INTERNATIONAL ORCHESTRAS AND RECITALS
Sean Shibe guitar
Tuesday 17 September 2024, 8.30pm
Philip Glass Ensemble Residency
Thursday 10 October 2024, 8pm
Friday 11 October 2024, 7.30pm
The Tallis Scholars
Saturday 2 November 2024, 7.30pm
Brooklyn Rider
Saturday 23 November 2024, 8.30pm
Paraorchestra
Charles Hazlewood conductor
Victoria Oruwari soprano
Saturday 30 November 2024, 7.30pm
Nobuyuki Tsujii piano
Saturday 1 February 2025, 7.30pm
Tickets from €15. Package Discounts Available.
Prague Symphony Orchestra
Alexander Sitkovetsky violin
Tomáš Brauner conductor
Sunday 16 February 2025, 7.30pm
Alice Sara Ott piano
Thursday 27 February 2025, 8pm
Capucelli
Gautier Capuçon and his cello ensemble
Killian White guest cellist
Wednesday 26 March 2025, 8pm
Sheku Kanneh-Mason cello
Isata Kanneh-Mason piano
Thursday 24 April 2025, 8pm
Royal Liverpool Philharmonic Orchestra
Domingo Hindoyan conductor
Guy Johnston cello
Thursday 15 May 2025, 8pm
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Fáilte Welcome
Welcome to the opening concert of the National Concert Hall’s 2024/2025 Season, one of most ambitious to date, comprising more than 60 concerts and events, showcasing some of the world’s most exciting and dynamic musicians and ensembles.
This is a particularly special season as it realises our long-held ambition to create and present one combined season featuring the National Symphony Orchestra season and International Concert Series. The 2024/2025 NCH season also sees three new Artists-in-Residence – composer and musician Bryce Dessner, opera singer Tara Erraught, musician and presenter Jessie Grimes - each bringing their unique talents to bear in the presentation of new orchestral commissions and premieres, gala concerts, workshops, masterclasses, talks, as well as a suite of engaging family concerts, appealing to the widest possible audience.
To open our season it is our great pleasure to welcome the esteemed Symphonieorchester des Bayerischen Rundfunks, led on stage by the revered Sir Simon Rattle, to play Bruckner’s 4th Symphony and the Irish premiere of Aquifer by Thomas Adès. In demand the world over, we are thrilled to welcome them to Dublin to open the season in style, setting the standard for an exciting season ahead.
Our aim with this new season is not only to fulfil our remit to promote and support music as an integral part of Irish life, but to inspire audiences by offering a wealth of world-class music experiences to look forward to.
We would like to take this opportunity to thank The Department of Tourism, Arts, Gaeltacht, Heritage Sport and Media for their ongoing support and to our corporate supporters, Friends, Season Friends and Patrons for their loyalty and support which is very much appreciated.
Enjoy tonight’s performance and we look forward to welcoming back throughout the season to hear more great music at the NCH.
Robert Read
M aura McGrath CEO Chairperson
FRIDAY 13 SEPTEMBER 2024, 7.30pm
MIHHAIL GERTS conductor DAME SARAH CONNOLLY mezzo-soprano
Dvorˇák In Nature’s Realm
Alma Mahler S ix Songs
Mahler S ymphony No. 1, Titan
“WHATEVER SHE SINGS, YOU GET SINGING STRAIGHT FROM THE HEART” The Times
Tickets from €15 nch.ie
Programme
Thomas Adès Aquifer (Irish Premiere)
Anton Bruckner Symphony No. 4, in E-flat major, WAB 104 Romantic
Second version from 1878/1880
I. Bewegt, nicht zu schnell
II. Andante quasi allegretto
III. S cherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls s chleppend – Scherzo da capo
IV. Finale. Bewegt, doch nicht zu schnell
RTÉ lyric fm is recording this concert for future broadcast. Further details: www.rte.ie/lyricfm/lyric-live
PLEASE NOTE: The NCH does not permit photography or videographer during the performance (without prior permission). We kindly ask you to refrain from using any recording equipment for the duration of tonight’s performance.
