Symphony Concert

Stravinsky Firebird

With a large orchestra, one can tell whole stories. And one of the greatest musical storytellers was undoubtedly Igor Stravinsky. The sounds and rhythms he conjured up caused scandals more than 100 years ago, but today they inspire us to create grand images like in the cinema. This is also the case with the tale of the "Firebird" with all its sophisticated colors and instruments: eerie and dark sounds for the immortal sorcerer Kastchei, bright colors for the Firebird, and folkloric music for the prince and princess. Unusual orchestral instruments like tambourine and xylophone are also included. JUN 7: Concert as part of the Dresden Music Festival Please note: There will only be a concert introduction on 07.06.

Sanderling and Hadelich

Benjamin Britten anticipated that the Second World War would break out soon. He couldn't stay in England and boarded a ship to Canada. One can hear in his music how unbearable this must have been for him as a committed pacifist. During the voyage, he composed his Violin Concerto in D minor, which will be performed by Augustin Hadelich in our concert. Dmitri Shostakovich's Eighth Symphony also reflects this war, although composed on the other side, in Stalin's Soviet Union. For Shostakovich, it was a balancing act: he didn't want to write optimistic music, but it couldn't be tragic either. The result is a work that mirrors these contradictions. Michael Sanderling is considered one of the leading Shostakovich experts among today's conductors. He experienced his father's close friendship with the composer as a child. <br><br>JUNE 13: Concert as part of the Dresden Music Festival.

Gewandhausorchester, Herbert Blomstedt Dirigent

If the Gewandhaus Orchestra could only perform one work, it would be Bruckner's Seventh Symphony. This piece, premiered by the orchestra, is uniquely tied to its history and represents the deepest emotions. Conductor Herbert Blomstedt receives standing ovations upon entering the stage, and the hall's structural integrity is tested after every performance. The symphony's climax features a powerful cymbal crash in the Adagio, a controversial addition potentially attributed to the first conductor, Arthur Nikisch, and now accepted in the latest edition.

NOSPR / Klauza / Nizioł / The American Dream

The (co)creators of the works to be presented in this concert share an American connection. Bach’s Passacaglia and Fugue in C minor, written for the organ, was arranged for an orchestra by the exquisite conductor Leopold Stokowski, who spent most of his life in the United States, leading such ensembles as the famous Philadelphia Orchestra. In 1940, it was with them that he recorded the soundtrack for Walt Disney’s Fantasia, which has since become a legend, having prepared the symphonic version of the famous Toccata and Fugue in D minor for this purpose in particular (he was awarded an honorary Oscar for his achievements). Allegedly – due to the similarity of their surnames – he was often mistaken with Zygmunt Stojowski, who left Europe for the States at the beginning of the 20th century and remained there until his death in 1946. On the other side of the pond, the latter was chair of the piano department at the New York Institute of Musical Art, also teaching at the Von Ende School of Music. The Violin Concerto in G minor, Op. 22, is an early composition of his, created at the end of the 19th century. Unusually expressive, it is imbued with the Romantic spirit, its violin part glimmering with brilliant virtuosity. Henryk Wars – known in the States as Henry Vars – is predominantly recognised in his homeland as a pioneer of Polish jazz, composer of film music, and author of such smash hits as Miłość ci wszystko wybaczy, Umówiłem się z nią na dziewiątą and Zimny drań. His outstanding symphonic pieces were only discovered in the late 1990s. Among those, there was the exquisite Symphony No. 1 (1949), which blends the late-Romantic sense of drama, flawless instrumentation and a cinematic scope.Agnieszka Nowok-ZychConcert duration (intermission included): approximately 90 minutes

Bartók Mendelssohn Bartholdy Schumann

Jewish Chamber Orchestra Hamburg

The Jewish spring festival of Passover is not only a religious festival, but above all a cultural event that celebrates renewal and freedom. In keeping with this, the Jewish Chamber Orchestra Hamburg (JCOHH) is opening its new concert series »BÜSCHEN MESCHUGGE« under the motto »Hope. Blossom. A new beginning.«

