The 12 Cellist of the Berlin Philharmonic Orchestra

These cellists - also known simply as the “The Twelve” - are unique. Every symphony orchestra has a cello section. But the phenomenon of cello section members joining together to form an independent ensemble – an orchestra within an orchestra, with a string of well-received concerts to its name – was strikingly new at the time of the ensemble’s founding. Thus every connoisseur of fine music knows the origin of the 12 Cellists, even when their parent orchestra remains unnamed. They have simply become an institution.

Twelve is a mythical number that symbolises perfection. A year is made up of 12 months, and an octave is made up of 12 (half) tones. Twelve tribes comprised the ancient people of Israel, 12 disciples spread religious teachings across the land, and 12 gates lead to heavenly Jerusalem.  

The 12 Cellists’ performances may take place only when their parent orchestra, the Berlin Philharmonic, is not in concert. The dates of concerts and recordings are set firmly well in advance. But since the Berlin Philharmonic’s rehearsal schedule can change abruptly, the Twelve must always include a special clause in their contracts that typically only applies in cases of force majeure: they are only available on the condition that if an Berlin Philharmonic obligation arises, even unexpectedly, they must be fully available to their parent orchestra. Orchestral duties take absolute precedence over the Twelve’s other work, even though the cellists are an exclusive ensemble which has become very highly regarded over the years.

Founded in 1972, the ensemble performs in prominent concert halls around the world. Even their premiere concert, with a full evening program, took place in Tokyo rather than in Berlin. The group’s composition has changed over the years: as the founders retired, younger musicians took their places. The history of the Twelve exemplifies the continuity of artistic undertakings.

The beginnings of this unusual musical phenomenon hark back to 1920, when Julius Klengel, a cello virtuoso, teacher and composer, wrote a hymn for 12 cellists. He and 11 selected students played the piece for Julius’ friend, Arthur Nikisch (chief conductor of the Berlin Philharmonic from 1895–1922) on his 65^th birthday. Two years later, the ceremonial composition was played at Nikisch’s funeral, in what would be its last performance for a long time.

The ensemble’s more recent history, which spans more than 50 years, began when a group of knowledgeable Salzburg musicologists discovered this gem from music history in an archive. They asked the Berlin Philharmonic if its cello section would be willing to make a public radio broadcast recording of the hymn. The musicians agreed. The recording was a resounding success, and elicited calls for a continuation. But two important preconditions had to be fulfilled: they needed pieces for a suitable repertoire, and a capable concert manager.

One of the works that became a staple of the ensemble’s concert repertoire was created in the group’s early days: Blues, Espagnola and Rumba Philharmonica for 12 solo cellos by Boris Blacher. It is a three-part dance suite that pays homage to three geographical areas known for passionate dances: Afro-American in the USA, Spain and South America.

The repertoire was subsequently expanded through commissions. Festspiele GmbH in Berlin requested a piece from Jean Françaix, the idiosyncratic neo-classicist, who rejected aesthetic and stylistic constraints. In his Morning Serenade, he had been inspired by George Sand’s letters. Françaix explained: "The finale of my Aubade has the cellos droning – just like the cars in a 24-hour race at Le Mans, so loudly that even deaf listeners will applaud, spurred on by the sight of cello bows moving at lighting speed, and by the demonic faces of the 12 virtuosos." The world premiere took place on 30 September, 1975 in Berlin’s New National Gallery and marked the Twelve’s first evening-long concert before a local audience.

In his “8-minute thriller” for the Twelve, lannis Xenakis calls for nearly every effect that can be produced by cellists in terms of tone quality and teamwork. Virtuosity is required on all levels: technically, in the comprehension of the whole, as well as in terms of listening and musical response. Additional works followed: in 1975, Michael Braunfels wrote his Symposion for the Twelve, in 1976 Marcel Rubin composed his Concertino for the Vienna Festival, and Helmut Eder composed his Melodia-Ritmica for Salzburg. Günter Bialas'  Assonanzen was commissioned by the Schwetzing Palace Festival, and for the Lucerne Festival, Rudolf Kelterborn developed his Scene for 12 Cellists, while Wolfgang Fortner turned in 1983 back to the ancient genre of the madrigal and the Twelve performed Udo Zimmermann's Canticum Marianum at the Dresden Music Festival.

The Twelve boast a rich and modern repertoire. Yet each anniversary of the Twelve has brought something new. In 1992, for his 40th birthday – and the Twelve's 20th – Wolfgang Rihm presented his Augenblick. In 1997, Brett Dean sent congratulations as a piece titled Twelve Angry Men.  

Musicians abroad are measured by the strictest of standards, especially if they are from Berlin and its Philharmonic: they are viewed as ambassadors of their city, even of the nation. The 12 Cellists have never had any difficulties with this role; they have played it to perfection. As respected, trusted ambassadors of their country, the Twelve have even been called upon by humanitarian organisations. They held a benefit concert for victims of the earthquake in Kobe, Japan; in Frankfurt, they donated concert proceeds to multiple sclerosis treatment. The ensemble dedicated the performance to the great violoncellist Jacqueline du Pré, who succumbed to this terrible disease.

source: The 12 cellists of the Berlin Philharmonic Orchestra

photo © Uwe Arens

photo © Peter Adamik