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Camerata Salzburg · BR Chor · Arman · Tamestit · Viotti


FRANZ SCHUBERT Gesang der Geister über den Wassern, D. 714

FRANK MARTIN Mass for double choir a cappella

ALFRED SCHNITTKE Two short pieces for organ

ALFRED SCHNITTKE Monologue for viola and orchestra

ANTON BRUCKNER Adagio from String Quartett in F, WAB 112
(version for string orchestra)

ARTHUR HONEGGER Symphony No. 2 for string orchestra and trumpet ad libitum

Print programme (PDF)


Chor des Bayerischen Rundfunks
Howard Arman, Conductor (Schubert, Martin)
Peter Peinstingl, Organ
Antoine Tamestit, Viola, Conductor (Schnittke)
Camerata Salzburg
Lorenzo Viotti, Conductor (Bruckner, Honegger)



Stiftung Mozarteum – Großer Saal | Display seating plan with categories

€ 115.00 | € 75.00 | € 55.00 | € 35.00 | € 25.00 | € 15.00


‘His face shone like the sun, and His garments became as white as the light’, comments the Gospel of Matthew. The miraculous transfiguration of Jesus allowed the apostles to apprehend his divine nature, which transcended the boundaries of this world. Of all the arts, music may well most convincingly convey the feeling of an experience that goes beyond our material realm, promising a better state of being and the revelation of our true essence, freed from worldly constraints.
Sacred music, religiously inspired works and sounds which escape from earthly bonds will spark off one another in this year’s Ouverture spirituelle: from the vocal polyphony of the Renaissance to baroque, classical and romantic repertoire, and beyond, to the music of the twentieth century. With varying trajectories, the works chosen all revolve around the central idea of transfiguration. In Olivier Messiaen’s Transfiguration de Notre Seigneur Jésus-Christ for soloists, chorus and orchestra – an explosion of ringing light and blazing sounds – the term even appears in the title. The radiance of this work emanates throughout the rest of the programme, perhaps reaching its greatest potency in sacred spaces and the darkness of night. For this reason, some concerts are removed from the usual hustle and bustle of the Festival and scheduled to begin at a later hour.
We shall also join Monteverdi’s Orpheus as he descends to the underworld to rescue Eurydice, and perhaps our own senses of perception will themselves be transfigured by music which depicts the crossing of this same final threshold – specifically, music from great last works fully completed or left unfinished, including Mozart’s Requiem, the Quatre Chants pour franchir le seuil by Gérard Grisey and Gustav Mahler’s Ninth Symphony with its dying final pages, in which the musical line is slowly extinguished.

Walter Weidringer
Translated by Sebastian Smallshaw

Scientific and philosophic colloquium as part of the Ouverture spirituelle · Herbert-Batliner-Europainstitut in cooperation with the Salzburg Festival · July 22 – July 26, 2017