‘An unbroken line runs from Wagner to Mahler, Alban Berg and beyond,’ says Daniele Gatti. The Royal Concertgebouw Orchestra’s chief conductor brings these three composers together on this spectacular programme.
Wagner stretched tonality to near breaking point with the ever more extended melodic lines in his dramatic works. Less than thirty-five years after Wagner’s Götterdämmerung – the final music drama comprising Der Ring des Nibelungen – was premiered, the only completed movement of Mahler’s Symphony No. 10 – the Adagio, a long-drawn-out, heartfelt cry – explored the boundary between nineteenth-century Romanticism and early twentieth-century despair.
Meanwhile, the composers of the Second Viennese School were already creating a new musical language. Alban Berg, the least radical among them, demonstrates just how closely akin his music is to that of Mahler in his Drei Orchesterstücke.