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Late Night Berliner Philharmoniker

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Late Night Berliner Philharmoniker

Milliken / Dean / Schumann

Die Philharmonie im Abendlicht – Die Philharmonie Berlin mit goldenen Panelen und weißen unteren Stockwerken wird in der Abenddämmerung beleuchtet, mit einem bewölkten Himmel im Hintergrund. Auf einem großen Banner steht auf Deutsch „Zusammen einzigartig“.

Die Philharmonie im Abendlicht – Die Philharmonie Berlin mit goldenen Panelen und weißen unteren Stockwerken wird in der Abenddämmerung beleuchtet, mit einem bewölkten Himmel im Hintergrund. Auf einem großen Banner steht auf Deutsch „Zusammen einzigartig“.

© Bild: Stephan Rabold

A late night in the Philharmonie Berlin: Noah Samuel Bendix-Balgley, first concertmaster of the Berliner Philharmoniker, and Ludwig Quandt, the orchestra’s first principal cellist, come together in the late evening to play a concert with their former colleague Brett Dean (viola) – joined by the world-class pianist Benjamin Hochman whom the New York Times recently described as possessing “stylistic insight, elegance and sparkle”. After the new work In Play by Cathy Milliken, the musicians perform Dean’s Imaginary Ballet, an energetic suite for piano and string trio consisting of “fast, rhythmic and dancelike movements” (Dean). The evening concludes with Robert Schumann’s Romantic Piano Quartet in E-flat major op. 47.

Schumann’s E-flat major Piano Quartet originated in a period of creative frenzy during a largely sleepless week between 24 and 30 October 1842; the final score was completed only 19 days later. After the work’s first performance within a private framework, Robert Schumann’s wife Clara declared herself “utterly enchanted” by this “beautiful work which is so youthful and fresh as if it was the first ever to be composed.” The composition is genuinely captivating with its poetic music in a highly individual Romantic vein, its catchy melodies and the distinctive equality of all four participating instrumentalists: a particular highlight is however the effervescent “champagne spirit” of the Scherzo (Schumann). Brett Dean’s Imaginary Ballet for piano and string trio also bursts with exuberance and tempestuousness: its dancelike sections are contrasted by a series of slower interludes, enriching the whole with numerous “oases of silhouettes and shadows” (Dean). The work was characterised by the musical preferences of its composer during the Corona pandemic who listened to “energetic, direct and spirited music” to deliberately counter the “at times almost overwhelming feeling of global tragedy. My listening habits during lockdown, frequently interspersed by my secret pleasure in listening to my favourite pop, rock and dance music titles, somehow crept into this new composition, transforming this abstract chamber music work for a classical piano quartet formation into an ‘Imaginary Ballet’[…].”

Cathy Milliken

In Play (2026)

for piano quartet

World premiere

Brett Dean (*1961)   

Imaginary Ballet (2021) 

for piano and string trio 

Robert Schumann (1810–1856) 

Piano Quartet in E-flat major op. 47 (1842)

Artists/Collaborators: Noah Samuel Bendix-Balgley, Brett Dean, Ludwig Quandt, Benjamin Hochman

An event by Berliner Philharmoniker Foundation in cooperation with Berliner Festspiele / Musikfest Berlin

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