NCH Board Members
Maura McGrath Chair | James Cavanagh | Cliona Doris
Rebecca Gageby | Hilary Hough | Peter McKenna | Niamh Murray
Michelle O’Sullivan | John Reynolds | Don Thornhill
Patron
Michael D. Higgins President of Ireland
THE ORCHESTRA’S CENTRAL CONCERN FROM THE BEGINNING WAS TO CULTIVATE CONTEMPORARY MUSIC
©Astrid Ackermann
Symphonieorchester des Bayerischen Rundfunks
With the 2023/24 season, the Symphonieorchester des Bayerischen Rundfunks (BRSO) welcomed its new principal conductor: Sir Simon Rattle. As the sixth chief conductor in the line of important orchestra leaders after Eugen Jochum, Rafael Kubelík, Sir Colin Davis, Lorin Maazel and Mariss Jansons, who died on 1 December 2019, he is a conductor personality of great openness to new artistic paths.
The BRSO, which celebrates its 75th anniversary in 2024, developed into an internationally renowned orchestra soon after its founding in 1949. In addition to the interpretation of the classical-romantic repertoire, the orchestra’s central concern from the beginning was to cultivate contemporary music within the framework of musica viva, founded by Karl Amadeus Hartmann in 1945.
Since its beginnings, many renowned guest conductors such as Erich and Carlos Kleiber, Otto Klemperer, Leonard Bernstein, Georg Solti, Carlo Maria Giulini, Kurt Sanderling and Wolfgang Sawallisch have left their mark on the symphony orchestra. Today, Yannick Nézet-Séguin, Riccardo Muti, Herbert Blomstedt, Franz Welser-Möst, Daniel Harding and Iván Fischer are important partners.
The orchestra tours regularly throughout Europe, Asia and North and South America. Japanese music critics voted the BRSO’s concerts under the direction of Zubin Mehta the No. 1 best concerts in 2018.
Its numerous CD recordings have repeatedly won national and international awards, such as the Grammy (2006). Most recently the recording of Gustav Mahler’s 9th Symphony under the baton of Sir Simon Rattle was awarded the Diapason d’or (2023).
In an orchestra ranking by Bachtrack, the world’s leading website for classical music events for which internationally renowned music critics were asked about “The world’s greatest orchestras,” the BRSO recently came in third place.
CONVINCING CHARISMA, GREAT EXPERIMENTAL SPIRIT AND ENTHUSIASM, AS WELL AS AN UNCOMPROMISING ARTISTIC SERIOUSNESS
Sir Simon Rattle conductor
Convincing charisma, great experimental spirit and enthusiasm, as well as an uncompromising artistic seriousness – all of this makes the Liverpool-native Simon Rattle one of the most fascinating conducting personalities of our time. In 2010, with Schumann’s Das Paradies und die Peri , Sir Simon Rattle stood for the first time at the podium of the BR Chor and BRSO.
Since then, an intensive collaboration has developed, and his performances in Munich have always been highlights. In 2021, Simon Rattle and the BRSO solidified their deep mutual affection with the signing of a contract for Simon Rattle to take on the position of Chief Conductor starting in the 2023/2024 season. Thus, the 69-year-old Briton with a German passport assumed the leadership of the orchestra last September, an orchestra he has admired since his youth. As before his appointment, Simon Rattle presents a broad repertoire: from Rameau, Bach, Haydn, and Mozart to modern and contemporary music, from the classics of symphonic music to concertante opera. Under the label “hip – historically informed performance”, he will also establish the playing of early music on original instruments at the BRSO. Additionally, Simon Rattle is passionately dedicated to music education. Ambitious projects with the BRSO Academy or the Bavarian State Youth Orchestra are as much a priority for him as the “Symphonic Hoagascht,” where in July 2024 he brought together brass ensembles from Bavaria with the BRSO.
