Location:
Entrance
Since 1963 it has been the home of the Berliner Philharmoniker. But not only that: many other promoters also use the Philharmonie’s main auditorium and the Chamber Music Hall for concerts and other performances. A place of cultural togetherness, of artistic encounters – that precisely is what the architect Hans Scharoun had in mind when he conceived this building. Let’s get started exploring the Philharmonie, its architecture and its history.
Since 1963 it has been the home of the Berliner Philharmoniker. But not only that: many other promoters also use the Philharmonie’s main auditorium and the Chamber Music Hall for concerts and other performances. A place of cultural togetherness, of artistic encounters – that precisely is what the architect Hans Scharoun had in mind when he conceived this building. Let’s get started exploring the Philharmonie, its architecture and its history.
Box Office
From this box office tickets are available for concerts promoted by the Stiftung Berliner Philharmoniker (Berlin Philharmonic Foundation). It is open Monday to Friday from 3 to 6 pm and on Saturdays, Sundays and holidays from 11 am to 2 pm (except 24, 25 and 31 December and 1 January).
From this box office tickets are available for concerts promoted by the Stiftung Berliner Philharmoniker (Berlin Philharmonic Foundation). It is open Monday to Friday from 3 to 6 pm and on Saturdays, Sundays and holidays from 11 am to 2 pm (except 24, 25 and 31 December and 1 January).
Guest Box Office
Tickets for events of guest promoters are sold here. The Guest Box Office is open Monday to Friday from 3 to 6 pm and on Saturdays, Sundays and holidays from 11 am to 2 pm. Enquiries may be directed by phone to +49(0)30.24588-132/301. It is not possible to order tickets for guest events by phone.
Tickets for events of guest promoters are sold here. The Guest Box Office is open Monday to Friday from 3 to 6 pm and on Saturdays, Sundays and holidays from 11 am to 2 pm. Enquiries may be directed by phone to +49(0)30.24588-132/301. It is not possible to order tickets for guest events by phone.
Information counter
During box office hours, all the information you’ll need to know regarding tickets sales and concerts can be obtained here.
During box office hours, all the information you’ll need to know regarding tickets sales and concerts can be obtained here.
Information racks and displays
To take away with you: the complete season prospectus of the Stiftung Berliner Philharmoniker as well as its current monthly programme, plus flyers and programme listings from guest promoters.
To take away with you: the complete season prospectus of the Stiftung Berliner Philharmoniker as well as its current monthly programme, plus flyers and programme listings from guest promoters.
Hall floor plan
The floor plan of the main auditorium shows seating locations.
The floor plan of the main auditorium shows seating locations.
Stairs
This way... to the blocks of seats on the right side, as well as to the Hermann Wolff Hall and the south foyer, spaces in which the Berliner Philharmoniker’s pre-concert events are held.
This way... to the blocks of seats on the right side, as well as to the Hermann Wolff Hall and the south foyer, spaces in which the Berliner Philharmoniker’s pre-concert events are held.
Information counter in the foyer
This information counter is staffed during concerts. Here, you can obtain information on the concert taking place, on advance ticket sales and on the Philharmonie.
This information counter is staffed during concerts. Here, you can obtain information on the concert taking place, on advance ticket sales and on the Philharmonie.
Lower cloakroom foyer
The cloakroom foyer, as part of Scharoun’s structural concept of flowing spaces, leads from the box office area to the main foyer.
The cloakroom foyer, as part of Scharoun’s structural concept of flowing spaces, leads from the box office area to the main foyer.
Exhibition
The foyer is regularly used for exhibitions.
The foyer is regularly used for exhibitions.
Shop
The shop, with its wide range of CDs, DVDs, music-related literature and gifts, is open to visitors during concerts. A selection of items is also available online at http://shop.berliner-philharmoniker.de.
In 2002 the shop was integrated into the foyer by the architectural firm of Kahlfeldt.
The shop, with its wide range of CDs, DVDs, music-related literature and gifts, is open to visitors during concerts. A selection of items is also available online at http://shop.berliner-philharmoniker.de.
In 2002 the shop was integrated into the foyer by the architectural firm of Kahlfeldt.
