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Weimar Berlin: the Philharmonia Orchestra explore music written in the aftermath of the First World War.

In a typically stimulating programme, 'Angels and Demons', Esa-Pekka Salonen and the Philharmonia Orchestra take us on a journey from the louche world of Berlin cabaret to the Lutheran certainties of Bach's chorales. Schoenberg filters Bach through his own febrile ear. Alban Berg includes a quotation from a Bach chorale in his concerto dedicated to the memory of the 18-year-old daughter of Bauhaus founder Walter Gropius. After the interval, Hindemith seeks inspiration in the late medieval world of painter Matthias Gr眉newald and his apocalyptic altarpieces.

Hindemith: Rag Time (well-tempered)
Bach arr. Schoenberg: Two Chorale Preludes - Schmucke dich, O liebe Seele BWV. 654 and Komm, Gott Schopfer, heiliger Geist BWV.667
Berg: Violin Concerto

8.10pm Interval
Esa-Pekka Salonen reflects on the cultural melting pot that was the Weimar Republic. Plus a quartet movement by Zemlinksy father-figure to many of the composers of the Weimar Republic and an erstwhile friend of Alma Schindler-Mahler. And a motet by Heinrich Isaac, a contemporary of Matthias Gr眉newald whose Choralis Constantinus was edited by the young Anton Webern.

8.30pm
Hindemith: Symphony (Mathis der Maler)

Christian Tetzlaff (violin)
Philharmonia Orchestra
Esa-Pekka Salonen (conductor)

Image credit: Philharmonia Orchestra / Harrison Agency