Simon Rattle’s steep career began at the City of Birmingham Symphony Orchestra. Between 1980 and 1998, he led it to world renown. From 2002 to 2018 he was Chief Conductor of the Berliner Philharmoniker, and from 2017 to 2023 Music Director of the London Symphony Orchestra, with which he will remain associated as Conductor Emeritus. Moreover, Simon Rattle is the “Principal Artist” of the Orchestra of the Age of Enlightenment, the First Guest Conductor of the Czech Philharmonic, and maintains long-standing relationships with other top orchestras such as the Vienna Philharmonic or the Berlin Staatskapelle, and with renowned opera houses including the Royal Opera House in London, the Berlin State Opera, the New York Met, and the Festival d’Aix-en-Provence. A recent collaboration led him to the Mahler Chamber Orchestra. Simon Rattle has received numerous high honors. Among the CDs released with the BRSO, Mahler’s 9th Symphony was awarded a Diapason d’or and a Gramophone Editor’s Choice, while the 6th Symphony received a Gramophone Editor’s Choice and a Prize of the German Record Critics.
Thomas Adès
“One of the most accomplished and complete musicians of his generation”
The New York Times
Thomas Adès’ rise to international prominence has been a phenomenon. He is now one of the world’s foremost musicians, renowned as both a composer and performer worldwide. From exquisite chamber pieces to stage works, his diverse body of work immediately connects with audiences, and assesses the fundamentals of music afresh.
Born in London in 1971, Thomas Adès studied piano at the Guildhall School of Music & Drama, and read music at King’s College, Cambridge. A prodigious composer, conductor and pianist, Adès was described by the New York Times in 2007 as one of today’s ‘most accomplished overall musicians.’
Adès’s chamber opera Powder Her Face (1995) has been performed worldwide whilst The Tempest (2004) was commissioned by London’s Royal Opera House and has since been taken up by international houses including New York’s Metropolitan Opera, where it was recorded for a Deutsche Grammophon DVD which subsequently won a Grammy Award. Adès’s third opera, after Luis Buñuel’s The Exterminating Angel , premiered at the Salzburg Festival in July 2016 before travelling to London, New York and Copenhagen; in 2024 it received a criticallyacclaimed staging from Calixto Bieito at the Opéra national de Paris.
Between 1993 and 1995, Adès was Composer in Association with the Hallé Orchestra, producing These Premises Are Alarmed for the opening of the Bridgewater Hall in 1996. Asyla (1997) was written for Sir Simon Rattle and the CBSO. In 2005 Adès premiered his Violin Concerto ‘Concentric Paths’, with Anthony Marwood and the Chamber Orchestra of Europe, at the Berlin Festspiele and the BBC Proms. His chamber music includes the clarinet quintet Alchymia (2021), two string quartets Arcadiana (1994) and The Four Quarters (2010), a Piano Quintet (2000) and Lieux retrouvés (2009) for cello and piano. Totentanz for mezzo-soprano, baritone and large orchestra was premiered at the 2013 Proms by the BBC Symphony Orchestra.
Tevot (2007), was commissioned by the Berlin Philharmonic and Carnegie Hall whilst In Seven Days (a concerto for piano with moving image) was premiered in 2008 in London and Los Angeles. Polaris (2011) was premiered by the New World
Symphony with Michael Tilson Thomas in Miami and was later choreographed to acclaim by Crystal Pite as part of an all-Adès evening at Sadler’s Wells.
In addition to Wayne McGregor and Pite, other choreographers who have worked with his music include Karole Armitage, Kim Brandstrup, and Ashley Page. 2021 saw the creation of Dante, Adès’ first ballet score, at the Royal Ballet and Opera, choreographed by Wayne McGregor with designs by Tacita Dean; it has since been danced at the Royal Danish Ballet and Opéra national de Paris, and recorded by Gustavo Dudamel and the LA Philharmonic for Nonesuch.
