Rattle shares Berlin podium with fellow-Brit

Rattle shares Berlin podium with fellow-Brit


norman lebrecht

November 09, 2020

Perhaps because there’s not enough work to go around for conductors, Robin Ticciati is sharing his next Berlin DSO concert with his senior colleague Sir Simon Rattle.

Here’s the programme:

Ralph Vaughan Williams
Fantasia on a Theme by Thomas Tallis

Henry Purcell
March from “Music for the Funeral of Queen Mary”

Harrison Birtwistle

Gustav Mahler
“Das Lied von der Erde” for mezzo-soprano, tenor and chamber orchestra (version by Glen Cortese)

And Rattle gets to do the Mahler.



  • J Kaznowski says:

    SR started off his Proms career by sharing concerts with Sir Adrian Boult

  • Schoenberglover says:

    The live stream already happened on 07/11. Rattle & Ticciati are both in it because the original programme had Takemitsu’s Gémeaux which is for 2 orchestras & 2 conductors, with Rattle conducting Das Lied in the 2nd half. But plans obviously had to change because of Covid. In the stream, Rattle makes a cameo appearance as one of the drummers in the Purcell & Ticciati plays bass drum too in the Birtwistle.

    • Petros Linardos says:

      Isn’t Ticciati also playing a drum in the Purcell, next to Rattle?

      • Schoenberglover says:

        You’re right! Easily recognised SR’s grey curls but didn’t realise Ticciati was also one of the drummers with his mask on.
        I knew Rattle used to be a percussionist but didn’t realise Ticciati was also one in his NYO days until reading on Wikipedia.

  • RW2013 says:

    Streamed with no audience.

  • M2N2K says:

    A doubly hair-raising podium presence…
    One probably does not need to ask who is singing the mezzo half of Das Lied in this concert.

  • Nancy says:

    It was a beautiful and poignant concert. The orchestra invited a slew of freelance musicians to join them for the Vaughn Williams. Since there was no audience, they were scattered throughout the entire Saal.
    Robin Ticciati’s intermission remarks, while walking through the Tiergarten reminded us how vital the arts are for our souls. We all crave live performances, but stellar evenings like this will have to do for now.

    • Maryam says:

      I agree! This was a truly beautiful concert. I wished more online audience would be there. Sir Rattle’s joining the drummers was a pleasant surprise. As always, I thoroughly enjoyed listening to Magdalenda Kozena. Such a treat!

  • Doc Martin says:

    The march and canzona for the Funeral of Queen Mary 1694, requires 4 flatt trumpets, I doubt the DSO would be needed at all for Purcell.

    This is what it sounded like in Westminster abbey. They would not have had any drums in it.


    • Petros Linardos says:

      Doc, to my ears the performance in the link is gorgeous. I generally believe that listening to HIP performances is a must for anybody seriously interested in music before the early 20th century.
      And yet I do find the DSO performance very musical, balanced and convincing, for November 2020 in Berlin.

    • Garech de Brun says:

      Yes Doc you are correct, Drums were not used in the Abbey, while the Funeral Sentences were sung.

      Performing snippets of Purcell out of context does not make any sense at all since these pieces had a specific function during the funeral procession. They were not intended to be performed in modern concert halls.

      • Petros Linardos says:

        Dear Garech:
        Awareness of an art work’s origins enhances our appreciation. If, however, we gave up all the music that is performed out of context in modern concert halls, our lives would be much poorer. If the music pleases our senses and intellect, why should we give it up? (On the other hand, we all have our opinions on music that has been written for the concert hall and sounds awful. Some of us express those opinions in this blog.)

    • Marfisa says:

      Doc, thank you. I did not know what a flatt trumpet was, and now I do (sort of). This is why I keep coming back to SD, to learn more.
      I do agree with Petros Linardos, though, that a totally purist approach to performance (only the whole piece in its original context, only on period instruments and following period practice) would have made almost all music earlier than the mid-nineteenth century inaccessible to most of us (pre-YouTube). Music can be heard with pleasure in many different guises. And performance history is also fascinating in its own right — David K. Nelson had a very interesting comment on this topic in the recent Fritz Kreisler post.

  • Edgzr Self says:

    Who sang the tenor’s songs in the Mahler, please?

  • Edgar Self says:

    Many thanks, Max Grimm.

  • sikis izle says:

    Thank you so much for your comments. It is a pleasure to serve our community. Stay healthy. Dulci Jehu Janey

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