As you can see from the photograph, the Berliner Philharmoniker is housed in an impressive new building that is yellow-orange. Entering, you see a very eclectic internal design. I arrived pretty early for the 20h performance, but I had a look around at the restaurant and lounge. Needless to say, I had no idea what my lounge would be like. Silvia told me that I had been given a box seat (free-gratuit). I climbed the stairs and entered into a luxurious lounge with a coat and waiting room, where I put my backpack and wool coat. My program was in German, but I kept it anyway as a souvenir. I entered into the hall and felt like the luckiest guy in the world. My box seat had a comfortable plush yellow chair with a view of the stadium-like Philharmonie. There were seats surrounding the orchestral stage and even a seating area behind the orchestra. It reminded me of a theater in the round. My box seat had an excellent view of both the orchestra (first violins, etc) and the conductor. The acoustics would be fantastic here. A World-Class Hall, Pre-eminent Symphony Orchestra in the Spectacular City of Berlin. Who could beat that?
Here are my notes of the Bruckner Symphony No. 5 in B major that I made right from my lounge seat above the Philharmoniker.
(1) Adagio-Allegro: A quiet beginning with the strings gradually crescendoing into a shimmering string passage with strings and woodwinds. A theme enters into the picture. A second part comes in with the second violins leading on and the first violins take up the reigns. The horn solo reigns within the piece echoed by the flute. More conversations seem to happen in this first movement. Recapitulation of the first theme then enters in and a minor key change brings in the element of conflict. It gets more aggressive, and yet closes with resolution.
(2) Adagio Sehr langsam- This movement has a slow four and is a dance. There are some coquettish parts on the part of the strings including the violas. A rich tutti brings in a full-body sound. Throughout this movement, there are enchanting passages with a clock-work pizzicato keeping time. Love the main theme that returns with the horns with an accompanying string part. And after the second movement, you hear an explosion of coughs and sneezes. Not so classy but at least it's done between movements.
(3) The Scherzo movement features Austrian dance music starting with strings and segueing into the woodwind conversation. It's jovial and happy with only a few interruptions or conflicts. A recapitulation of the main theme. In the middle, I could imagine traditional Austrian dances, perhaps something with a royal Austrian ball, where many people are dancing and having a good time. You could even say it happens in the summertime. It could almost be interpreted as a nostalgia.
(4) The Finale could be interpreted as a consummation, returning to several themes of the first movement. The main theme from the first movement comes in and the piece ends with dignity and beauty. I was wowed at the end for several seconds before the long applause filled the hall and audience smiled as the conductor took his bows and pointed at the world premiere orchestra.
The night of my life. I couldn't ask for anything more. As a concert-goer and classical musician, this was one of those bucket-list nights. I felt a heave of fulfillment and satisfaction as I exited the hall. It wasn't a dream; it was reality.
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