Not unlike Ireland, Germany has been a divided country, split by very different ideologies and economies. Such a partition ended 10 years ago but unification brought a new set of problems, not least of which were a dual set of orchestral organizations. That's an asset for the musically inclined for there is a plethora of companies hailing from each side of the destroyed wall. The richness of Berlin's classical music scene has caused funding headaches so it remains to be seen how many of these organizations will last into the next decade.
Yet Berlin is still a major center of Western Europe's vibrant classical music life. Who pops into mind when thinking of classical music heavyweights? Each, Beethoven, Mozart, Brahms,Wagner, Strauss-among the famous--all share the German language. Many avant gardists-such as Amold Schoenberg and Alban Berg--also hailed from Western Europe's largest country. German stars from violinist Anne Sophie Mutter to the whole Berliner Philhamzonisches Orchester are internationally established and front a classical music scene unmatched by most cities. For such music fans, the German capital yields a rich tapestry of musical opportunities and performances that take place there daily.
As the principal locations for this music, the Philharmonie building (in super modernistic Potsdamer Platz) and Konzerthaus (in classic Gendamzenmarkt in Mine) offer gorgeous interior spaces befitting the music produced therein. These spots couldn't be more contrasting and represent the bi-polar nature of DeutschlandS capital [see essay page 64]. Conservative and progressive trends vie with each other reflecting the country's turbulent, dynamic past and the East/West dichotomy--·still latent in Berlin--lies in some of the repertoire performed there. The West Berlin audiences seem more conditioned to avant garde styles while the Eastern audiences have more traditional appetites. One evening, the Berliner Sinfonie-Orchester performed both the stolid Robert Schumann's Manfred overture and 3rd Symphony as well as the archly avant garde Wolfgang Rihm's Frau Stimme which garnered wildly diverse audience reactions. One set grumbled,while another contingent seemed in heaven. Besides these two great orchestras east/west (BSO/BPO) and their operatic counterparts, there are the two radio orchestras from each side, which enjoy a continuing presence there--the DSO served the West, while the RFO performed for the East.
Berliner Philhannonisches Orchester
The Philharmonie is home to the BPO (also known as the Philhamtoniker--the business entity) which has recorded with the 20th century's finest conductors and soloists--including R. Strauss, I. Stravinsky, P. Hindemith, W. Lutoslawski and H. W. Henze (under the composers' direction).At the advent of new technologies--during the years with famed conductor Herbert von Karajan--the BPO made the first stereophonic orchestral production (the complete Beethoven symphonies in '61 and '62) and first CD, Carmen (Deutsche Grammophon), in '83. The Philharmoniker has received innumerable awards including Grammys in '78,'92, and '97. Classical met contemporary again when The BPO recently played on the heavy rocking Scorpions' latest CD. On one evening, the BPO played Mendelssohn which yielded an astounding Thomas Zehetmayr violin solo displaying such articulate bowing skills as to be apparent to even the most novice audience member.
Deutsches Symphonie-Orchester Berlin
Through the 20th century's second half, the DSO, under the guidance of four conductors-Ferenc Fricsay, Lorin Maazel, Riccardo Chailly and Vladimir Askenazy-has molded a unique repertoire with an ear to both past tradition and present stinings. Askenazy's baton is being passed to the orchestra's new chief conductor/artistic director, Kent Nagano, this September. The Japanese American (who still holds the Berkeley Symphony Orchestra's Musical Director position in California) will no doubt enhance the orchestra's 53 year old aesthetic by introducing new repertoire much of it to be performed at the Philharmonie. Such was the night when it performed Mussorgsky's Pictures at an Exhibition using the piano as lead instrument and focal point interpolating it with the standard orchestral arrangements. This performance illuminated such a well-known piece in a very different light and merited kudos for the Orchestra.
Deutsche Oper Berlin
During the '50s, the Stadtische Oper (the company became Deutsche Oper Berlin in '61) opened its doors of tradition to new works. First performances and world premieres by Menotti, Malipiero, Zillig, Henze, Britten and others took their place in therepertoire. The Deutsche Oper Berlin has showcased in its own modemistic building in Charlottenberg younger directors such as Werner Reich and Giinter Roth as well as older masters like Carl Ebert and Wolf VGlkke. During its 36 years, the Deutsche Oper Berlin has brought out some 60 musical world premieres.
Staats Oper Unter Den Linden
Under famed conductor Daniel Barenboim's helm, the Staats Oper was East Berlin's premier Opera company. Situated in Mitte (which directly translated as "center"), and performing at Konzerthaus or in its own building, this institution is truly at the core of Berlin's contemporary cultural life. The Opera reflects the same grand traditions it has cultivated since its inception. When Giacomo Meyerbeer's Robert Le Diable was performed with much bombast, big voices and hard-to-comprehend story, the drama (with some nudity) seemed dense and oblique. It reveled in its very complexity and demonstrated the company's mastery of such productions.
Komische Oper Berlin
A unique cultural center ever since its founding in '47 by operatic stage director Waiter Felsenstein, the renowned Komische Oper Berlin was created as a place where opera and theater would blend together under one roof. Through the current directors and Conductor Yakov Kreizberg, the Opera became a workshop to fuse music and dramatic interpretation. That the productions are solely in the German vernacular has brought positive response from native audiences. The Oper's dance company--founded in '66 and run by British choreographer Richard Wherlock--is an international respected ensemble presenting both ballet and contemporary dance.
Berliner Sinfonie-Orchester
Founded in '52, the Berlin Symphony Orchestra was Communist East Berlin's main outlet of classical music . The Leningrad Philharmonic Artistic Director Kurt Sanderling took the BSO's helm in 1960 guiding it with a conservative style until '77. Giinther Herbig followed his tenure and it then was led by Claus Peter Flor. Since reunification, it was first headed by Michael Schonwandt, and is now under Eliahu Inbal's guidance who brings his celebrity in the international music scene to the aid of this traditional institution. As noted earlier, while firmly rooted in tradition, the BSO can stray from the expected course with unexpected results.
Rundfunksymphonie-Orchester
Of the two radio orchestras which enjoy a continuing presence in Berlin, the RFO--originally formed in 1923-served as DDR radio's classical voice. Since the wall has come down, it continues performing on radio and in Konzerthaus under the direction of conductor Rafael Friihbeck de Burgos. An affiliate company to the RFO, The Rundfunkchor Berlin expresses the romantic classical ideal shared with the RFO.
Symphonieorchester Berlin
With offices in Charlottenburg, the Berliner Symphoniker (SOB) started in 1966 on an independent course from the state-sponsored ensemble created when the wall went up and musicians left. Under conductor Lier Shambadal's leadership, the SOB provides concert series held at both the Philhamzonie and Konzerthaus as well as performances at schools and in public spaces.
The Musikinstrumanten Museum
In addition to these institutions, this Museum on Tiergartenstrasse near the Philhamzonie is a treasure trove of the most beautiful musical instruments in the world. With all these organizations present, Berlin offers a rich tableau for any classical music fan.
Berlin: A Study by Miriam Kuller
After almost a decade of reunification, the meanings of "nationality" and "identity" are still subjects of debate in Germany's reinstated capital, Berlin. Matters much further from Berlin are also being canvassed here; topics like the European Monetary Union vie with issues of national and local politics. The collapse of the old left, the establishment of a new right and an increasing influx of immigrants from Eastern Europe are but a few of the issues that Germany (like the rest of Europe) and Berlin in particular--is coming to terms with. Berlin has undergone great changes since the breakdown of the wall. This city mirrors the transition still in process; far from being unified, it resembles a patchwork of urban cultures.
Around Kortbusser Tor in Kreuzberg, a few radical leftist autonomes--leftovers of the early '80s squat movement--still sing their songs and maintain underground clubs and art scenes. The old center of West Berlin, Ckarlottenburg, though struggling to maintain its status with department stores and international corporate culture, is fast becoming an almost-suburban quarter. Of the 23 city districts, these two represent a study in contrasts not unlike that between Mitte (Konzerthaus's district) and Pottsdamer Platz (where the Philharmonie is). The place to be right now is Mitte, in what used to be the heart of East Berlin. If the government has its way, the restored Mitte will become what it used to be in the '20s-the brimming core of an entire lifestyle and a symbol of the new Germany--modern and confident. To this end, the whole of Potsdamer Plah (once a bombed out neighborhood that has been totally razed) is being rebuilt from the ground up. This is now the biggest construction site in Europe. Although not yet finished, it already hosts the European headquarters of a number of prestigious companies including Sony.
A few steps further west, near the seat of the German Parliament, efforts are being made to attract investors in the area around FriedrichstraBe, Berlin's equivalent to the Champs-Elysees. Currently many of the new office buildings are empty, just waiting for the affluent next generation to fill them. Meanwhile, in ine area of Kollwitzplatz, the new media and internet community suit-and-ties in their '20s and '30s are painting the town red. While still rooted in its past, Berlin is being refashioned into a model of a 21st century city. It might even give Dublin a run for its money!
