Organ Concert

Cinematic Symphony on Organ / Buster Keaton

Orgelstunde

Jeremy Joseph, who took over this organ lesson at short notice for his teacher Martin Haselböck, who was ill, is no stranger to Berlin audiences: six years ago, he was already a duo partner for Gottlieb Wallisch in the Great Hall of the Konzerthaus Berlin, with whom he performed a brilliant program Organ & Piano. In this solo program, he spans an arc from Johann Sebastian Bach and Max Reger - each represented with major works - to Arnold Schoenberg as a “modern classic”, whose variations on a theme by Johann Sebastian Bach are now also part of the standard repertoire.

Cameron Carpenter

The flamboyant Cameron Carpenter takes on two musical monuments daringly arranged by himself: Mussorgsky’s phantasmagorias and Bach’s Goldberg Variations, the alpha and omega of his oeuvre.

Orgelpräsentation für Erwachsene

David Briggs, Organ

The first part of David Briggs’ concert proceeds majestically, the second part is symphonic. With this British organist, one of the stars of the organ world is gracing the Elbphilharmonie: previously a cathedral organist in Truro and Gloucester, then as artist in residence in New York and Toronto, he is in demand worldwide when the king of instruments is to sound. Because if there is one thing that the British can do it is this: royal splendour! The baroque composer Jeremiah Clarke had already elegantly celebrated this in his »Prince of Denmark’s March«. This is why the contemporary composer Patrick Gowers has written a humorous remark in the rumba rhythm. The story of Pelléas and Mélisande, which Claude Debussy immersed in impressionistic orchestral colours and David Briggs arranged for organ, also plays in the royal atmosphere. Furthermore, Briggs is devoted to Symphony No. 1 by Johannes Brahms. Because this is his speciality: arranging big orchestral symphonies for symphonic organ. Primarily, the symphonies of Gustav Mahler impressed the Brit, but also Brahms is eminently suitable, especially his first symphonic opus. The tremendous pedal point for instance (fittingly the name for accompanying repeated notes) with which the first movement begins is really made to be played on the eponymous instrument. And with a skilful arranger such as David Briggs we can be certain: the other three movements will also sound as if they were composed for the organ. Especially when he has such a symphonic instrument as the organ of the Elbphilharmonie under his feet and hands.

Juan de la Rubia Recital

Born in Castellón, Spain, Juan de la Rubia is the organist at Barcelona's Sagrada Família. Known for his skill in opulent arrangements, virtuoso improvisations, classical pieces, and jazz influences, he has performed at prestigious venues like the Auditorio Nacional, Gewandhaus Leipzig, and Elbphilharmonie. Now, he debuts at the Philharmonie Essen.

Organ matinee with Anders S Börjesson

Through Konserthuset’s popular organ matinée subscription, audiences get to hear Sweden’s leading organists play the building’s organ – one of the largest in Europe, with 6,100 pipes. Anders S. Börjesson has been the organist at Mariestad Cathedral since 2011, where he gives organ concerts every week. He was trained in Gothenburg by Mikael Wahlin, but also in Paris by Sophie-Veronique Cauchefer-Choplin, organist at Saint-Sulpice, one of Paris's largest churches.Börjesson is also a composer, and we will hear his Paraphrase on Alice Tegnér's The Squirrel Sits in the Spruce Tree and Chorale Treatments. Additionally, well-known rock songs by the bands Metallica and Queen arranged for organ. The concert opens with Canadian Rachel Laurin's (born in 1961) both evocative and dramatic Prelude and Fugue, and we also get to hear the captivating March in C major by Frenchman Louis Lefébure-Wély (1817–1870).***You are welcome to eat or drink something before or after the organ concert. The bar in the Main Foyer is open at 11.45–12.15 and 13.15–14.15, offering a variety of delicious food and drinks in our beautiful surroundings.

Organ matinee Vincent Dubois and Marie-Andrée Joerger

They are an unconventional and avowed duet: Vincent Dubois, titular organist of Notre-Dame in Paris, and accordionist Marie-Andrée Joerger have been performing together for many years. At their organ matinee, they transform the Philharmonie first into a French salon with works by Ravel and Debussy, then into an Argentinian café – with tangos such as Invierno porteño, Adiós Nonino and Decarisimo by Astor Piazzolla. Imposing works by celebrated French organ composers Louis Vierne and Maurice Duruflé round off the performance.

