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For a few months of his crazy youth Johannes Brahms did not get much sleep. During the day he composed and read voraciously – both ancient and modern authors – and in the evenings he played the piano in the numerous taverns of Hamburg to earn his keep. Undoubtedly, Brahms must have enjoyed this time of juvenile frenzy as throughout his life he continued to haunt the cabarets, from the most elegant to the least recommendable – with a clear preference for this second category.
Following the example set by Brahms, the seven musicians of the Philharmonix ensemble constantly oscillate between “great repertoire” and so-called “popular music”. They eagerly use their immense technical virtuosity to perform everything they can get their hands on, as long as it’s fun. This results in programs that provide often unexpected encounters: Bach and Freddie Mercury, Saint-Saëns and Henry Mancini, or Satie’s first gymnopédie transformed into a klezmer dance. In this philharmonic cabaret, borders are porous and only the quality of the arrangements and the engaging musical expression counts. Without doubt, Brahms would not disavow such an approach: Brahms is by far the most quoted, parodied and recycled composer, and one who reminds us that, until recently, “classical” music was not far from popular repertoires.
Théâtre de Valère
rue du Vieux Collège 22
1950 Sion
Switzerland