As a conductor, Adès appears regularly with the Los Angeles Philharmonic, London Symphony Orchestra, Royal Concertgebouw, and Finnish Radio Orchestra. He was the inaugural Artistic Partner with the Boston Symphony Orchestra, with whom he premiered a Concerto for Piano and Orchestra with Kirill Gerstein as soloist in March 2019. Other recent works include Dawn , a chacony for orchestra at any distance (2020), Shanty – over the Sea for strings (2020) and Märchentänze for solo violin and piano/orchestra (2021). Air –Homage to Sibelius for violin and orchestra was premiered at the 2022 Lucerne Festival, where Adès was Composer-in-Residence.
Other recent projects include Aquifer for Simon Rattle and the BRSO, and an expanded version of America: A Prophecy for the Leipzig Gewandhaus, where Adès is subject of a two-season composer focus. He is also currently engaged in a two-year residency with The Hallé orchestra. Adès has also created a succession of celebrated recent chamber works: 2021 basset clarinet quintet Alchymia (for Mark Simpson and Quatour Diotima), Forgotten Dances (2023, for Sean Shibe), Növények (2022) - a setting of seven Hungarian songs for mezzo Katalin Károlyi and piano sextet - and Wreath (for Franz Schubert ), a string quintet for the Danish Quartet and Johannes Rostamo, which premiered in 2024.
Adès has won numerous awards, including the 2015 Léonie Sonning Music Prize, the Leoš Janácˇek Award, and the Grawemeyer Award (2000), of which he was the youngest ever recipient. In 2023 he was awarded the BBVA Foundation Frontiers of Knowledge prize. He was awarded a CBE in the 2018 Queen’s Birthday Honours. Adès was Artistic Director of the Aldeburgh Festival from 1999 to 2008. He performs worldwide as a pianist, and coaches annually at the International Musicians Seminar, Prussia Cove.
A Note on Bruckner By Sir Simon Rattle
Bruckner’s endless struggles with the finale of this symphony are well known. One of the many possible variants came in 1881. Earlier in the year he had written to Franz Schalk that once and for all the finale should be shortened.
He wrote to Felix Mottl, before his performance in Karlsruhe in December 81: “Hier ist sie. Finale ist neu. Bitte Dich, nimm (namentlich im Finale) die Kürzung. Habe noch eine verbindende neue Periode beigelegt “
These new four bars make a magical transition to later in the movement, making the whole structure more compact, and rendering the finale more in proportion to the rest of the symphony. There is of course no single correct version of the finale, although we are all used to the longer, more diffuse 1880 score. I find his 1881 revision very satisfying, particularly once one has recovered from the shock of hearing four new bars.
Programme Notes
Thomas Adès (b. 1971)
Aquifer
‘The title refers to a geological structure that can transmit water. It is cast in one movement built from seven sections. It begins by welling up from the deepest notes, before the theme is presented first by the flutes, building to three statements that use more and more of the orchestra. After a breakdown, the theme returns in a slower second section, albeit with more unstable rhythms and harmony; the third section is built on a crawling chromatic bass line. It accelerates into the fast-flowing fourth section, from which emerges a mysterious stillness. The fifth section builds towards a return of the opening material, lapsing then–as before–into a darker slow section with a dragging character. The fastflowing music breaks through again, culminating in an ecstatic coda’.
Note by Thomas Adès © 2024
Anton Bruckner (1824 –1896)
Symphony No. 4 in E-flat major, WAB 104 Romantic (1878-81)
I. Bewegt, nicht zu schnell
II. Andante quasi allegretto
III. Scherzo. Bewegt – Trio. Nicht zu schnell. Keinesfalls schleppend –S cherzo da capo
IV. Finale. Bewegt, doch nicht zu schnell
Arguably the two most contentious figures in 19th-century music were Richard Wagner – ‘a disease [who] has made music sick’ according to Nietzsche –and, though cut from an entirely different cloth, Anton Bruckner, whom Brahms dismissed as a ‘bumpkin’ and the conductor Hans von Bülow, in a more conciliatory tone, considered ‘half genius, half simpleton’.