Orgelpräsentation für Erwachsene

The greatest of symphonies / Widor’s organ symphony

Daniel Roth is currently one of the most exquisite organists of our time and a wonderful improviser. His talent and achievement inspire awe in both critics and melomaniacs the world over. Superficially calm and phlegmatic, at the keyboard he is transformed into a volcano of energy. He can bring any composition to life and render it moving for the contemporary listener as well. The coming organ recital is not just a musical event, but a true celebration of virtuosity for organ music aficionados. The programme of the recital includes works by Johann Sebastian Bach, but also those by lesser-known composers, such as Alexandre-Pierre-François Boëly and Jehan Alain. While Roth’s exceptional musical sensitivity can find its expression in interpretations of both romantic and contemporary works, the culmination of the concert will be his performance of Charles-Marie Widor’s Organ Symphony No. 10 in D major, “Romane”, considered one of the most important pieces in the composer’s entire oeuvre, and simultaneously one of the greatest achievements among all French organ compositions ever to have been created. [Alexandra Kozowicz]Concert duration (intermission included): approximately 120 minutes

Orgelpräsentation für Familien

Organ concert: Schmitt Koch Kabadaić

The stage is set for our favourite organist, who is also in great demand on the international scene: In the last organ concert of this season, Christian Schmitt will play our large concert hall organ – accompanied by our solo flutist Daniela Koch and our deputy solo violist Branko Kabadaić. The concert begins with a fascinating etude for organ pedal, which Christian Schmitt premièred in Zurich in 2023 – and about which the composer Maximilian Schnaus writes: »The musical idea illuminates the peripheral areas of the organ sound and the peripheral areas of our perception.« Liszt studied Bach’s organ works and passions intensively, particularly during his time in Weimar – and his affection for this Baroque master found intimate expression in the Andante »Aus tiefer Not«, written in 1859. Paul Hindemith wrote this touching funeral music on a concert tour in London on 21 January 1936 within a few hours after King George V had died there on the previous day. Bach’s masterful Sonata in G major captivates with its skilful interweaving of voices between the two instruments. For César Franck, it was clear: »Mon orgue? – C'est un orchestre!« And that is exactly how his magnificent musical creations sound – including the »Grande pièce symphonique«, completed in 1862, which even bears the required orchestral gesture in its title. Tōru Takemitsu, the cosmopolitan and influential composer from Japan, created an almost revolutionary work in 1971 with his flute piece »Voice« – because the human voice is included here in an interesting way. To wrap things up, the concertino by Cécile Chaminade, written in 1902, impresses with its breathtaking virtuosity, passionate gestures, shimmering harmonies and yearning melodies.

Iveta Apkalna / Herbert Schuch

They both have keyboards – but that is just about where the common ground between the organ and piano ends. One needs wind to produce its sound, while the other has hammers that strike its strings. The former is often associated with the sacred interior of a church, where its monumental form, known as the prospect, often looms high above, while the latter has been a staple item of furniture in many a private living room ever since the 19th century. So there is little overlap between the two, which is why compositions for both instruments together are so extremely rare. Iveta Apkalna, organist-in-residence at the Elbphilharmonie, and pianist Herbert Schuch have now curated a programme that presents the two instruments both separately and together in all their glory. Two works form the focus of this concert, both by Julius Reubke who died young: he composed a large piano sonata and an organ sonata. The latter is an absolute highlight of the repertoire for organ romanticism, transferring the newly created genre of symphonic poetry to the organ with a powerful sound by setting the 94th Psalm of the bible to music. As famous as the organ sonata is, the sister work for piano is rarely performed – although the virtuoso passages and colourful symphonies can certainly stand up alongside Franz Liszt. Set around these two solo works, where Iveta Apkalna and Herbert Schuch have the spotlight to themselves, there are works that prove the organ and piano can complement each other to wonderful effect: the mysterious »Choral’s Dream« by French organ master Thierry Escaich is performed at the beginning. A generation before him, his colleague and fellow countryman Jean Langlais also composed works for organ and piano. And the Latvian composer Andris Dzenītis even stages a world premiere this evening.

Organ matinee with Ligita Sneibe

Through Konserthuset’s popular organ matinée subscription, audiences get to hear Sweden’s leading organists play the building’s organ – one of the largest in Europe, with 6,100 pipes. Latvian Ligita Sneibe is trained as an organist and composer at the Music Academy in Riga, and also holds an organ diploma from the School of Music in Piteå. She has performed around the world but is now most active in Sweden and Latvia, where she often plays on the famous Walcker organ in Riga Cathedral.Ligita Sneibe begins with music from 2023 by her compatriot Indra Riše: excerpts from Natura siderum, or The Nature of Stars. It's about music inspired by human psychological traits according to the zodiac signs. Three of the twelve parts are composed for organ solo: Libra, Capricorn, and Leo.We also hear Bach's magnificent and virtuosic Toccata and Fugue in F major and finally music by Naji Hakim, Chant de Joie – Song of Joy. Hakim was born in Beirut but is active in Paris, where he succeeded Olivier Messiaen as organist at Trinité Church some 30 years ago.***You are welcome to eat or drink something before or after the organ concert. The bar in the Main Foyer is open at 11.45–12.15 and 13.15–14.15, offering a variety of delicious food and drinks in our beautiful surroundings.