Hans Scharoun – bust by Marg Moll
Hans Scharoun (1893-1972) won the city of Berlin’s competition in 1956 for building the new Philharmonie. He belonged to the architectural avant-garde of his day. His vision: to create spaces for the “free individual”.
Hans Scharoun (1893-1972) won the city of Berlin’s competition in 1956 for building the new Philharmonie. He belonged to the architectural avant-garde of his day. His vision: to create spaces for the “free individual”.
Foyer ceiling
Form follows function: Scharoun conceived the Philharmonie from the inside out. The heart and soul of the building is the concert hall. Its shape determines the structure of the foyer, whose rising ceilings form the undersides of the auditorium levels.
Form follows function: Scharoun conceived the Philharmonie from the inside out. The heart and soul of the building is the concert hall. Its shape determines the structure of the foyer, whose rising ceilings form the undersides of the auditorium levels.
Bar
Bar serving drinks and light refreshments during the interval. The drinks counter was added in 2002.
Bar serving drinks and light refreshments during the interval. The drinks counter was added in 2002.
Floors
B-A-C-H: In creating the colourful mosaics that are inset in the natural stone floors, Erich F. Reuter was inspired by works of Johann Sebastian Bach.
B-A-C-H: In creating the colourful mosaics that are inset in the natural stone floors, Erich F. Reuter was inspired by works of Johann Sebastian Bach.
Central axis
The central vertex of the ceiling corresponds to the hall’s axis of symmetry and is modelled on the keel of a ship. Scharoun, who was born in Bremen and grew up in Bremerhaven, was fascinated by ships from childhood. Later he incorporated many constructive elements of shipbuilding into his architecture.
The central vertex of the ceiling corresponds to the hall’s axis of symmetry and is modelled on the keel of a ship. Scharoun, who was born in Bremen and grew up in Bremerhaven, was fascinated by ships from childhood. Later he incorporated many constructive elements of shipbuilding into his architecture.
Bar
Lounge area with bar for drinks and light refreshments during the concert interval.
Lounge area with bar for drinks and light refreshments during the concert interval.
Window
View of the Philharmonic Garden and the Museum of Musical Instruments.
View of the Philharmonic Garden and the Museum of Musical Instruments.
North gallery foyer
The gallery foyer with its railing-like areas resembles the promenade deck of a ship.
The gallery foyer with its railing-like areas resembles the promenade deck of a ship.
Stairs
The stairs function as bridges connecting the individual levels. They lend the foyer space a floating lightness, which was also inspired by naval architecture.
The stairs function as bridges connecting the individual levels. They lend the foyer space a floating lightness, which was also inspired by naval architecture.
East entrance
Entrance from the car park and Staatliches Institut für Musikforschung (State Institute for Music Research), with wheelchair ramp.
Entrance from the car park and Staatliches Institut für Musikforschung (State Institute for Music Research), with wheelchair ramp.
Lost property office
Green Room entrance
Mosaic
Green Room
The Green Room was designed in 2002 by the architect Paul Kahlfeldt. It serves as a meeting room and for press conferences and small receptions (also during concert intervals and after concerts).
The Green Room was designed in 2002 by the architect Paul Kahlfeldt. It serves as a meeting room and for press conferences and small receptions (also during concert intervals and after concerts).
Auftakt 63
The artist Bernhard Heiliger (1915-1995) created his sculpture Auftakt 63 (Upbeat 63) as a free interplay of three geometric shapes with three upwardly projecting rods.
The artist Bernhard Heiliger (1915-1995) created his sculpture Auftakt 63 (Upbeat 63) as a free interplay of three geometric shapes with three upwardly projecting rods.
Philharmonie 2005
Collage by Martin Liebscher; endowed by the Society of Friends of the Berlin Philharmonie (Gesellschaft der Freunde der Berliner Philharmonie e. V.) on the 125th anniversary of the orchestra’s founding.
Collage by Martin Liebscher; endowed by the Society of Friends of the Berlin Philharmonie (Gesellschaft der Freunde der Berliner Philharmonie e. V.) on the 125th anniversary of the orchestra’s founding.
