Special Concert

Fancy some classical music?!

Who's up for classical music? For the third time, the Philharmonie opens its doors to young people when the Gürzenich Orchestra invites them to »Concert & Kölsch«. Two symphonies, one spectacle: Prokofiev and Glazunov, two Russian masters, meet: Prokofiev's 5th Symphony, composed in 1944 in the midst of the chaos of war, sounds heroic, emotional and full of energy. He paints impressive orchestral pictures - sometimes lyrical, sometimes gloomy, sometimes overwhelming. You are in for a real goosebump moment! Glazunov's Symphony No. 5 begins mysteriously, unfolds into a playful scherzo and culminates in a radiant finale that simply sounds monumental. A real highlight of Romantic music! No wonder this piece is celebrated as a masterpiece. This time, Lorenzo Viotti is on the podium - a young, charismatic conductor who turns late Romantic music into pure sound magic. A concert for everyone who loves epic music and is in the mood for an unforgettable live experience! After the concert, you can round off the evening with DJ sounds by Loush and relaxed conversation in the foyer. Free drink included!

Awakening

Two fifth symphonies from Russia: In 1944, Sergei Prokofiev spent some time in the countryside where he had all the peace and calm he needed in order to compose, while back home in Moscow, people were suffering from hunger and homelessness. What Prokofiev brought to paper is lushly orchestrated, patriotic, and deliberately Russian in its rhythm and melodies. Not to mention a tremendous amount of heroic pathos, in light of the global war against Nazi Germany. In his op. 100, we see the composer as a mature, experienced symphonist, and as grand master of instrumentation. He creates veritable »orchestral paintings« – some lyrical and sumptuous, some dark and warlike. Alexander Glasunow’s fifth symphony, too, has a heroic flavor to it. After a passage of dark fog in the brass section, and an elf-like Scherzo à la Mendelssohn, the symphony grows and eventually culminates in a grand, radiant finale of such majestic splendour that this has become Glasunow’s masterpiece. Both composers personally wielded the baton at the premieres of their fifth symphonies. Unfortunately, we can’t arrange for that to happen this time around. However, the Gürzenich Orchestra is looking forward to continuing its exhilarating collaboration with one of the foremost conductors of the young generation, Swiss-born Lorenzo Viotti. An exceptional talent and magician in the field of late Romantic sound, he most certainly would have appealed to the two Russian symphonists.

SCHALLBRÜCKEN – with starry sky projection

Memorial concert to mark 80 years of Auschwitz liberation

On this memorable day, works will be performed that reflect the music of the Holocaust in a special way: the string trio by Gideon Klein, composed in the Theresienstadt ghetto nine days before his deportation to Auschwitz, the String Quartet No. 5 from 1945 by the Polish-Jewish composer Mieczysław Weinberg. And for the first time, the new work “Aus Geigen Stimmen” by Berthold Tuercke. Its subtitle “with 53 violins, 1 viola, 1 cello and mixed choir for the rescued ‘Violins of Hope’ of Amnon Weinstein” refers to the rescued instruments that the Israeli violin maker Weinstein collected from Holocaust victims. These original instruments will be played in our concert!

Chamber concert: Dialogue of religions

Micro concert #9 at Humboldt Forum Berlin

Behind the partially reconstructed façade of the Berlin Palace, the Humboldt Forum opens up with collections from many cultures around the world. The musicians return to the historic location where the RSB has performed several times in the Palace of the Republic in the past. Inspired by the collections and exhibitions, they will play micro-concerts on the six museum Sundays from November 2024 to April 2025, each at 14:00. Entry is free. The programmes of the concerts will be announced on the websites of the RSB and the Humboldt Forum before the respective dates.

Moderated rehearsal with Vladimir Jurowski

In our moderated rehearsals, visitors get to know the most important genres of classical music: Symphony, solo concerto, symphonic poem. In conversation with the conductor, orchestra musician or soloist, you will learn exciting facts about the works and gain an in-depth insight into the orchestra’s rehearsal work. This is an offer for school classes from intermediate level and adults. Duration: approx. 90 minutes. Participation free of charge. The moderation will be in German.

