Moor Mother in Concert
The echoes of fate
Symphony Concert
Program
MOOR MOTHER [*1976]
Analog Fluids of Sonic Black Holes, for spoken voice, string quintet, and symphony orchestra (arranged by Ian Anderson)
PYOTR TCHAIKOVSKY [1840–1893]
Symphony No. 5 in E minor, Op. 64 ‘Pathétique’ (known in German as the ‘Symphony of Fate’)
In recent years, the orchestra of the Komische Oper Berlin has made possible some truly unique collaborations: David Bowie met Bruckner, Nick Cave met Schubert. This series continues in spectacular fashion on April 10: electronic hip-hop icon Moor Mother meets Tchaikovsky—and Moor Mother will be performing herself! Her 2019 album Analog Fluids of Sonic Black Holes is an angry, multi-layered, yet immensely captivating indictment of injustice, oppression, and racist arbitrariness. It’s hard to imagine that this album, driven by samples and electronic beats, could take the form of an orchestral work—yet this is precisely what Moor Mother has achieved with the help of composer Ian Anderson. Moor Mother’s furious rhythmic energy pairs with the monumental, powerful sound of the late-Romantic orchestra. The result is: astonishing. Magnificent. Eye-opening. And electrifying.
MOOR MOTHER [*1976]
Analog Fluids of Sonic Black Holes, for spoken voice, string quintet, and symphony orchestra (arranged by Ian Anderson)
PYOTR TCHAIKOVSKY [1840–1893]
Symphony No. 5 in E minor, Op. 64 ‘Pathétique’ (known in German as the ‘Symphony of Fate’)
In recent years, the orchestra of the Komische Oper Berlin has made possible some truly unique collaborations: David Bowie met Bruckner, Nick Cave met Schubert. This series continues in spectacular fashion on April 10: electronic hip-hop icon Moor Mother meets Tchaikovsky—and Moor Mother will be performing herself! Her 2019 album Analog Fluids of Sonic Black Holes is an angry, multi-layered, yet immensely captivating indictment of injustice, oppression, and racist arbitrariness. It’s hard to imagine that this album, driven by samples and electronic beats, could take the form of an orchestral work—yet this is precisely what Moor Mother has achieved with the help of composer Ian Anderson. Moor Mother’s furious rhythmic energy pairs with the monumental, powerful sound of the late-Romantic orchestra. The result is: astonishing. Magnificent. Eye-opening. And electrifying.
Introductory talk 45 min before performance, in the foyer