Stairs
Stairway leading to seats on the left side and to the north gallery of the foyer
Stairway leading to seats on the left side and to the north gallery of the foyer
Signage
Red indicates the port side in nautical usage, in other words, the left side when facing forward. For this reason, all signs on the left-hand side of the foyer feature red lettering. Similarly, green lettering (= starboard) is used on the right-hand side of the foyer.
Red indicates the port side in nautical usage, in other words, the left side when facing forward. For this reason, all signs on the left-hand side of the foyer feature red lettering. Similarly, green lettering (= starboard) is used on the right-hand side of the foyer.
Stained-glass window
Compositions in glass: the stained-glass walls by Alexander Camaro – here an arrangement of grey and pink shades – form their own counterpoint to the architecture. With this coloured-light effect, Scharoun was seeking to enhance the festive character of the building.
Compositions in glass: the stained-glass walls by Alexander Camaro – here an arrangement of grey and pink shades – form their own counterpoint to the architecture. With this coloured-light effect, Scharoun was seeking to enhance the festive character of the building.
View of the main foyer
This perspective reveals Scharoun’s spatial conception especially well. The white wall with the collage belongs to the central platform of the concert hall; the rising ceilings are the soffits, or undersides, of the three stalls levels; the graceful, V-shaped support columns that project from the bar bear the entire weight of the hall floor.
This perspective reveals Scharoun’s spatial conception especially well. The white wall with the collage belongs to the central platform of the concert hall; the rising ceilings are the soffits, or undersides, of the three stalls levels; the graceful, V-shaped support columns that project from the bar bear the entire weight of the hall floor.
Lighting
The lights were designed by Günter Ssymmank. Each is made up of 72 pentagonal polyamide surfaces attached to a spherical plastic frame.
The lights were designed by Günter Ssymmank. Each is made up of 72 pentagonal polyamide surfaces attached to a spherical plastic frame.
Stained-glass window, red
Alexander Camaro designed the stained-glass window of the main foyer as a “decrescendo of colour”, which fades from intense red through shades of grey and white to transparent glass. The walls consist of circular glass building blocks, faced with antique or coloured glass and set in concrete.
Alexander Camaro designed the stained-glass window of the main foyer as a “decrescendo of colour”, which fades from intense red through shades of grey and white to transparent glass. The walls consist of circular glass building blocks, faced with antique or coloured glass and set in concrete.
Cloakroom foyer
An additional cloakroom area on the upper level serves to spare patrons long cloakroom waiting times.
An additional cloakroom area on the upper level serves to spare patrons long cloakroom waiting times.
Auditorium access
Small stairways, some of them bridge-like in design, lead to the auditorium doors, which also function as sound buffers.
Small stairways, some of them bridge-like in design, lead to the auditorium doors, which also function as sound buffers.
View of the podium from Block A right
“Is it coincidence that wherever music is improvised the people immediately form a circle?” Out of that consideration Hans Scharoun developed this concert hall. Unlike the traditional placement of musicians and audience opposite one another, in Scharoun’s concept the focus is on the platform with the musicians in the centre, around which the listeners are grouped.
“Is it coincidence that wherever music is improvised the people immediately form a circle?” Out of that consideration Hans Scharoun developed this concert hall. Unlike the traditional placement of musicians and audience opposite one another, in Scharoun’s concept the focus is on the platform with the musicians in the centre, around which the listeners are grouped.
View of the rows of seats
“The hall is conceived as a valley, situated on the bed of which is the orchestra, surrounded by ascending terraced vineyards.” Scharoun translated the image of gently sloping terraces into his design of the blocks of seats for 2218 attendees. The architect’s vision was that of creating a concert hall for a democratic society: no hermetical sealing off of individual tiers and a uniform acoustical quality for all seats.
“The hall is conceived as a valley, situated on the bed of which is the orchestra, surrounded by ascending terraced vineyards.” Scharoun translated the image of gently sloping terraces into his design of the blocks of seats for 2218 attendees. The architect’s vision was that of creating a concert hall for a democratic society: no hermetical sealing off of individual tiers and a uniform acoustical quality for all seats.
View of the end of the central axis
The wedge-shaped chamber at the end of the central axis, in which television cameras and spotlights for semi-staged performances are housed, gives the impression of a ship’s keel.