Cinematic Symphony on Organ / Fritz Lang / Metropolis

Cinematic Symphony on OrganOrgan improvisation complements old cinema exceptionally well, lending century-old films a new dimension. The concept is almost as old as cinematography itself. The first screening with an organ took place in 1908, at the Alcazar Theatre in Chicago. That was how silent movies – accompanied by the one-person orchestra at the manuals – would celebrate their triumphs for the next two decades, until talking movies were invented and popularised in the late 30s and early 40s. The purpose-built instruments even earned their own name: the film or theatre organ. If there was a thing they could not do! Among the sound effects they could imitate, one could find snoring, laughter, and even… kisses. The organ could yell for revenge, frantically pull at something or someone with sharp claws, cry bitter tears of sorrow, weep for love, moan at pangs of conscience, cry like a baby, giggle like a toddler, and even… bark like a dog. A musician who can improvise at the organ for film is a true rarity. They must be able to join melodies, harmonies and counterpoint together into a neat musical form. And simultaneously, to follow the picture being shown at the moment…

Orgelstunde

The spiritual focus of this program is not the prominent names of Camille Saint-Saëns or Max Reger, whose works form the weighty framework of this organ lesson, but the coordinated miniatures by Nadia Boulanger and Philipp Maintz. At the request of Angela Metzger, the latter has composed a cycle of short organ pieces especially for use in the concert hall, the structure and charm of which unfold in particular in combination with the Trois Pièces by Nadia Boulanger. One of these three pieces will even be premiered in today's concert.

Orgelpräsentation für Erwachsene

Different roots, same magnificent sound

Although the organ is traditionally associated with sacred music and grand concerts, it can also be a fascinating complement to less typical chamber settings. The untypical combinations in this year’s organ concert series provide unique sounds and new, unexpected combinations. The result? We become more open to new interpretational possibilities and free experimenting. One of such unusual pairings is that of the organ and the saxophone – instruments differing both in their roots and in character. There are the centuries of tradition of organ music and there is the saxophone, which, despite its relatively short history in classical music, has gained significant popularity thanks to its versatility and a broad palette of sound. In the Passacaglia moderna improvised composition, Tomasz Orlow and Paweł Gusnar reach for a classical form, into which they introduce contemporary elements. Together, the saxophone and the organ create musical structures referencing the past and simultaneously opening up new sonic spaces. The role of improvisation is crucial here, as it gives the musicians space for creative exploration. [Alexandra Kozowicz]Concert duration: approximately 70 minutes

Orgelstunde am Karsamstag

Olivier Latry, Organ

Olivier Latry, one of the most acclaimed organists of our time, returns to play the organ at the Elbphilharmonie. As one of the organists of Notre-Dame Cathedral in Paris, he represents one of the oldest and most important musical traditions in the history of music. This is reflected too in his programme, which consists exclusively of works by former Notre-Dame organists or, to put it another way, Latry’s esteemed predecessors. There is Louis Vierne, for example, whose organ symphonies rank among the undisputed highlights of symphonic organ music, and particularly his Third Symphony. It is probably the best known of the six and a work full of drama, lyricism and mysticism. Pierre Cochereau’s Boléro is equally well known and loved. Originally composed as an improvisation and only set down in writing at a later date, the legendary titulaire of Notre-Dame transformed a simple theme by one of his predecessors into an intoxicating orgy of sound. Olivier Latry also has a reputation for being a gifted improviser. This is a discipline traditionally cultivated in France, where he is regarded as a maestro full of inspiration and ideas. But before giving us a taste of this, we hear music by Jean-Pierre Leguay, one of Latry’s colleagues at Notre-Dame until 2016. Leguay is regarded as a composer keen to forge a path for musical tradition into the future. A masterful improviser himself, his innovative music often transgresses from firmly cemented traditions, picking up on these traditions in original ways at the same time.

