When, in 2009, the Berlin Philharmonic launched the Digital Concert Hall, a streaming-video platform for its concerts, the orchestra had no particular need to bolster its reputation. For decades, the Philharmonic had reigned as the world-champion musical heavyweight. Established in 1882, it had been led by a procession of luminaries: Hans von Bülow, Arthur Nikisch, Wilhelm Furtwängler, Herbert von Karajan, Claudio Abbado, Simon Rattle. And yet the distinctive Berlin sound-I've compared it, over the years, to a Rembrandt interior, a Russian men's choir, and deep-focus cinematography has never relied on the elevating powers of any one maestro. Indeed, members of the Philharmonic are more likely to ask whether conductors have risen to their level. Rattle, who departed in 2018, described them as a company made up of leading actors. They are intelligent, argumentative, self-aware. When they are of one mind, the concert stage knows nothing more potent.
Still, the Digital Concert Hall has had a pronounced influence: it has humanized a group that can intimidate audiences as much as it does conductors. Olaf Maninger, a member of the cello section, came up with the initial idea for the platform, and over the years the setup has grown increasingly sophisticated, with eight stationary cameras, two control rooms, and banks of monitors. During the Philharmonic's most recent American tour, in November, I could tell that some spectators around me were Digital Concert Hall regulars. "There's Sarah Willis," someone would say, as the French horns took their seats. "There's Stefan Dohr." The cameras often focus on the principals, but they also show the collective personality of the various sections: the double-basses, with their eerily unanimous pizzicatos, or the violas, with their smoldering tremolos. What distinguishes the Berliners from other orchestras is that they seem to dig into each phrase a little more. You can see this as readily as you can hear it.
この記事は The New Yorker の December 16, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です ? サインイン
この記事は The New Yorker の December 16, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
NOTE TO SELVES
The Sonoran Desert, which covers much of the southwestern United States, is a vast expanse of arid earth where cartoonish entities-roadrunners, tumbleweeds, telephone-pole-tall succulents make occasional appearances.
THE ORCHESTRA IS THE STAR
The Berlin Philharmonic doesn't need a domineering maestro.
HEAD CASE
Paul Valéry's ascetic modernism.
LOVE FOR SALE
When America tried to get on top of the sex trade.
EACH OTHER'S BACK
\"Nickel Boys.\"
NO ROOM FOR A MASTERPIECE
Rashid Johnson's art of masculine vulnerability is going to the Guggenheim.
THE BATTLE FOR FRANCE
President Emmanuel Macron has plunged the country into chaos.
BOOK A STRESS-FREE GETAWAY
Recently refurbished houseboat. Sleeps four guests comfortably, and many more less comfortably, but it's definitely doable and safe, though no jumping all at once, please.
LEG WORK
A surgeon and an engineer reimagine the prosthetic limb.
BASIC INSTINCT
A feminist director takes on the erotic thriller.