The wedge-shaped chamber at the end of the central axis, in which television cameras and spotlights for semi-staged performances are housed, gives the impression of a ship’s keel.
Rostrum
This is the conductor’s perspective – of the musicians (180° rotation) and the hall. The Philharmonie’s main auditorium is famous for its outstanding acoustics as well as for its architecture. In planning it, Scharoun worked closely with the acoustician Lothar Cremer from Berlin’s Technical University. Many of the architectonic details – for example the steepness and height of the steps and railings – were acoustically determined. In spite of thorough preparatory work, some later adjustments were necessary: one of the most significant was raising the concert platform in 1975 in order to enhance the sound of the strings.
This is the conductor’s perspective – of the musicians (180° rotation) and the hall. The Philharmonie’s main auditorium is famous for its outstanding acoustics as well as for its architecture. In planning it, Scharoun worked closely with the acoustician Lothar Cremer from Berlin’s Technical University. Many of the architectonic details – for example the steepness and height of the steps and railings – were acoustically determined. In spite of thorough preparatory work, some later adjustments were necessary: one of the most significant was raising the concert platform in 1975 in order to enhance the sound of the strings.
Timpani
The concert hall as seen by timpanists
The concert hall as seen by timpanists
Ceiling: Starry sky
As a counterpart to the “vineyard landscape” of the audience levels, Scharoun created a ceiling which he described as a “skyscape”. The many small lights are intended to evoke associations of a “starry firmament”. Incidentally: the height of the ceiling was determined according to the acoustical requirement of 10 m³ air space per seat.
As a counterpart to the “vineyard landscape” of the audience levels, Scharoun created a ceiling which he described as a “skyscape”. The many small lights are intended to evoke associations of a “starry firmament”. Incidentally: the height of the ceiling was determined according to the acoustical requirement of 10 m³ air space per seat.
Ceiling: Acoustics
The form of the ceiling, reminiscent of a tent with its three convex vaulted arches, ensures a uniform diffusion of sound. Over the orchestra platform hang “clouds” – curved polyester surfaces that serve as reflectors, enabling the musicians to hear one another better.
The form of the ceiling, reminiscent of a tent with its three convex vaulted arches, ensures a uniform diffusion of sound. Over the orchestra platform hang “clouds” – curved polyester surfaces that serve as reflectors, enabling the musicians to hear one another better.
Great organ
Unlike traditional concert halls, in which the organ is placed directly above the orchestra platform, Scharoun moved the instrument to the right periphery of the room. The organ has 72 registers, four manuals and pedal, and it can be played from either a tracker (mechanical) or a mobile electric console. It comes from the Berlin organ workshop of Karl Schuke.
Unlike traditional concert halls, in which the organ is placed directly above the orchestra platform, Scharoun moved the instrument to the right periphery of the room. The organ has 72 registers, four manuals and pedal, and it can be played from either a tracker (mechanical) or a mobile electric console. It comes from the Berlin organ workshop of Karl Schuke.
Choir organ
Concealed behind these marble-faced blinds are the pipes of the choir organ. Its twelve stops are distributed over two manuals and pedal which, like those of the great organ, are played from a mobile electric console. The choir organ was also built by the workshop of Karl Schuke.
Concealed behind these marble-faced blinds are the pipes of the choir organ. Its twelve stops are distributed over two manuals and pedal which, like those of the great organ, are played from a mobile electric console. The choir organ was also built by the workshop of Karl Schuke.
Choir stalls
The choir stalls, where the singers are situated in choral concerts, provide an additional 120 seats for concerts without choir.
The choir stalls, where the singers are situated in choral concerts, provide an additional 120 seats for concerts without choir.
View of the wood walls
The choice of facing for the auditorium walls was also based on acoustical determinations by Cremer and Scharoun. The walls of kambala wood perforated with tiny holes are fastened to an absorbent backing in order to eliminate echo effects on one part of the platform.
The choice of facing for the auditorium walls was also based on acoustical determinations by Cremer and Scharoun. The walls of kambala wood perforated with tiny holes are fastened to an absorbent backing in order to eliminate echo effects on one part of the platform.
