Friends of the BR Symphony Orchestra on the Konzerthaus: "Bavaria would be the best in the world"

Created: 4/4/2022, 7:45 p.m

By: Markus Thiel

"The concert hall is not only a cultural project, but also a technological one": winning model by the Bregenz architects Cukrowicz/Nachbaur for the Werksviertel at the Ostbahnhof.

© Tobias Hase

Don't just talk about the large hall, but about all the tasks and possibilities of the planned Munich concert hall: that's what Wolfgang Gieron demands.

For 41 years he was a violinist in the BR Symphony Orchestra, now he is chairman of the circle of friends.

In this context, Erdinger considers the hype surrounding the Isarphilharmonie to be exaggerated.

Wolfgang Gieron played in the BR symphony orchestra for 41 years and is now chairman of the circle of friends.

© ast

Will the concert hall still be built?

I hope so.

Because I firmly believe that it is necessary.

Politicians are often assumed to have a certain distance from culture.

And maybe that's not so far-fetched.

However, the concert hall is not only a major cultural project, but also a technological one.

One always only talks about the hall.

But a house from which you can broadcast digitally anywhere in the world within fractions of a second is a technological feat.

Prime Minister Markus Söder always wants Bavaria to be number one as a technology location.

For that reason alone, the Konzerthaus should interest him - Bavaria would be at the top of the world in every respect.

Mariss Jansons, the biggest fighter for the concert hall, has been dead for two years. Were you afraid that the project opponents would get the upper hand as a result?

Yes.

We all know that many members of the state parliament outside of Munich regard this project as superfluous and too expensive.

Of course it's very time-consuming, and of course we're currently dealing with two major crises.

But if such projects are really not possible, then politicians must also say so clearly and not just demand a "pause for thought".

Apparently this courage is not there - and certainly not before a state election.

Would a slimmed-down solution work, perhaps without rooms for the music college and concentrating on the large hall?

I had a very powerful, emotional experience with our orchestra a few years ago when we played in Breslau.

Tateo Nakajima, who was responsible for the acoustics there, was also committed to Munich.

In Breslau I noticed again what a really great concert hall can sound like and what it means.

Phenomenal acoustics.

We also felt like we were one with the audience.

Everything transmitted to each other.

The house cost 110 million euros.

So it seems to be possible to build a great hall with a smaller sum.

I don't think the Munich Konzerthaus is dead.

We will certainly be able to talk about a reduction.

What else can you do to fight for the Konzerthaus?

Sir Simon Rattle, the future chief conductor of the BR Symphony Orchestra, spoke relatively late.

Somehow you hardly feel any real pressure from the Konzerthaus supporters.

You have to let the discussion burn in any case.

Hence the signature campaign of our circle of friends.

One shouldn't simply accept statements made by politicians.

They sit back and think the matter is over.

It is always said, for example, that Munich will eventually have four halls with the Konzerthaus, renovated Gasteig, Herkulessaal and Isarphilharmonie, in other words too many.

That is not right.

No one can say what the result of the Gasteig renovation will be - also because nobody knows how much money the city of Munich will ultimately have available.

But the Isarphilharmonie has turned out to be a miracle hall for some.

It actually has good acoustics for the low and medium volume range.

If it gets louder, the hall starts to bang.

The sound gets ugly.

Nowadays, the orchestras, whether Munich Philharmonic or BR or others, have a power that such a hall can hardly handle.

As if you can't shift into sixth gear in a Ferrari because you're afraid it will explode.

I also miss the flattering of the audience in the acoustics.

There is always a perceived distance between the stage and the auditorium.

Also, the backstage area is a disaster.

Hardly any opportunities for the orchestra members to move.

It is not possible that - as usual and urgently necessary - a group rehearsal can take place for difficult positions.

Accessibility is also very poor.

The city of Munich may be able to improve a lot,

not the location disadvantage.

At some point the Isarphilharmonie will no longer be accepted because it is on a siding.

The concert hall at Ostbahnhof, on the other hand, would be almost perfectly accessible.

Remember: The Pinakothek der Moderne was built deliberately inexpensively and opened in 2002.

Less than ten years later, significant shortcomings were found.

One cannot seriously believe that an Isarphilharmonie for 40 million euros is still fully functional after ten years.

She will eventually be disenchanted.

Less than ten years later, significant shortcomings were found.

One cannot seriously believe that an Isarphilharmonie for 40 million euros is still fully functional after ten years.

She will eventually be disenchanted.

Less than ten years later, significant shortcomings were found.

One cannot seriously believe that an Isarphilharmonie for 40 million euros is still fully functional after ten years.

She will eventually be disenchanted.

Markus Söder speaks of a billion construction costs for the concert hall.

Is that a fantasy number to trash and dump the project?

In any case.

The number is needed as an argumentation aid, but is hardly justified.

What has to remain is a large, very good hall, the digital equipment and rooms for meeting places, also for promoting young people.

And all of this is possible for less than a billion.

What should also not be forgotten: the concert hall is not being built for the BR Symphony Orchestra.

It is a project for Munich and all of Bavaria, in which our orchestra is just one of the users.

The interview was conducted by Markus Thiel.