Bruckner himself seemed to side with his detractors, beset throughout his life by feelings of inferiority that provoked periodic bouts of crippling depression.
He found refuge and comfort in religion, and in his belief that his music was an expression of his devout Catholic faith.
‘They want me to write differently. Certainly I could, but I must not,’ he defiantly insisted. ‘God has chosen me from thousands and given me, of all people, this talent. It is to Him that I must give account. How then would I stand there before Almighty God, if I followed the others and not Him?’
Largely self-taught as a composer, Bruckner wrote his first piece, the motet Pange lingua , soon after he turned 11 but produced little else in the decade ahead. Notable among early works are his Requiem (1849) and a Missa Solemnis (1855), but, remarkably, all of his major works – not least the nine numbered symphonies that were to acquire the sobriquet of ‘cathedrals in sound’ – had to wait until he was in his forties and beyond.
He wrote his first, un-numbered symphony, an exercise in F minor never performed in his lifetime, in 1863 towards the end of a rare period of study with Simon Sechter at the Vienna Conservatory. Bruckner would succeed him there, following his death in 1868.
The self-doubt that plagued Bruckner was exacerbated by the reception to his symphonies, variously derided as naive and simple. Brahms notoriously dismissed them as ‘symphonic boa-constrictors’.
Such criticism prompted him to revise, revise again, and obsessively again, so that several versions often exist, complicated by the emendations of friends and colleagues to printed editions. The conundrum of deciding which version is ‘authentic’ is one that led musicologist Deryck Cooke to coin the term ‘the Bruckner Problem’.
Composed in 1874, the Fourth Symphony was unique in having an indicative title – Romantic – ascribed to it by Bruckner. He undertook substantial revisions, including a wholly new Scherzo and Finale in 1878, returning to it again during 1880-81, producing yet another new Finale. That version, conducted by Hans Richter in Vienna, earned Bruckner his first significant success. Even so, a final version laced with minor revisions followed between 1886 and 1888. Clarity has been provided in recent years by the new urtext edition edited by BenjaminGunnar Cohrs, whose collation of the 1878-81 revisions is heard tonight.
There is substantial evidence to suggest that Bruckner had a program in mind. In a letter to the conductor Hermann Levi he wrote: ‘In the first movement after a full night’s sleep the day is announced by the horn, 2nd movement song, 3rd movement hunting trio, musical entertainment of the hunters in the wood’.
A later letter to the composer Paul Heyse suggests the appropriation of the Great Tit’s birdsong in the opening movement’s second theme, and the sound of a barrel organ ‘during the midday meal in the forest’ in the Trio of the third movement.
A more explicit synopsis was provided by Bruckner’s friend Bernhard Deubler: ‘Mediaeval city – Daybreak – Morning calls sound from the city towers – the gates open – on proud horses the knights burst out into the open, the magic of nature envelops them – forest murmurs – bird song – and so the Romantic picture develops further…’.
Such commentary points to the Fourth as one of Bruckner’s most immediately descriptive and evocative symphonies. It begins with the antique sound of a lone horn emerging out of silence as night’s dark mantle gives way to the breaking light of dawn. From there spins out the immense arc of the composer’s long-breathed signature in an extended crescendo that introduces the second theme. Here we first encounter the so-called ‘Bruckner rhythm’ – two crotchets (quarter-notes) followed by a triplet of the same in 4/4 time – that will reappear in succeeding movements. The horn theme is heard twice more: the first haloed by a pastoral flute, the second, at the movement’s combustible end, heralded by four blazing horns.