View of the lighting studio
The lighting in the hall and on the platform is controlled from this studio.
The lighting in the hall and on the platform is controlled from this studio.
View of the recording studio
The main auditorium has its own state-of-the-art digital recording studio for producing CDs and radio recordings. It enables several teams to work on different projects simultaneously. The recording studio is used not only by the Berliner Philharmoniker but also by visiting organizations. Between 15 and 20 recordings are made here every month.
The main auditorium has its own state-of-the-art digital recording studio for producing CDs and radio recordings. It enables several teams to work on different projects simultaneously. The recording studio is used not only by the Berliner Philharmoniker but also by visiting organizations. Between 15 and 20 recordings are made here every month.
View of the ceiling’s pyramid-shaped bodies
Not only visual ornamentation: these hanging pyramidal bodies (built according to the Rabitz lath plastering method) also function as Helmholtz resonators and absorb some of the low frequencies.
Not only visual ornamentation: these hanging pyramidal bodies (built according to the Rabitz lath plastering method) also function as Helmholtz resonators and absorb some of the low frequencies.
Rows of seats
The varied heights of the backrests and the sound-absorbing fabric covering the underside of seats are both intended to reduce to a minimum the acoustical discrepancy between rehearsals and concerts.
The varied heights of the backrests and the sound-absorbing fabric covering the underside of seats are both intended to reduce to a minimum the acoustical discrepancy between rehearsals and concerts.
Lift
This lift brings visitors down to the east entrance.
This lift brings visitors down to the east entrance.
Stairs to the south foyer
In contrast to the expansive openness of the main foyer, incorporating the upper north gallery foyer, Scharoun designed the south foyer as an enclosed space that invites contemplative withdrawal. Some of the introductory presentations for main auditorium concerts of the Stiftung Berliner Philharmoniker take place here.
In contrast to the expansive openness of the main foyer, incorporating the upper north gallery foyer, Scharoun designed the south foyer as an enclosed space that invites contemplative withdrawal. Some of the introductory presentations for main auditorium concerts of the Stiftung Berliner Philharmoniker take place here.
Wilhelm Furtwängler, bust by Alexander Archipenko
Wilhelm Furtwängler (1886–1954) succeeded Arthur Nikisch as conductor of the Berlin Philharmonic (Berliner Philharmonisches Orchester) in 1922. Unlike his predecessor he immediately became a champion of the contemporary repertoire, which, after Hitler seized power, aroused the Nazis’ displeasure. And yet the regime held Furtwängler in high esteem as a conductor, although he never joined the Party and regarded himself as apolitical. In 1945 he was banned from conducting by the Allies, but in a 1947 tribunal he was de-Nazified and thus able once again to conduct the Berliner Philharmoniker. It was not until 1952, however, that he was officially reinstated as the orchestra’s chief conductor, a position he held until his death two years later.
Wilhelm Furtwängler (1886–1954) succeeded Arthur Nikisch as conductor of the Berlin Philharmonic (Berliner Philharmonisches Orchester) in 1922. Unlike his predecessor he immediately became a champion of the contemporary repertoire, which, after Hitler seized power, aroused the Nazis’ displeasure. And yet the regime held Furtwängler in high esteem as a conductor, although he never joined the Party and regarded himself as apolitical. In 1945 he was banned from conducting by the Allies, but in a 1947 tribunal he was de-Nazified and thus able once again to conduct the Berliner Philharmoniker. It was not until 1952, however, that he was officially reinstated as the orchestra’s chief conductor, a position he held until his death two years later.
Herbert von Karajan, bust by Hans Baier
After Wilhelm Furtwängler’s death, Herbert von Karajan (1908–1989) became the orchestra’s principal conductor – for nearly 35 years. Under his direction it developed that specific sound and brilliant virtuosic perfection for which it is now world-famous. With Karajan the Philharmonic moved in 1963 into the Philharmonie built by Scharoun. With him the orchestra became a media star. And it has this conductor to thank for two further institutions: the Salzburg Easter Festival, which Karajan created in 1967, and the Orchestra Academy.
