{"id":1648,"date":"2016-03-06T11:44:40","date_gmt":"2016-03-06T11:44:40","guid":{"rendered":"http:\/\/twistislamophobia.org\/en\/?p=1648"},"modified":"2017-03-13T12:40:28","modified_gmt":"2017-03-13T12:40:28","slug":"refugees-welcome-by-top-german-orchestras","status":"publish","type":"post","link":"https:\/\/twistislamophobia.org\/en\/2016\/03\/06\/refugees-welcome-by-top-german-orchestras\/","title":{"rendered":"Refugees welcome by top German orchestras"},"content":{"rendered":"

Kate Connolly<\/a><\/p>\n

Thursday 3 March 2016 16.49\u00a0GMT<\/span><\/p>\n

\"Orquest\"<\/a>Under ordinary circumstances, if you clap between movements during a classical concert, you can expect to receive glares and disapproving whispers. But when the audience that filled almost every seat of Berlin\u2019s Philharmonie signalled its approval of the L<\/em>arghetto<\/em> of Prokofiev\u2019s Symphony No 1 with frenzied applause and wolf whistles, there was no such disapproval. As one veteran German music critic conceded: \u201cWe can allow some bending of the usual concertgoing rules. This evening\u2019s different.\u201d About 2,200 refugee newcomers to Germany<\/a>, accompanied by many of the volunteers who have been helping them, had gathered this week for a joint concert of Berlin\u2019s three leading orchestras and their principal conductors, under the banner \u201cWelcome Among Us\u201d.<\/p>\n

It was, said Iv\u00e1n Fischer, the Konzerthaus orchestra\u2019s chief conductor, speaking in Arabic, a chance to celebrate. \u201cWe\u2019re experiencing a wonderful transformation \u2013 a new, tolerant Europe<\/a> is developing before our very eyes,\u201d the Hungarian maestro said.<\/p>\n

It was the type of optimism Germany has felt increasingly short of in recent months, as attacks on refugee homes have risen and the political mood seems to sour more by the day.<\/p>\n

In a joint statement, he, along with Daniel Barenboim of the Staatskapelle and Sir Simon Rattle of the Berlin Philharmonic<\/a> described the evening \u2013 the first time the three houses had come together since a concert in the days following the 9\/11 attack \u2013 as a \u201cshow of solidarity with the refugees\u201d.<\/p>\n

Refugee policy<\/h3>\n

Broadcast live on televison and radio, the occasion was arguably the strongest signal yet from a significant part of the cultural world that it supports Angela Merkel\u2019s refugee policy, which has seen more than 1.1 million arrivals over the past year. The tone was set last month in a letter to the German chancellor signed by about 80 leading figureheads from the artistic world urging her to \u201ckeep going\u201d.<\/p>\n

The signatories, including Barenboim and the Nobel laureate Herta M\u00fcller, credited Merkel with having \u201cchanged our country\u201d, saying that thanks to her \u201cpeople are no longer scared of Germany\u201d, in reference to the atrocities of the Nazi era.<\/p>\n

Their affirmation is in contrast to the growing voices of dissent even from within her own party, some of whom believe she is steering Germany into a catastrophe.<\/p>\n

Sitting in the stalls, 55-year-old Noorddeen al-Mansouri read aloud from the programme notes to his wife, Shahnaz, 40, that Merkel had taken on the role of the concert\u2019s patron. He was sorry she could not be there \u2013 \u201cAfter all, without her we wouldn\u2019t be here now,\u201d he said, recalling the couple\u2019s arrival from the Syrian capital Damascus three months ago. But he appreciated that she had sent her finance minister, Wolfgang Sch\u00e4uble, to represent her government instead, pointing him out in the left of the stalls.<\/p>\n

\"Simon<\/a>

Simon Rattle<\/p><\/div>\n

Noorddeen tapped out the rhythm of Beethoven\u2019s Symphony No 7 on his programme booklet as Rattle conducted his energetic musicians with the vigour and anguish of a captain trying to secure his ship in a storm. Beethoven had written it to mark the end of the Napoleonic wars, and the capricious rhythms of its final movement capture the unalloyed joy of peace. The poignancy of it was not lost on Noorddeen. \u201cI listen to this music and I find peace myself, and if I close my eyes I can imagine I am back in Damascus listening to another Beethoven concert during peacetime,\u201d the philosophy teacher said.<\/p>\n

\u201cIt is very optimistic music,\u201d said Shahnaz, a primary school teacher. \u201cWe need this optimism after seeing what is happening to our brothers and sisters stuck on the Greek-Macedonian border,\u201d she said, referring to the thousands of migrants being prevented from continuing their journey to western Europe.<\/p>\n

West-Eastern Divan orchestra<\/h3>\n

\"barenboim\"<\/a>Barenboim, already well-known in the Arab world for his West-Eastern Divan orchestra which unites young musicians from across the Middle East, managed to wow the audience even before he picked up his baton to conduct Mozart\u2019s Piano Concerto No 20. His greeting of \u201cAhlan wa-sahlan\u201d (welcome in Arabic) was met with the whoops and cheers usually reserved for a pop star and rarely if ever heard in the Philharmonie.<\/p>\n