Angela Metzger

Organ matinee In memory of Jean Guillou

Slovakian organist Zuzana Ferjenčíková dedicates her debut concert on the organ of the Berlin Philharmonie Berlin to her teacher Jean Guillou, who died in 2019. Guillou performed on the the Philharmonie’s organ several times himself. His speciality: his own arrangements of famous orchestral works, with which he created unexpected orchestral timbres on the organ. Zuzana Ferjenčíková plays some of Guillou's most impressive arrangements, including the delicate “Dance of the Sugar Plum Fairy” from Tchaikovsky's ballet The Nutcracker and Mussorgsky's powerful cycle Pictures at an Exhibition.

Organ matinee with Tobias Olofsson

Through Konserthuset’s popular organ matinée subscription, audiences get to hear Sweden’s leading organists play the building’s organ – one of the largest in Europe, with 6,100 pipes. Tobias Olofsson has been working as an organist in Nylöse parish in Gothenburg since 2003, where he also obtained his organist degree from the Academy of Music and Drama. Olofsson regularly performs concerts as an organ soloist, as well as in collaboration with symphony orchestras. He is also active as a pianist, accompanist, and arranger.He begins with Prelude and Fugue in A minor, one of Bach's most beloved and performed organ works. It features explosive drama and breathtaking virtuosity, with the fugue possessing an almost dance-like character. We also hear music by Elfrida Andrée, a pioneering figure in Swedish music. Andrée composed a series of works for organ, including the evocative and melodic Cantilena.As a contrast, Tobias Olofsson plays well-known themes from Star Wars and Piazzolla's evocative Oblivion and Libertango. He concludes with his own piece titled Improvisation, Passacaglia and Fugue in G minor.***You are welcome to eat or drink something before or after the organ concert. The bar in the Main Foyer is open at 11.45–12.15 and 13.15–14.15, offering a variety of delicious food and drinks in our beautiful surroundings.

Insight Organ with Thomas Cornelius

As the name suggests, »Insight Organ« focuses on the »king of instruments«. How does an organ work? What is a windchest, what is a stop? Just a couple of the many questions that organist Thomas Cornelius answers clearly at this discussion concert at Brakula. The handful of organ pipes that he has with him and the organ samples on his computer enable him to give a deep insight into how this many-faceted instrument works. If you attended his course, you are sure to discover completely new sides to the king of instruments at your next organ concert: the Elbphilharmonie organ can be heard in all its splendour on 3 June 2025, with Iveta Apkalna operating the manuals and the pedalboard. The Elbphilharmonie’s »Insight« events give people deeper insights into musical phenomena. Experts in different fields explain aspects from their day-to-day work clearly and entertainingly and are happy to answer the public’s questions.

The power of brass, the might of the manuals

Although the organ is traditionally associated with sacred music and grand concerts, it can also be a fascinating complement to less typical chamber settings. The untypical combinations in this year’s organ concert series provide unique sounds and new, unexpected combinations. The result? We become more open to new interpretational possibilities and free experimenting. The programme of the concert, including pieces by Petr Eben, Otto Hoser, Thierry Escaich and Craig Phillips, shows how well the organ can sound paired with brass instruments and percussion. Hear it for yourselves: a fascinating richness of new possibilities! [Alexandra Kozowicz] Concert duration: approximately 50 minutes

Orgelstunde an Christi Himmelfahrt

Iveta Apkalna, organ

Iveta Apkalna pursues two milestones in organ music: Johann Sebastian Bach’s enormous Chaconne and César Franck’s ground-breaking »Grande pièce symphonique«, whose title alludes to the symphonic sound possibilities of the organ and fully exploits them. The titular organist of the Elbphilharmonie complements her solo programme with three further pieces, which also showcase »her« instrument in full splendour. Johann Sebastian Bach’s Chaconne was originally composed for violin. The contrapuntal entanglements which Bach created within it have, however, inspired several composers to arrange this work for organ. Also, the »Danse Macabre« by Camille Saint-Saëns, originally composed for voice and piano, only became famous in its orchestral version and sounds just as very wonderfully eerie on the organ. César Franck dedicated his »Prélude, fugue et variation« to his friend and organ colleague Saint-Saëns; the three movements seem very different and yet hang together thematically. As one of the forefathers of organ symphony, Franck is at the inception of a development which had far-reaching consequences for organ building and organ music: to this day (and so also at the Elbphilharmonie), the thousand organ pipes of one instrument should ideally cover the full range of symphonic sound. Iveta Akpalna, who, as the titular organist, knows the Elbphilharmonie organ like hardly anyone else, can exploit the entire colourful richness of the instrument to perfectly set the scene for each piece of her programme.

Merseburger Hofmusik, Michael Schönheit Leitung/Orgel

Orgel-Matinee am Pfingstmontag