Sir Simon Rattle · BRSO hip

“HIP” is not only the abbreviation for ’Historically Informed Performance,’ but above all denotes Sir Simon Rattle’s initiative to expand the BRSO repertoire with baroque music – played on period instruments. The Chief Conductor commences with three of Bach’s most beautiful cantatas. Herr, gehe nicht ins Gericht is full of poignant friction and sigh-laden progressions. Every note of Liebster Gott, wenn werd ich sterben contains a longing for death, but also the assurance of an eternal life. Was Gott tut, das ist wohlgetan is probably most akin to chamber music: with its sparse instrumentation and the omission of a final chorale, it occupies a unique position among Bach’s cantatas.

Everyone’s allowed to love / A retro Valentine’s evening

What if, on Valentine’s Day, we stopped worrying about being behind the times, and rejoiced in the spirit of bygone days?On 14th February, that special evening, the NOSPR concert hall will resound with melodies from the first talking movies, the unforgettable compositions by Jerzy Petersburski and Henryk Wars. There will be no dearth of hits we know from the characteristic interpretations by Mieczysław Fogg, Hanka Ordonówna and Adam Aston!The 1920s and 1930s were the golden era of Polish song and the music of the period brings to mind specific associations: elegance, humour and a nostalgic romanticism. The NOSPR stage will host excellent musicians and actors recreating the unique atmosphere of that time. Such pieces as Każdemu wolno kochać [Everyone’s allowed to love], Już nie zapomnisz mnie [No more will you forget me], Tango milonga and Umówiłem się z nią na dziewiątą [Got a date with her at nine], in charming new arrangements by Paweł Steczek, will be performed by the NOSPR chamber orchestra and guest artists, such as Dorota Miśkiewicz, Wojciech Myrczek, Dorota Segda and Cezary Żak. This will be an evening filled with various shades of love.On Valentine’s Day, indulge yourself in romantic nostalgia.Julia Broniowska

JAZZIK #2

Where does jazz begin and classical music end? With this new series, the RSB fuses jazz, classical and minimal music.

Micro concert #10 at Humboldt Forum Berlin

Behind the partially reconstructed façade of the Berlin Palace, the Humboldt Forum opens up with collections from many cultures around the world. The musicians return to the historic location where the RSB has performed several times in the Palace of the Republic in the past. Inspired by the collections and exhibitions, they will play micro-concerts on the six museum Sundays from November 2024 to April 2025, each at 14:00. Entry is free. The programmes of the concerts will be announced on the websites of the RSB and the Humboldt Forum before the respective dates.

Chamber concert: Melting pot along the Danube

The radioeins storytelling concert – “Orlando”

In the evening at the bar, someone tells great stories: Adventure, drama, entanglement, love, wisdom, humour. The radioeins storytelling lounge has been creating exactly this situation since 2023. The actress and author Meike Rötzer tells in her own words what she has previously gleaned from the most fertile of all sources: world literature! radioeins-Erzähllounge is now a radioeins storytelling concert thanks to the RSB! The literary radio format takes to the live stage, musically enhanced by the large symphony orchestra and suitable works from Gustav Mahler to Maria Herz (!). Virginia Woolf’s epic journey through time “Orlando” entangles us in historical gender roles and immortal music on the eve of International Women’s Day.

Magical

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers. Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe. Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.