The symphony is most unabashed about its Romantic credentials in its Andante quasi allegretto second movement. Early singing cellos evoke a bucolic atmosphere heightened by a chorale-like bridge into a sylvan melody voiced by violas and pizzicato (plucked) strings. From there begins the construction of one of Bruckner’s feted symphonic cathedrals, acquiring incremental form and force with pauses for reflection along the way as if the composer was standing back momentarily to survey his work and decide what yet needs to be done. Whether assured or awed by what has been, the movement ends in contemplative mood, pizzicato strings giving way to rumbling timpani turmoil placated by humble horn, viola and clarinet.
The Scherzo wrests focus away from the monumental to the poetic, its clarion horn hunting calls conjuring a rural idyll that metamorphoses the sporting field into a fathomless spiritual dimension. The central Trio brings things back to earth with an oboe- and clarinet-voiced peasant dance that takes giddy delight in the excitement of the chase and of the moment. It concludes with a vivacious affirmation of Bruckner’s conviction in the romance and majesty of the natural world and man’s place within it.
The main theme of the rousing Finale – articulated by the full orchestra at the vertiginous apex of the movement’s first crescendo – came, Bruckner claimed, in a dream. Such was his conviction in it that it remained a constant in his revisions of the movement. Surrounding and framing it is an extended precis of what has come before, punctuated by several new ideas – notably that for woodwinds and horns with which the movement opens, and a delicate theme in flute and clarinets against a counterpointed theme in violas – that point to Bruckner’s ambition for the life of the symphony beyond its final notes.
That multitude of ideas emerges out of minor-key shadows in the extended closing crescendo that brings proceedings to a climactic end to speak of comforting resolution and consoling peace.
Note by Michael Quinn © 2024
Symphonieorchester des Bayerischen Rundfunks
VIOLIN I
Radoslaw Szulc*
Anton Barakhovsky*
Tobias Steymans*
Thomas Reif*
Savitri Grier
Julita Smolen´
Peter Riehm
Corinna Clauser-Falk
Franz Scheuerer
Michael Friedrich
Andrea Karpinski
Daniel Nodel
Marije Grevink
Nicola Birkhan
Karin Löffler-Hunziker
Anne Schoenholtz
Daniela Jung
Andrea Eun-Jeong Kim
Stefano Farulli
N.N.
VIOLIN II
Korbinian Altenberger*
Jehye Lee*
NN. *
Yi Li
Angela Koeppen
Leopold Lercher
Key-Thomas Märkl
Battina Bernklau
Valérie Gillard
Stephan Hoever
David van Dijk
Susanna Baumgartner
Celina Bäumer
Amelie BöckhelerKharadze
Alexander Kisch
Lorenz Chen
VIOLA
Hermann Menninghaus*
Emiko Yuasa*
N.N.*
Benedict Hames
Anja Kreynacke
Mathias Schessl
Inka Ameln-Schilling
Klaus-Peter Werani
Christiane Hörr-Kalmer
Véronique Bastian
Giovanni Menna
Alice Marie Weber
N.N.
N.N.
VIOLONCELLO
Sebastian Klinger*
N.N.*
N.N.*
Hanno Simons
Eva-Christiane Laßmann
Jan Mischlich
Uta Zenke-Vogelmann
Jaka Stadler
Frederike Jehkul-Sadler
Samuel Lutzker
Katharina Jäckle
N.N.
DOUBLE BASS
Philipp Stubenrauch*
Wies de Boevé*
José Sebastião Trigo
N.N.
Frank Reinecke
Piotr Stefaniak
Teja Andresen
Lukas Richter
David Santos Luque
FLUTE
Henrik Wiese*
N.N.*
Petra Schiessel
Natalie Schwaabe
Ivanna Ternay
OBOE
Stefan Schilli*
Ramón Ortega Quero*
Tobias Vogelmann
Emma Schied
Melanie Rothman
CLARINET
Stefan Schiling*
Christopher Patrick Crobett*
Bettina Faiss
Werner Mittelbach
Heinrich Treydte
BASSOON
Marco Postinghel*
N.N.