After Wilhelm Furtwängler’s death, Herbert von Karajan (1908–1989) became the orchestra’s principal conductor – for nearly 35 years. Under his direction it developed that specific sound and brilliant virtuosic perfection for which it is now world-famous. With Karajan the Philharmonic moved in 1963 into the Philharmonie built by Scharoun. With him the orchestra became a media star. And it has this conductor to thank for two further institutions: the Salzburg Easter Festival, which Karajan created in 1967, and the Orchestra Academy.
Hans von Bülow, bust by Richard Hess
He was the Berlin Philharmonic’s Orchester’s first great orchestral trainer: Hans von Bülow (1830–1894). At the instigation of the concert agent Hermann Wolff, he became the Philharmonic’s musical director in 1887, following the orchestra’s collaboration with several outstanding conductors in its early years. Bülow set high standards and rehearsed relentlessly. Under his baton, the Berliner Philharmoniker scored great triumphs.
He was the Berlin Philharmonic’s Orchester’s first great orchestral trainer: Hans von Bülow (1830–1894). At the instigation of the concert agent Hermann Wolff, he became the Philharmonic’s musical director in 1887, following the orchestra’s collaboration with several outstanding conductors in its early years. Bülow set high standards and rehearsed relentlessly. Under his baton, the Berliner Philharmoniker scored great triumphs.
Arthur Nikisch, bust by Hugo Lederer
The Hungarian-born Arthur Nikisch (1855–1922) directed the Berliner Philharmonisches Orchester from 1895 until his death in 1922. Having begun his career as an orchestral violinist, he had an unequalled knack for winning over the musicians with his charm, his charisma and his intuitively based interpretative artistry. Under Nikisch’s leadership the Berlin Philharmonic made its first recordings.
The Hungarian-born Arthur Nikisch (1855–1922) directed the Berliner Philharmonisches Orchester from 1895 until his death in 1922. Having begun his career as an orchestral violinist, he had an unequalled knack for winning over the musicians with his charm, his charisma and his intuitively based interpretative artistry. Under Nikisch’s leadership the Berlin Philharmonic made its first recordings.
Stained-glass window
The stained-glass window by Alexander Camaro – this time in shades of green and blue.
The stained-glass window by Alexander Camaro – this time in shades of green and blue.
Hermann Wolff Hall
The former choir room has been renamed the Hermann Wolff Hall – after the great Berlin impresario who guided the orchestra from its founding in 1882. Without his entrepreneurial skills the Philharmonic would not have survived its difficult early phase. Moreover, Wolff initiated the orchestra’s artistic development by engaging Hans von Bülow and Arthur Nikisch as its conductors. Following Wolff’s death in 1902, the agency’s business was carried on by his widow Louise; but reprisals by the new Nazi rulers forced the enterprise to close in 1935. Introductory presentations for main auditorium concerts of the Stiftung Berliner Philharmoniker take place in the Hermann Wolff Hall – except in the case of choral concerts. During the day the hall is also used as a rehearsal space for chamber-music ensembles.
The former choir room has been renamed the Hermann Wolff Hall – after the great Berlin impresario who guided the orchestra from its founding in 1882. Without his entrepreneurial skills the Philharmonic would not have survived its difficult early phase. Moreover, Wolff initiated the orchestra’s artistic development by engaging Hans von Bülow and Arthur Nikisch as its conductors. Following Wolff’s death in 1902, the agency’s business was carried on by his widow Louise; but reprisals by the new Nazi rulers forced the enterprise to close in 1935. Introductory presentations for main auditorium concerts of the Stiftung Berliner Philharmoniker take place in the Hermann Wolff Hall – except in the case of choral concerts. During the day the hall is also used as a rehearsal space for chamber-music ensembles.
Passage foyer
The passage foyer connects the Philharmonie with the Chamber Music Hall.
The passage foyer connects the Philharmonie with the Chamber Music Hall.
Bells
Bells for the performance of Berlioz’s Symphonie fantastique and Mussorgsky’s Boris Godunov. The idea for bells that can be supported in the middle instead of being hung, and are thus better suited for use in the orchestra, came from the Philharmonic percussionist Fredi Müller. They were made by the bell foundry of Bachert in Heilbronn with financial support from the Society of Friends (Gesellschaft der Freunde) of the Berlin Philharmonie.
