Con­cen­trat­ing every con­ceiv­able pas­sion, the con­cert fea­tures Bernd Alois Zimmermann’s Trum­pet Con­cer­to, en­ti­tled No­body knows de trou­ble I see – a protest against racism – and Mahler’s Sec­ond, ‘Res­ur­rec­tion’ Sym­pho­ny: ‘I shall die in or­der to live!’ Zimmermann’s Trum­pet Con­cer­to re­minds of that style which in the 1950s, as a third stream, at­tempt­ed to merge clas­si­cal mu­sic and jazz. How­ev­er, the un­der­tak­ing suc­ceeds in this piece. The Vienna Phil­har­mon­ic cel­e­brate swing­ing walk­ing­bass­lines. Bluesy melodies and big­band­like out­bursts merge with el­e­ments of clas­si­cal moder­ni­ty in­to a com­plex en­er­gy field. In it, Håkan Hard­en­berg­er mas­ters an ele­giac­com­plain­ing part with un­ex­cep­tion­al pres­ence.

Erup­tion and ec­sta­sy, apoc­a­lypse and apoth­e­o­sis can all be heard in Gus­tav Mahler's Sym­pho­ny No. 2, ex­cel­lent­ly en­hanced and sub­tly sound­paint­ed by the Wiener Phil­har­moniker un­der the ab­solute­ly sov­er­eign di­rec­tion of An­dris Nel­sons and with soloists Lucy Crowe (so­pra­no), Eka­te­ri­na Gubano­va (con­tral­to) and the Chor des Bay­erischen Rund­funks.

Bernd Alois Zimmermann
Nobody knows de trouble I see.
Concerto for trumpet and orchestra

Gustav Mahler
Symphony No. 2 in C minor – “Resurrection”

Håkan Hardenberger, trumpet

Wiener Philharmoniker
Andris Nelsons, conductor

Lucy Crowe, soprano
Ekaterina Gubanova, contralto

Chor des Bayerischen Rundfunks
Howard Arman, chorus master