The vote was over, and a decision had been made: Claudio Abbado was the new chief conductor of the Berliner Philharmoniker. So it was in 1989, when – for the first time – the orchestra itself decided who was to be its leader. The result was a surprise for the music world – and also for Abbado himself. This documentary from 1990 traces the first year of the new chief conductor in Berlin, the special atmosphere of new beginnings and the diverse expectations the musicians had of Herbert von Karajan’s successor. Other than this, many insights are provided into the first artistic projects of the new man at the helm, starting with the rehearsals for Mahler’s First Symphony with which he ushered in his tenure in December 1989. We are also taken behind the scenes to see among other things Abbado’s first visit to Karajan’s room – which was now to be his – and to a first birthday party with the musicians of the Berliner Philharmoniker. Of course, the members of the orchestra have their say, and tell of their hopes and what they expected of their new boss. Even today, these impressions convey the special magic that was in the air at that time.
Claudio Abbado’s inaugural concert from 1989
It was only logical that Claudio Abbado should start his tenure with the Berliner Philharmoniker in December 1989 conducting Mahler’s First Symphony. Firstly, because Abbado was even then considered one of the great Mahler conductors of his time, and secondly because this symphony by the still young composer is infused with an irresistible expression of freshness and new beginnings. Even today we can feel the special magic of this new beginning in this video document. The election of Claudio Abbado came as a surprise to the music world – not least to the conductor himself. In many ways he embodied a contrast to Herbert von Karajan who, particularly in his later years, had became ever more remote from his musicians. Claudio Abbado, however, made it clear from the outset that he was simply “Claudio” to everyone. Furthermore, he followed new musical directions; he aimed at a more transparent sound, and put an emphasis on new music – and also on Mahler who had only occasionally appeared in Philharmoniker concerts under Karajan.