Bells for the performance of Berlioz’s Symphonie fantastique and Mussorgsky’s Boris Godunov. The idea for bells that can be supported in the middle instead of being hung, and are thus better suited for use in the orchestra, came from the Philharmonic percussionist Fredi Müller. They were made by the bell foundry of Bachert in Heilbronn with financial support from the Society of Friends (Gesellschaft der Freunde) of the Berlin Philharmonie.
Hans Scharoun, portrait by Roland Ladwig
“‘One’ human being viewed by another, ranged in circles, in powerfully vibrating arcs around aspiring crystal pyramids.” – These words, jotted down in 1920, are Hans Scharoun’s vision for the ideal theatre space. The architect always saw his work as a commitment to a democratic society.
“‘One’ human being viewed by another, ranged in circles, in powerfully vibrating arcs around aspiring crystal pyramids.” – These words, jotted down in 1920, are Hans Scharoun’s vision for the ideal theatre space. The architect always saw his work as a commitment to a democratic society.
Chamber Music Hall foyer
The Chamber Music Hall was planned as part of the Philharmonie from its inception but did not open until 1987, 15 years after the death of Hans Scharoun. He left behind a sketch from which his partner Edgar Wisniewski developed a conception for the structure. The Chamber Music Hall was designed to fit organically into the Philharmonie complex.
The Chamber Music Hall was planned as part of the Philharmonie from its inception but did not open until 1987, 15 years after the death of Hans Scharoun. He left behind a sketch from which his partner Edgar Wisniewski developed a conception for the structure. The Chamber Music Hall was designed to fit organically into the Philharmonie complex.
Platform foundation (Marble wall, foyer centre)
Like that of the Main Auditorium, the conception of the Chamber Music Hall is also derived from the musicians’ platform. Here, too, the heart of the platform, concealed behind marble slabs with indirect lighting, forms the structural centre – the structure of the concert hall determines the shape of the foyer.
Like that of the Main Auditorium, the conception of the Chamber Music Hall is also derived from the musicians’ platform. Here, too, the heart of the platform, concealed behind marble slabs with indirect lighting, forms the structural centre – the structure of the concert hall determines the shape of the foyer.
Lounge
The foyer’s lounge area. Wisniewski took up many of the Philharmonie design features – for example the stained-glass window – and integrated them into the Chamber Music Hall.
The foyer’s lounge area. Wisniewski took up many of the Philharmonie design features – for example the stained-glass window – and integrated them into the Chamber Music Hall.
Foyer
Wisniewski’s idea behind the Chamber Music Hall was to create a forum offering performance opportunities for contemporary and experimental music. This also entailed the possibility of incorporating the foyer in musical presentations – with loudspeakers hidden in the ceilings, under the stairways and behind the natural-stone walls of the platform foundation.
Wisniewski’s idea behind the Chamber Music Hall was to create a forum offering performance opportunities for contemporary and experimental music. This also entailed the possibility of incorporating the foyer in musical presentations – with loudspeakers hidden in the ceilings, under the stairways and behind the natural-stone walls of the platform foundation.
Use of colour
To contrast with the foyer’s light, bright central space, Wisniewski chose dark, dusky colours for the outer areas – corresponding to the dualism in music of major and minor.
To contrast with the foyer’s light, bright central space, Wisniewski chose dark, dusky colours for the outer areas – corresponding to the dualism in music of major and minor.
Main stairway
In the free, bridge-like elements of the Chamber Music Hall’s stairway design, Wisniewski was again re-using elements from the Main Auditorium.
In the free, bridge-like elements of the Chamber Music Hall’s stairway design, Wisniewski was again re-using elements from the Main Auditorium.
Glass wall
This stained-glass wall was inspired by cloud and sky tones. Introductory presentations for chamber concerts of the Stiftung Berliner Philharmoniker (Berlin Philharmonic Foundation) take place here. The foyer is additionally used for exhibitions.
This stained-glass wall was inspired by cloud and sky tones. Introductory presentations for chamber concerts of the Stiftung Berliner Philharmoniker (Berlin Philharmonic Foundation) take place here. The foyer is additionally used for exhibitions.