On tour with Petr Popelka

Symphonic Concert

Jacek Brzoznowski, photo: Piotr Rybakiewicz Due to reasons beyond the Warsaw Philharmonic, there has been a change of conductor for the subscription concerts on 4 and 5 April 2025. Instead of Antonello Manacorda, the Warsaw Philharmonic Orchestra will be conducted by Jacek Brzoznowski, who is acting as Assistant Conductor for the current season. The programme of the concerts remains unchanged. Beethoven seems to have ‘commissioned’ his Symphony No. 1 in C major from himself. The ambition to tackle a form that the Romantic aesthetic revolution would soon be treating as a laboratory for absolute music would have suited the Viennese Classic’s character. The increasingly prominent 30-year-old composer dedicated the completed work, on which he worked meticulously for many years, to Gottfried van Swieten, the protector of Joseph Haydn and Wolfgang Amadeus Mozart. It was the achievements of those composers, kindly disposed towards the young Beethoven, with whose output he would hardly have dared to vie at the time, that served as the starting point for his supremely successful debut symphony. The Symphony No. 1 by the twentieth-century classic Dmitry Shostakovich was his diploma piece in the composition class of the Leningrad Conservatory, from which he graduated at the age of 19. Characterised by the composer’s typical play of edgy motifs, march-like rhythms and clear textures, this work soon ventured beyond the university walls, bringing its young composer international acclaim. Subsequent anniversaries of the symphony’s first performance at the Leningrad Philharmonic in 1926 were later celebrated by Shostakovich for the rest of his life, while that famous institution, remembering the premieres of his other works, later repaid the favour by adopting Shostakovich as its patron.

Symphonie fantastique

Hector Berlioz's "Symphonie fantastique" takes the audience on a journey through an artist's life, experiencing a groundbreaking sound journey. The artist, infatuated with a woman, sees her at a ball, seeks peace in the countryside, and has opium-induced visions of his execution and a demonic burial. Béla Bartók's 2nd Violin Concerto also traverses diverse worlds, with Christian Tetzlaff as the soloist, experiencing a thrilling finale.

Dialogues avec Mozart

A play of mirrors featuring composers of the present engaging with those of the past: Webern pays tribute to Bach, Adès to Couperin, and Eötvös to Mozart, whose delightful ‘Haffner’ Symphony is the programme finale.

Amsterdam Sinfonietta

Led by Candida Thompson, Amsterdam Sinfonietta brings together 23 gifted chamber musicians, embodying ensemble-playing at the highest level. Nostalgia for Italy runs through this evening: „The sun shines in all its splendour… at last, I feel a magical change within me,“ Tchaikovsky wrote while visiting the Italian city of Florence. „Souvenir de Florence“ is a tribute to the city he adored, music brimming over with love and joy. The young pianist Bruce Liu, who won first prize at the Chopin Competition in 2021, makes his debut with Amsterdam Sinfonietta, performing works by Chopin – his second piano concerto and the virtuosic Polonaise brillante – both in versions for piano and string orchestra.

Manfred Honeck & Paul Lewis

Paul Lewis and the BRSO had actually planned to make up for Edvard Grieg’s Piano Concerto in these concerts, which was canceled due to the pandemic. Due to a vertebral injury, the British pianist is now playing Beethoven’s Fourth Piano Concerto – instead of the young Norwegian’s unabashedly romantic piece, a work that opens the door to the Romantic era. And it would be hard to find a better interpreter than the proven Beethoven specialist Paul Lewis. In conductor Manfred Honeck’s conception, Schulhoff’s Five Pieces for String Quartet will be brought to life with a more expressive, or, to be precise, more Dadaist character: rhythmically concise, ecstatically pulsating – a playful new territory for the BRSO musicians. And, indeed, every concert that includes the Eroica is bound to be one of the highlights of an orchestral season.

On Tour: Concertgebouw Amsterdam

»Mahler is a must!« That was absolutely clear to Jakub Hrůša when our journey together began in 2016 – as his late Romantic music is »genetically very close« to both him and ourselves. We have already performed five of his symphonies together in recent years. This programme includes the enchanting »Blumine« movement, which Mahler erased from his autobiographical first symphony and described himself as a »blissful infatuation«: he wrote it in 1884 as a young conductor when he had a crush on a soprano. However, his affection was not returned – and a year later, the »Lieder eines fahrenden Gesellen« (»Songs of a Travelling Companion«) emerged from his emotional misery. Together with Konstantin Krimmel, we embark on the restless wanderings of the lovesick artist. After that we say: Not only Mahler is a must. For some time now, Jakub Hrůša has also been working more intensively on Bruckner, as he has recognised that only an orchestra that »really loves this music enough« will be able to make it work. He described the phase in which we immersed ourselves in the Symphony No. 4 in the 2018/2019 season as a »blissful experience with Bruckner« – and it was deepened even further: In the 2020 pandemic, we recorded our Chief Conductor’s personal take on all three versions of the work for a phenomenal and award-winning recording. In this programme, the »Romantic« is performed in the 1878/1880 version – first in Bamberg, as is traditional, of course. Then we will once again become »travelling companions« ourselves and present the works in two of the best halls in Europe: in the Concertgebouw in Amsterdam and (for the 10th time already!) in Hamburg’s Elbphilharmonie – where we have come to love and appreciate the inspiring acoustics.

New Ways with Ellen Reid and Nico Muhly

The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!