Talin, 35, a makeup artist from Aleppo, who arrived in Germany three months ago, said she had heard Mozart this evening for the first time, and had been mesmerised by Barenboim\u2019s ability to \u201cboth play the piano and conduct at the same time\u201d.<\/p>\n

Talin\u2019s son, Kifork, 18, a hairdresser, said: \u201cMy mum\u2019s usual preference is for Enrique Iglesias, and mine is for Julio, but we\u2019re in Germany now, so we\u2019re happy to try out the stuff the Germans like.\u201d He had lost his mobile phone containing all his music when it fell in the water as he made the journey by boat from Turkey to Greece, he said. \u201cBut as soon as I get a new one, I think I might download some Beethoven. That was my favourite.\u201d<\/p>\n

While the concert was the most ambitious event yet to have been organised for refugees by the classical music world, other recent projects have included the Konzerthaus\u2019s staging of an an Arabic version of Saint-Sa\u00ebns\u2019s Carnival of the Animals for 1,400 refugee children. The Konzerthaus also lent Chinese dissident artist Ai Weiwei its facade to exhibit thousands of lifejackets worn by refugees who have landed on the Greek island of Lesbos, in a provocative gesture towards those who say Europe should close its doors.<\/p>\n

For its part the Berlin Philharmonic has launched an initiative called Local Heroes, which calls on amateur musicians to bring a refugee along to their orchestra or choir as well as opening its own house to refugees for concerts and rehearsals.<\/p>\n

Rattle, who in September 2017 is due to return to his native Britain to lead the London Symphony Orchestra, said before the concert: \u201cThis is an exceptional opportunity for Germany and Europe to welcome an exceptional people. By playing for them, we are demonstrating our love and support and are very happy to communicate with these new Europeans.\u201d<\/p>\n

The foyer after the performance buzzed with German, Farsi, Arabic, Pashto, Dari and Urdu, as newcomers and volunteers exchanged impressions over bottles of cola, brezel rolls and chicken drumsticks.<\/p>\n

\u201cIt was amazing; the energy of the string players in the Beethoven struck me most, and filled me with calm,\u201d said Diab, a 30-year-old economics graduate from Damascus who arrived in November.<\/p>\n

\u201cBut I did find myself thinking, I wish that the German authorities could put as much effort into pushing my asylum application along as they did performing the seventh symphony,\u201d he said, with a smile, explaining he\u2019d been waiting weeks to hear from them and was sorely lacking a perspective on his future.<\/p>\n

Outside, waiting for a bus to take him back to his asylum seekers\u2019 home, Kifork, the Damascan hairdresser, pointed out an unfortunate translation error on the programme. While in German and English it read \u201cwelcome\u201d, in Arabic it read: \u201cno welcome\u201d. The organisers later apologised, insisting it had been a genuine printing mistake rather than sabotage. But for Kifork it meant only one thing: \u201cIt\u2019s clearly time more Germans learned Arabic,\u201d he said.<\/p>\n

The concert can be watched free online here.<\/a><\/p>\n

Source: The Guardian<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Kate Connolly Thursday 3 March 2016 16.49\u00a0GMT Under ordinary circumstances, if you clap between movements during a classical concert, you can expect to receive glares and disapproving whispers. But when the audience that filled almost every seat of Berlin\u2019s Philharmonie signalled its approval of the Larghetto of Prokofiev\u2019s Symphony No 1 with frenzied applause and wolf whistles, there was no such disapproval. As one veteran German music critic conceded: \u201cWe can allow some bending of the usual concertgoing rules. This evening\u2019s different.\u201d About 2,200 refugee newcomers to Germany, accompanied by many of the volunteers who have been helping them, had gathered this week for a joint concert of Berlin\u2019s three leading orchestras and their principal conductors, under the banner \u201cWelcome Among Us\u201d. It was, said Iv\u00e1n Fischer, the Konzerthaus orchestra\u2019s chief conductor, speaking in Arabic, a chance to celebrate. \u201cWe\u2019re experiencing a wonderful transformation \u2013 a new, tolerant Europe is developing before our very eyes,\u201d the Hungarian maestro said. It was the type of optimism Germany has felt increasingly short of in recent months, as attacks on refugee homes have risen and the political mood seems to sour more by the day. In a joint statement, he, along with Daniel …<\/p>\n","protected":false},"author":2,"featured_media":1646,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[241,115],"tags":[163,304,305],"class_list":["post-1648","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-coexist","category-share-en","tag-music","tag-orchestra","tag-welcome"],"yoast_head":"\nRefugees welcome by top German orchestras - Twist Islamophobia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/twistislamophobia.org\/en\/2016\/03\/06\/refugees-welcome-by-top-german-orchestras\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Refugees welcome by top German orchestras - Twist Islamophobia\" \/>\n<meta property=\"og:description\" content=\"Kate Connolly Thursday 3 March 2016 16.49\u00a0GMT Under ordinary circumstances, if you clap between movements during a classical concert, you can expect to receive glares and disapproving whispers. 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