Susanne Sonntag
Francisco Esteban Rubio
Jesús Villa Ordóñez
HORN
Carsten Carey Duffin*
N.N.*
Ursula Kepser
Thomas Ruh
Ralf Springmann
Norbert Dausacker
François Bastian
TRUMPET
Martin Angerer*
Johannes Moritz*
Wolfgang Läubin
Thomas Kiechle
Herbert Zimmermann
TROMBONE
Felix Eckert*
N.N.*
Uwe Schrodi
Thomas Horch
Lukas Gassner
Csaba Wagner
TUBA
Stefan Tischler*
TIMPANI
Raymond Curfs*
N.N.
PERCUSSION
Guido Marggrander
Christian Pilz
Jürgen Leitner
HARP
Magdalena Hoffmann*
KEYBOARD INSTRUMENTS
Lukas Maria Kuen*
*Konzertmeister*innen
Stimmführer*innen, Solo
*Concertmasters, Principals, Soloists
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THANK YOU TO OUR CORPORATE AND INDIVIDUAL SUPPORTERS
We would like to acknowledge with appreciation and gratitude the generous support of our Corporate Partners, Corporate Members, Patrons, John Field Society Members and Friends.
PROGRAMME PARTNERS
TRUST & FOUNDATION PARTNERS
CORPORATE MEMBERS APPLAUSE
OVATION ENCORE
PATRONS & JOHN FIELD SOCIETY MEMBERS
Frank & Ivy Bannister • William Barton • James Billet • Michael Bourke
Sharon Burke • Brid Cannon & Juan Pablo Cortes Ocampo • Dr Tom Carey • Dorothy Clements
Bernadette Coggins • Louis & Mary Fitzgerald • Dr Crona Gallagher & Jim Clery • Brian Kingham Mary Mac Aodha • Deirdre Mc Connell • Brian Mc Elroy • Sinead Nic Oireachtaigh • Prof Deirdre O Grady
Tiernan O hAlmhain • Dr Rachel Patton • John Pollard Foundation Beverly Sperry • Kieran Tobin • Dr Peter & Elva Wyatt
FRIENDS, SEASON FRIENDS AND SUPPORTING FRIENDS
Aisling Kennedy Corporate Development Executive aisling.kennedy@nch.ie
Please get in touch with a member of the Partnerships & Philanthropy Team to learn more and find out how you can support your National Concert Hall today: #SupportYourNCH
Emmet McSwiney Individual Giving Executive emmet.mcswiney@nch.ie
NATIONAL CONCERT HALL 2024 — 2025 SEASON
National Concert Hall presents
PHILIP
GLASS
ENSEMBLE RESIDENCY
Philip Glass Ensemble
Philip Glass Glassworks
Philip Glass Excerpts from Satyagraha , Akhnaten and The Photographer
THURSDAY 10 OCTOBER 2024, 8PM
In the first of two concerts dedicated to the music of legend in his lifetime, Philip Glass, the Philip Glass Ensemble showcase his dazzling display of minimalism turned up to the max, in Glassworks , and from three of his mesmeric, ground-breaking operas.
Tickets from €15 Book now on nch.ie
National Symphony Orchestra
Philip Glass Ensemble
Michael Riesman conductor
Kate Ellis cello
Philip Glass Naqoyqatsi
Irish Premiere. Co-commissioned by Los Angeles Philharmonic, Barbican, London, Edinburgh Festival and the National Concert Hall.
FRIDAY 11 OCTOBER 2024, 7.30PM
A major event. The Philip Glass Ensemble and close Philip Glass associate Michael Riesman partner with the NSO for the Irish premiere of a compelling new orchestral score from Glass’s stunning soundtrack for Geoffrey Reggio’s 2002 film, Naqoyqatsi (‘life as war’).
©DannyClinch