Magical

1–2–3, 1–2–3, round and round in circles, usually clockwise but not necessarily: experts, and the Viennese, are capable of going counter-clockwise, too – the waltz is more than just a dance. It embodies euphoria, elegance, and pure energy. Plus, its momentum makes for a great flirting method. Spinning around in triple time gets people closer together, and they can test for future compatibility: The less they step on each other’s feet, the better the prospects. In 1911, Maurice Ravel composed a cycle of »noble and sentimental« waltzes for piano, paying homage to Franz Schubert, Frédéric Chopin, and Robert Schumann. The pieces are witty, creative, and full of surprise effects. Still, the premiere ended in disaster, entailing a shower of mockery and incomprehension. Yet Ravel saw no reason to give up: The following year, he wrote a version for orchestra, serving the ballet music genre. This time, things went a bit better, maybe because the music now had an accessible (and quite perfumed) plot, illustrating the story of a young Parisian woman who is wooed by different men. Where? On the shining dance floor, of course, under sparkling chandeliers. Reverie, passion, play, and insanity: The magic of love is what carries us through life, and famously, it is not always a bed of roses. Hector Berlioz knew what he was talking about: His (at the time) unrequited passion for a capricious Irish actress inspired him to write his Symphonie fantastique. Yet this is no tale of dalliance and seduction. Instead it tells of what might follow if things go south: Agony, jealousy, fury, frenzy, in all shapes and forms, and a wide range of nightmares. The dramatic love story centres around an elegant waltz: At a glamorous ball, the lovestruck protagonist meets the prim object of all his pain. But sadly, the triple time fails to do its magic and his beloved doesn’t even take notice of her admirer – she jokes around with others and eventually sets off a psycho-catastrophe. Swedish composer Anders Hillborg dedicated his second piano concerto to the phenomenal American pianist Emanuel Ax. This piece, too, is a dance, a virtuosic sprint across the keys, on the brink of being technically unplayable, and introducing us to unheard-of realms of sound. Sakari Oramo, the Finnish star conductor, returns to the Gürzenich Orchestra.

50 Jahre Weltfrauentag

Must we still talk about it? About the role of women in society, at work and in music? Absolutely! Equality between men and women may be the law, but not yet the reality everywhere. There is hardly a better opportunity to talk about it than on International Women's Day. The Bremen Philharmonic dedicates itself to the topic with Konstantia Gourzi, one of today's most distinguished conductors and composers, who will discuss the self-image, importance, and visibility of women in music with director Guido Gärtner and conductor Hansjörg Albrecht.

Andrea Marcon · BRSO hip

“Historically informed performance” can sound unwieldy. This is why there is a catchier colloquial abbreviation: “HIP,” which denotes something that is “modern,” or even “trendy.” According to BRSO Chief Conductor Sir Simon Rattle, his beloved baroque music, played on period instruments, is “trending” (another colloquial verb), and he wants to add it to the orchestra’s repertory and profile. Andrea Marcon, at the invitation of Sir Simon, will conduct this season’s second HIP matinee. As a deliberate contrast to the first matinee that featured Bach cantatas, the second matinee will focus primarily on the Italian Baroque, including Vivaldi’s well-known Four Seasons. Francesco Maria Veracini’s compositions are likely to be new to some listeners – and perhaps they will even be HIP by the end of the concert.

SCHALLBRÜCKEN – with starry sky projection

Konzert für Alle #8

Tango Fenesta

Micro concert #11 at Humboldt Forum Berlin

Behind the partially reconstructed façade of the Berlin Palace, the Humboldt Forum opens up with collections from many cultures around the world. The musicians return to the historic location where the RSB has performed several times in the Palace of the Republic in the past. Inspired by the collections and exhibitions, they will play micro-concerts on the six museum Sundays from November 2024 to April 2025, each at 14:00. Entry is free. The programmes of the concerts will be announced on the websites of the RSB and the Humboldt Forum before the respective dates.

Duo Jazzical Class

It begins with the baroque Jean-Philippe Rameau and is far from over with George Gershwin's furious »I got rhythm«. »Jazzical Class« is Peter Fleckenstein, principal timpanist in the Gürzenich Orchestra, and clarinettist Žilvinas Brazauskas. As a duo, they have been cultivating the joyful clash of the most diverse genres since 2013. Connected by an entertaining moderation, their programme moves from classical music to tango to jazz, from »Little Green Cactus« to original compositions such as »Wartesaal« and back again with sophisticated arrangements and breakneck improvisations. The joy of playing and the humour with which they use their instruments is unmistakable: in addition to Bb clarinet, bass clarinet, vibraphone, xylophone, djembe and snare drum, they also use piano, voices and bodies. The audience can look forward to a rousing mix of classical, jazz and world music!

