Darius Milhaud (1892–1974)­:
La creation du Monde op. 81a

Béla Bartók (1881–1945):
Tanz-Suite Sz 77

Walter Kollo (1878–1940):
»Was eine Frau im Frühling träumt« aus der Operette Marietta

Kurt Weill (1900–1950):
Ausschnitte aus Quodlibet op. 9

Germaine Tailleferre (1882–1983):
Ausschnitte aus Le Marchand d’oiseaux

Dmitri D. Shostakovich (1906–1975):
Ausschnitt aus Trio Nr. 1 c-Moll für Violine, Violoncello und Klavier op. 8

Gabriel Faurè (1845–1924):
Ausschnitt aus Trio d-Moll für Klarinette, Violoncello und Klavier, op. 120

What do Walter Kollo’s operetta Marietta, Darius Milhaud’s La Création du monde , and Béla Bartók’s Dance Suite have in common? If you look at their styles and formats, they could hardly be more different. But all three works left their musical mark on the year 1923, when they each premiered.‘A German trauma’ is what Mark Jones calls that year of political and social upheaval—but this is contrasted against the period’s profusion of musical masterpieces reflecting its great artistic diversity. With this documentary concert, the orchestra of the Komische Oper Berlin, conducted by our music director James Gaffigan, will explore the sonic kaleidoscope of that momentous year, diving a hundred years back in history with various artefacts of the time, including contemporary diary entries.