Such is the Royal Concertgebouw Orchestra’s commitment to playing the classics of tomorrow that audiences now expect the unexpected. The Dutch premiere the previous evening in the Concertgebouw of Jörg Widmann’s Second Trumpet Concerto Towards Paradise (Labyrinth VI) certainly provides the unexpected. A collaboration with Swedish trumpeter Håkan Hardenberger, for whom the work was written, and one of the very few trumpeters in the world willing to accept the challenges posed in Widmann’s forty-minute marathon, was the natural choice. Joined at the last minute by his lifelong colleague Jukka-Pekka Saraste, stepping in for indisposed Andris Nelson with whom Hardenberger had premiered the work in 2021, added that extra je ne sais quoi.
The programme
Thoughts of death and the afterlife run deep in the RCO’s programming this season. After contemplating life’s final moments with Barbara Hannigan in Richard Strauss’ Death and Transfiguration, the Dutch premiere of Thomas Adès’ Inferno turned thoughts to the dark side, unfurling visions of hell in its many manifestations. Widmann’s Towards Paradise seems to complete the journey, offering thoughts of the wild and craggy abysses one must journey through en route to heavenly oblivion.
The trumpet concerto
With the Kölner Philharmonie in complete darkness, Hardenberger’s jazzy two-note antiphonal exchange with principal RCO trumpeter, Miro Petkov magically drew attention towards the accompanying piano accordion’s piercing tones. And like God’s biblical creation of light, the orchestra was revealed. Metallic sonorities abounded as audience eyes scanned the stage trying to decipher sounds amidst the cacophonous din.
Widmann requires the orchestra to create a distinctive, dystopian sound world; one which challenges both the body and mind of all on stage, and perhaps one where only the very finest musicians and orchestras can create a convincing enough narrative to keep a sceptical audience fully engaged.
Cleverly punctuating the orchestral cacophony with sulky stillness and sustained high notes, Hardenberger conjured vast layers of sound, akin to a travel itinerary of places to see en route to paradise. Javanese gamelan, and muted trumpet pitch bends added touches of oriental wonder before harp chimes evoked London’s Big Ben. Likewise, a wonderful horn and tuba moment of consonance punctuated by jazzy riffs conjured American jazz clubs – Miles Davis inspired snippets popping up when least expected. After travelling around the Philharmonie stage, a child’s lullaby high in the register, accompanied by festive Christmas bells and lush string harmonies, completely entranced.
Was this Paradise?
Turning his back to the audience, the search continued. Hardenberger again climbed the heights, this time openly challenging the orchestral trumpets. “Be gone!” declared the braying trumpets. Petkov’s bell held high in defiance. Building to a mighty orchestral climax, the lone trumpet begged for forgiveness with only the harp and accordion for friends. Hardenberger’s quiet calm abruptly interrupted by a funereal trombone and horn chorale evoking Richard Strauss harmonies, bidding him swiftly on his way. A huge feat after such a long, high and intense blow.
The mood darkened: Satan knocked at the door. Yet the trumpet stayed calm, taking comfort in the timpani glissandi, chattering skeletal bones and Big Ben’s chimes this time in the distance. Just a forlorn couple dancing their final adieu to the dulcet strains of a street accordion. For one last time, now muted and with his bell facing the ground, Hardenberger walked deliberately towards Widmann’s Paradise. All alone, yet never without hope as that opening refrain returned and the lights slowly dimmed.
The encore
After a performance of, in Hardenberger’s words, the hardest trumpet concerto in the canon, his return to the stage for an encore was both surprising and a real treat. His immaculate performance of My Funny Valentine which saw members of the RCO trumpet section with tears running down their face, demands huge respect. Such a bravura performance.
The symphony
Mahler’s Fourth Symphony continued the exploration of heaven and an overwhelming sense of joy filled the hall. A stunning third movement saw smiles all around. Expressive silences, cheeky violin glissandi and plodding yet earnest double bass pizzicato meant there was quite literally, much to die for. So much pain, so much release and so much admiration on fellow musicians’ faces for the stunning musicality on offer. Saraste too was having fun. He had earned the orchestra’s respect and was rewarded whole-heartedly as all built to a glorious climax before, for a second time this evening, we arrived in paradise.
Christiane Karg, who had talked in interview about changes to her voice and how she feared she may have limited time left for the role, joined the stage. Light and bright, Karg was the RCO’s angel in heaven. Quite divine.
© Clare Varney
More about Jörg Widmann’s Towards Paradise
Watch a video recorded in 2021 before the US premiere with the Boston Symphony Orchestra. Widmann shares details of his collaborative process with Hardenberger and how he originally envisaged Andris Nelsons who conducted the premiere, playing his trumpet on stage! Definitely one for the future!
This concert was reviewed in the Kölner Philharmonie on Thursday 18th December, 2025
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