Collage
Feuermann 2006 – Friedemann von Stockhausen created this black-and-white collage from three photographs of the great cellist Emanuel Feuermann.
Feuermann 2006 – Friedemann von Stockhausen created this black-and-white collage from three photographs of the great cellist Emanuel Feuermann.
Concert Hall, view from Block A left
The hexagonal shape of the Chamber Music Hall was already specified in Scharoun’s sketch, and Wisniewski adopted it in his design. Once again Lothar Cremer served as the architect’s acoustical advisor, and the placement and grouping of seating was significantly influenced by his analyses.
The hexagonal shape of the Chamber Music Hall was already specified in Scharoun’s sketch, and Wisniewski adopted it in his design. Once again Lothar Cremer served as the architect’s acoustical advisor, and the placement and grouping of seating was significantly influenced by his analyses.
Concert platform
Many different possibilities are built into the concert platform. For example, it can be lowered to form an orchestra pit for semi-staged performances. The platform’s flexibility was an important concern of the architect, who sought to create a suitable space for performances of contemporary music.
Many different possibilities are built into the concert platform. For example, it can be lowered to form an orchestra pit for semi-staged performances. The platform’s flexibility was an important concern of the architect, who sought to create a suitable space for performances of contemporary music.
Ceiling
They demonstrated their value in the main auditorium: the “clouds” above the platform and the hanging pyramidal bodies are not merely decorative, but also essential to the room’s excellent acoustics.
They demonstrated their value in the main auditorium: the “clouds” above the platform and the hanging pyramidal bodies are not merely decorative, but also essential to the room’s excellent acoustics.
Action Ring
Running through the seating area halfway up is a so-called “action ring”. It enables the musicians to play from additional locations.
Running through the seating area halfway up is a so-called “action ring”. It enables the musicians to play from additional locations.
Spatial music galleries
The galleries at the periphery of the hall similarly allow additional spatial effects through variable placement of the musicians.
The galleries at the periphery of the hall similarly allow additional spatial effects through variable placement of the musicians.
Box Office
The Chamber Music Hall box office is open only on concert evenings, not for advance ticket sales.
The Chamber Music Hall box office is open only on concert evenings, not for advance ticket sales.
Hall diagram
For help in orientation: a diagram of the hall showing the seating disposition in the Chamber Music Hall
For help in orientation: a diagram of the hall showing the seating disposition in the Chamber Music Hall
Stairway down
Stairs to the underground car park
Stairs to the underground car park
South foyer
In the south foyer can be seen busts of great principal conductors of the Berliner Phiharmoniker. Near the window are the figures of Wilhelm Furtwängler, Herbert von Karajan and Hans von Bülow (l.-r.). The bust of Arthur Nikisch is on the opposite wall.
In the south foyer can be seen busts of great principal conductors of the Berliner Phiharmoniker. Near the window are the figures of Wilhelm Furtwängler, Herbert von Karajan and Hans von Bülow (l.-r.). The bust of Arthur Nikisch is on the opposite wall.
Getting started
Our virtual tour will lead you automatically through the Philharmonie and the Chamber Music Hall. You may interrupt it at any time by clicking on the image or tapping the “stop” key at the right-hand margin. Whenever you wish to resume the tour, simply click on the “play” key.
Our virtual tour will lead you automatically through the Philharmonie and the Chamber Music Hall. You may interrupt it at any time by clicking on the image or tapping the “stop” key at the right-hand margin. Whenever you wish to resume the tour, simply click on the “play” key.
Entrance
Welcome to the Philharmonie, the musical centre of Berlin. Since 1963 it has been home to the Berliner Philharmoniker. Let’s begin exploring the Philharmonie, its architecture and its history.
Welcome to the Philharmonie, the musical centre of Berlin. Since 1963 it has been home to the Berliner Philharmoniker. Let’s begin exploring the Philharmonie, its architecture and its history.
That ends our tour...
We hope to greet you soon in person at one of the many events in the Berlin Philharmonie.
We hope to greet you soon in person at one of the many events in the Berlin Philharmonie.