If there is one thing that German orchestras excel in, its open-air concerts. The Berlin Philharmonic’s annual concert at the Waldbühne is, without a doubt, my favorite classical music event of the year (one of my previous staff picks was on the 2015 edition): the setting sun, the magnificent setting — that always reminds me of the many Biergartens that pop up all over the country when the warmer weather hits — and the images of entwined couples and wide-eyed children put me in the best mood. I therefore always make sure to watch the latest edition — and catch up on the many editions in our catalogue — because I know I will not be disappointed…
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If you have never seen a Waldbühne concert (or even if you have), I recommend the 2011 edition, with Riccardo Chailly conducting Shostakovich’s Suite for Variety Orchestra No. 1. Most of us are probably familiar with the Waltz No. 2 from this suite, one of Shostakovich’s most recognizable and well-known works. Fun fact: it was one of the first pieces I learned to play on the flute in high school! The Waltz No. 2 is an enchanting piece full of undeniably beautiful moments. However, it is a shame that it overshadows the rest of the suite, as it is a multi-faceted work full of lyrical flights of fancy and a level of whimsy you might not expect from Shostakovich, who is too often perceived through the tragic lens of the Soviet censorship that hung over his life and work.
The Lyric Waltz with an accordion passage very typical of Soviet film soundtracks
The Suite for Variety Orchestra No. 1 is incredibly well-structured. The seven movement piece opens with a cheerful March, followed by a Lyric Waltz that prefigures the notes and melodies of the famous second Waltz. Two delightful, contagiously cheerful dances follow, before the legendary Waltz No. 2 has its moment. Next, the Dance No. 2 presents melodies so joyful that even maestro Chailly can’t help but hop along! The long, majestic finale perfectly combines symphonic grandeur with jazz and Soviet film music. Some of the Suite’s movements were even inspired by Soviet film soundtracks composed by Shostakovich. A close listen to this final movement will reveal its contrasting nature compared to the other movements, as it alternates between solemn, disquieting passages and moments that are just as bright and lively as the first dances — it is a movement not to be missed!
Dance No. 1, my favorite movement
