Score and Podium (and other musical minutia): The hall that would challenge the tried and true...

Among the cities ravaged by the Second World War, few suffered the devastating destruction wrought upon the city of Berlin (although one can certainly not discount the siege of Leningrad and others). Beginning with Hitler's own burning of the Reichstag in 1933 and not ending until 12 years later, the tragedy of the war would be compounded by another war, an idealogical one between the pro-democracy West and the Communist Soviet Union.

The once-beautiful city lay in ruins and would remain much that way until the fall of Communism and the reunification of 1989.

A dead soldier amidst the scoured Brandenburg gate.

Only scars remain of the once beautiful boulevard, Unter der Linden

Not only would the city take decades to fully recover (one might argue that it is still an on-going process), its cultural institutions were also in disarray. Even though the lofty Berlin Philharmonic would continue to offer performances during the war, its conductor, Wilhelm Furtwangler, would find himself the target of the "de-Nazification" efforts of the Post-War allies. He was eventually cleared and resumed his position, although not until 1952.

The long-time concert hall of the Philharmonic, now known as the late (old) Philharmonie, was actually an old skating rink repurposed for its use at the end of the nineteenth century. It was located on Bern Strasse and would remain in use until the bombing on January 30, 1944. The hall resembled the classic "shoebox" style reminiscent of the great halls of Vienna (Musikverein), Amsterdam (Concertgebouw), and Boston's Symphony Hall.

The classic interior of the Alte Philharmonie, Berlin

Following the war, the Philharmonic, which Furtwangler had built into a world-class virtuoso ensemble, lived a rather nomadic existence, often performing in the art deco Titania Palast and recording at the Jesus-Christus-Kirche, Dahlem.

Furtwangler rehearses in the Titania Palast

A performance at the Jesus-Christos-Kirche, Dahlem.

By 1957, the need for a new hall built expressly for the orchestra was obvious. The new Philharmonie had to be an edifice worthy of its orchestra, and the design put forward by architect Hans Scharoun included one of the most stunning interiors yet conceived. It's "vineyard" style of seating--wherein the audience actually surrounds the ensemble, has become particularly popular, and it has been emulated by modern halls, including Sydney Opera House (1973), Denver's Boettcher Concert Hall (1978), the Gewandhaus in Leipzig (1981), Walt Disney Concert Hall in Los Angeles (2003), and the recently completed Philharmonie de Paris.

The Berlin Philharmonie

But, to me, one thing is missing: that of an exterior aesthetic appeal. Unlike the hall's astonishing interior design (and, apparently, outstanding acoustics), the exterior is tackiness personified, resembling a cross between the Paris "spaceship" and a 1960s mobile home facade. Examining the entrance does not (again) reveal this to be a place of invitation. Again, I'm old-fashioned, I guess.

UPDATE: Rebuilding Germany: