Rundfunk-Sinfonieorchester Berlin, Vladimir Jurowski
19.30 Uhr
Konzert zum Jahreswechsel
1820
1844
1883
1906
1932
1955
1971
52
1952
Founding
Today’s Konzerthausorchester Berlin is founded as the municipal Berliner Sinfonie-Orchester (BSO).
Hermann Hildebrandt conducts the orchestra until 1959.
“The new orchestra grew into the post-war order, legitimising itself as anti-fascist/democratic, and seeking out a new audience in plants and factories, among the rubble women and construction workers, in the schools and training centres.” – Gerhard Müller (ed.) “Das Berliner Sinfonie-Orchester”
“When I handed over the orchestra to my successor in 1977, I was satisfied that we had taken a worthy place in the ranks of Berlin orchestras.” – Kurt Sanderling
76
1976
Records of the Shostakovich Symphonies
With Kurt Sanderling, the Berliner Sinfonie-Orchester records the Shostakovich Symphonies 1, 5, 6, 8, 10 and 15 until 1983. These recordings remain legendary to this day.
“It is not without pride that I would like to say that the BSO, through its persistent cultivation of Shostakovich’s work, has greatly helped to make his music as popular as it deservedly is today.” – Kurt Sanderling
77
1977
Günter Herbig becomes Principal Conductor
Günther Herbig succeeds Kurt Sanderling as Principal Conductor for six years.
In 1983 he resigns when the orchestra is not granted the contractually promised landlord function at the future concert hall (the Schauspielhaus, then under renovation) and the overall artistic design.
On 15 October 1981, three years before the reopening, the BSO plays Johann Strauss at the first building site concert – as a thank-you for the workers involved in the reconstruction of the Schauspielhaus.
Until then it had rehearsed for decades in a room on Oberwallstraße and gave concerts in the Metropol Theatre.
“[For us], this hour [...] was something quite extraordinary. And we would be occupying this place in a few years, in tailcoats, with festive lighting, playing our concerts to our audience.” – Cellist Jürgen Kögel in his 1982 text “Everyday Life With Music” for the “Wochenpost”
84
1 October 1984
Reopening of the Konzerthaus
On 1 October 1984, the BSO plays the reopening concert under Claus Peter Flor and Kurt Sanderling.
The programme includes Weber’s “Freischütz” Overture and Beethoven’s Fifth Symphony.
For the next seven years Claus Peter Flor will take over the leadership of the BSO.
The Berliner Sinfonie-Orchester finally gets its own venue on Gendarmenmarkt in the form of the Schinkel’s Schauspielhaus (today the Konzerthaus Berlin), under reconstruction since 1977. The new concert hall features acoustically high-end concert halls, rehearsal rooms, dressing rooms and a canteen.
“We were stunned by the new concert hall. The golden glow was one thing, the outstanding working conditions quite another.” – Clarinettist Norbert Möller, orchestral member since 1982 in the 2020/21 season brochure
88
1988
Tour to the western foreign countries
The Berliner Sinfonie-Orchester undertakes its longest tour in October-November 1988 with Principal Conductor Claus Peter Flor.
Since the Sanderling era, it has toured abroad almost every season, often several times – in the Eastern Bloc, but also in the West Germany, Southern and Western Europe and Japan (1974).
“Around the world in 50 days – Great Britain, USA and Japan. It was the most exhausting, but also the most wonderful journey.” – Martin Heinig, solo flutist of the BSO for 40 years from 1961, about the 1988 world tour
89
1989
After the fall of the Berlin Wall
The Berlin Wall falls on 9 November 1989.
In January 1990, the Berliner Sinfonie-Orchester under Principal Conductor Flor performs two “thank-you concerts” free of charge, on January 9 in the Konzerthaus and on the 28th in the Philharmonie. West Berliners frenetically celebrate the orchestra.
“[...] to say thank you with this concert for the extremely friendly reception by West Berliners after the opening of the Wall.” – Evening note for the “thank-you concert” at the Philharmonie
90
1990
Existential worries
After this optimistic wind of change, redundancy and merger plans by politicians repeatedly cause existential worries in the Berliner Sinfonie-Orchester over the next several years. Many artists stand up for the orchestra. It survives this period as well.
92
1992
Principal Conductor Michael Schønwandt
The new Principal Conductor, Michael Schønwandt, comes from Denmark. He brings an “artistic democratism” to the Berliner Sinfonie-Orchester and stays for six years.
Like the new Artistic Director Frank Schneider, who is responsible for the concert hall and the orchestra, he considers 20th century music to be a focal point. Under Schønwandt, the orchestra expands its Nordic repertoire.
“I became acquainted with an orchestra [...] that considered itself to be the bearer of a musical tradition, and that is very important because only then can an artist be open to new things instead of randomly playing random things.” – Michael Schønwandt
94
1994
One more union
Uniting what belongs together: the Berliner Sinfonie-Orchester and the Schauspielhaus are now the Konzerthaus Berlin.
In der Saison 1994/95 gibt das Orchester sein Operndebüt – in Athen, mit dem Rundfunkchor Berlin und einer halbszenischen Inszenierung von Alban Bergs „Wozzeck“ unter Chefdirigent Schønwandt.
96
1996
Dr. Faustus
To mark the 50th anniversary of Thomas Mann’s epochal artist’s novel “Dr. Faustus”, the 1996/97 season is dedicated to Faust with orchestral concerts and performances of various genres.
01
2001
Principal Conductor Eliahu Inbal
Eliahu Inbal, trained in Jerusalem and Paris, joins the orchestra at the turn of the millennium as Principal Conductor
His four years in the orchestra are marked by exemplary interpretations of Berlioz, Bruckner, Mahler and Shostakovich. He remains an honorary member of the orchestra to this day. 40 years after “zero hour”, a generational change begins among the musicians.
Together with Artistic Director Sebastian Nordmann, Iván Fischer establishes innovative concert formats, above all “Mittendrin – Right in the Middle”, which he moderates from 2014 onwards, with the audience seated between the musicians.
When he relinquished his post as conductor in 2018 to devote more time to composing, the orchestra designates him Honorary Conductor.
Tours and guest performances take the Konzerthausorchester Berlin to Japan and Korea (2017, 2019), China (2018) and the Baltic States (2018), among others, as well as to various European music capitals each season.
19
2019
Christoph Eschenbach becomes Principal Conductor
After a global career as a pianist and on the podium of renowned orchestras in Europe and the USA, Christoph Eschenbach takes over the position of Principal Conductor on Gendarmenmarkt until the end of the 2022/23 season..
Successful CD recordings (Brahms symphonies, Weber on "Konzerthaus200" in the anniversary year 2021, Schreker recording 2023), streamings and a Japan tour 2023 with the Konzerthausorchester complement his musical presence on the podium in the Great Hall of the Konzerthaus.
“I was fascinated by the special history of the Konzerthausorchester and its concert hall, with all its ups and downs, reflecting the history of Berlin.” – Christoph Eschenbach in the 2019/20 season brochure
"I am especially happy to be able to work with the Konzerthausorchester."
Quotations, unless otherwise indicated: Gerhard Müller (ed.) Das Berliner Sinfonie-Orchester (2002)
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