Moderated rehearsal with Ruth Reinhardt

In our moderated rehearsals, visitors get to know the most important genres of classical music: Symphony, solo concerto, symphonic poem. In conversation with the conductor, orchestra musician or soloist, you will learn exciting facts about the works and gain an in-depth insight into the orchestra’s rehearsal work. This is an offer for school classes from intermediate level and adults. Duration: approx. 90 minutes. Participation free of charge. The moderation will be in German.

Stabat Mater

Antonín Dvořák's Stabat Mater is a product of personal tragedies: the death of his two-day-old daughter Josefa in 1875, followed by two more children in 1877. Dvořák, a devout man, found solace in composing this piece. Despite his publisher's doubts about its appeal outside Catholic countries, the Stabat Mater, frequently conducted by Dvořák himself, achieved international success.

wounds

Two great Passion settings by Johann Sebastian Bach, the St. Matthew Passion and the St. John Passion, are considered to be among the cornerstones of western music. Another, following the Gospel of Mark, has remained lost to the day. How might it have sounded? Over the past decades, many experts have attempted to reconstruct the St. Mark Passion. While this initially may seem like the search for sunken Atlantis, the philosopher’s stone, or the Holy Grail, from the perspective of musical practice it is actually not so different from what Bach himself did on a regular basis: creative secondary use. Many of his chorales or arias can be spotted more than once in his catalogue of works – usually with a different text and sometimes in an entirely different context. This baroque practice is known as musical parody, and it works both ways: Ton Koopman, one of the world’s foremost Bach performers, decided to start over: In tireless research, he examined works by the great master, trying to find out whether they might serve as musical setting for the words of Mark’s Gospel. Johann Sebastian Bach’s Passions lead us to the core of Christian faith, and to the bleak abysses of all earthly life: desperation, betrayal, cruelty and the fear of death. And yet, underneath everything lies an unwavering trust in God. Ton Koopman’s reconstruction of the St. Mark Passion believably retraces the sufferings of Jesus, from the opening chorus »Geh, Jesu, geh zu deiner Pein« (Go, Jesus, go to Your suffering) all the way to the final chorale in which mourning and pain seem to have been overcome. Now, sung by renowned soloists and the Amsterdam Baroque Choir, the »rebuilt« St. Mark Passion is coming to Cologne for the first time, directed by its musical rebuilder, Ton Koopman.

Chamber concert: Between East and West

Dear to the heart

Supporting the »wir helfen« (we help) campaign by the newspaper Kölner Stadt-Anzeiger is more than just a tradition upheld by the Gürzenich Orchestra – it is of heartfelt importance. This season, contributing to the initiative for underprivileged children and adolescents in the region, the orchestra will play a passionate concert full of deep emotions. Before giving birth to his second concerto for piano and orchestra, with its endless melodies and sweeping, intense drama, Sergei Rachmaninoff had to fight his way through a deep valley of depression and self-doubt. In the end, hypno-therapy is what helped the Russian composer dissolve his writer’s block. Against all expectations, the concerto was a great success: It offers everything ranging from chamber musical intimacy to symphonic opulence, and demands everything from the soloist, emotionally and technically. No problem for the 24-year-old Russian pianist Alexander Malofeev, a sensational shooting star who has won countless prizes and travels the world. Pyotr Ilyich Tchaikovsky described his last symphony, the »Pathétique,« as his best work, as being dear to his heart. He claimed to have put »all his soul« into it. The fact that he died just a few days after the premiere amplifies the impression of someone who condenses all facets of his artistic identity and symphonic oeuvre, and puts them to paper. Yet the musical approach he chooses is absolutely surprising. One would think he might bring his last symphony to a rejoicing and triumphant end, an emphatic summary of his own highly successful career. Instead, Tchaikovsky chooses a melancholy, introspective ending – not so much a real finale as a touching farewell with many open questions, a musical »good bye« which, still today, goes straight to the heart.

Im Klang: Pelleas and Melisande

Beisl Concerts