special note virtue in the positive sense of "always faithful and honest" given a special note.
W as wagner is not equal to unification. W stands here also for wagnis. Family history does not necessarily testify to unity and tolerance to this day. For this very reason, the staatsbad philharmonie has created a first memorial with the pieces of son siegfried (1869 – 1930) and, at the end, of father richard (1813 – 1883).
A sign that the management wants to take on new challenges with burghard toelke was once from the unfinished opera "the little curse that everyone noticed a violin concert by siegfried wagner and, as the finale of a successful evening of concerts and remembrance, the overture from "tannhauser by richard wagner.