One of the ‘seven deadly sins’ also includes furore in the form of anger. Bertolt Brecht and Kurt Weill use the deadly sins to focus on the ‘blatant injustices’ in young Anna’s life and suffering. 

John Ford’s 1940 film adaptation of John Steinbeck’s socially critical novel ‘The Grapes of Wrath’ is no less harsh in its criticism of capitalism. The mechanisation of agriculture impoverishes a farming family. In comparison to the original film music by Alfred Newman, Hanns Eisler’s work is much more emotional in order to make a clear statement. ‘Good film music must not lose itself in itself’, was Eisler’s credo. 

A similar attitude also characterises the music of Chaya Czernowin. Like few contemporary composers, the Israeli-born composer succeeds in making audible what is unspoken and unspeakable, what lies dormant beneath the surface. To do so, she risks everything and pushes boundaries. In this sense, her new violin concerto promises to be truly furious. The world premiere connects to the ‘Nachtmusik der Moderne’ with Czernowin in the 2022/23 season.