8th Subscription Concert

Symphonic Concert

Jacek Brzoznowski, photo: Piotr Rybakiewicz Due to reasons beyond the Warsaw Philharmonic, there has been a change of conductor for the subscription concerts on 4 and 5 April 2025. Instead of Antonello Manacorda, the Warsaw Philharmonic Orchestra will be conducted by Jacek Brzoznowski, who is acting as Assistant Conductor for the current season. The programme of the concerts remains unchanged. Beethoven seems to have ‘commissioned’ his Symphony No. 1 in C major from himself. The ambition to tackle a form that the Romantic aesthetic revolution would soon be treating as a laboratory for absolute music would have suited the Viennese Classic’s character. The increasingly prominent 30-year-old composer dedicated the completed work, on which he worked meticulously for many years, to Gottfried van Swieten, the protector of Joseph Haydn and Wolfgang Amadeus Mozart. It was the achievements of those composers, kindly disposed towards the young Beethoven, with whose output he would hardly have dared to vie at the time, that served as the starting point for his supremely successful debut symphony. The Symphony No. 1 by the twentieth-century classic Dmitry Shostakovich was his diploma piece in the composition class of the Leningrad Conservatory, from which he graduated at the age of 19. Characterised by the composer’s typical play of edgy motifs, march-like rhythms and clear textures, this work soon ventured beyond the university walls, bringing its young composer international acclaim. Subsequent anniversaries of the symphony’s first performance at the Leningrad Philharmonic in 1926 were later celebrated by Shostakovich for the rest of his life, while that famous institution, remembering the premieres of his other works, later repaid the favour by adopting Shostakovich as its patron.

ACADEMY CONCERT

In the popular series of Academy Concerts, students of the Barenboim-­Said Akademie introduce themselves to their audiences as part of their curriculum. Once again, the series includes a number of performances of the Akademie’s orchestra.

Mahler's Unfinished

For many, thirteen is an unlucky number. But for composers, it is rather the number ten, because starting with Beethoven, many were able to complete a ninth symphony, but died before finishing their tenth or didn't dare to begin it at all. Like Mahler, who sketched his Tenth Symphony but had to leave it unfinished. However, even though he did not complete it, the sorrow, pain, and deeply felt anguish in this music remains one of the most moving pieces one can hear in a concert. On the other hand, Shostakovich composed fifteen symphonies, but his Fourth was not heard for decades. The blame lay with Stalin, who put so much pressure on the composer that he withdrew his work. The communist regime found the drastic way in which the composer expressed the horrors of the terror regime to be too dangerous.

Tragedy to Triumph

Schubert’s unstoppable Ninth Symphony is known as ‘the Great’ – and with Vladimir Jurowski bringing all his insight and imagination, you’ll hear why. For Vilde Frang, ‘music is the noblest form of communication, a constant interaction’ – and that generous philosophy, combined with her luminous, deeply expressive sound, has made this remarkable Norwegian violinist a real favourite with British audiences. Tonight, she explores the special poetry of Schumann’s only violin concerto: the tender heart of a concert that begins with Beethoven’s drama-fuelled Coriolan Overture, and ends with the wide-open spaces and pure, sunlit energy of Schubert’s unstoppable Ninth Symphony. It’s known as ‘the Great’ – and with LPO Conductor Emeritus Vladimir Jurowski bringing all his insight and imagination, you’ll hear why.*Please note change of programme from originally advertised.

On Tour: Elbphilharmonie Hamburg

»Mahler is a must!« That was absolutely clear to Jakub Hrůša when our journey together began in 2016 – as his late Romantic music is »genetically very close« to both him and ourselves. We have already performed five of his symphonies together in recent years. This programme includes the enchanting »Blumine« movement, which Mahler erased from his autobiographical first symphony and described himself as a »blissful infatuation«: he wrote it in 1884 as a young conductor when he had a crush on a soprano. However, his affection was not returned – and a year later, the »Lieder eines fahrenden Gesellen« (»Songs of a Travelling Companion«) emerged from his emotional misery. Together with Konstantin Krimmel, we embark on the restless wanderings of the lovesick artist. After that we say: Not only Mahler is a must. For some time now, Jakub Hrůša has also been working more intensively on Bruckner, as he has recognised that only an orchestra that »really loves this music enough« will be able to make it work. He described the phase in which we immersed ourselves in the Symphony No. 4 in the 2018/2019 season as a »blissful experience with Bruckner« – and it was deepened even further: In the 2020 pandemic, we recorded our Chief Conductor’s personal take on all three versions of the work for a phenomenal and award-winning recording. In this programme, the »Romantic« is performed in the 1878/1880 version – first in Bamberg, as is traditional, of course. Then we will once again become »travelling companions« ourselves and present the works in two of the best halls in Europe: in the Concertgebouw in Amsterdam and (for the 10th time already!) in Hamburg’s Elbphilharmonie – where we have come to love and appreciate the inspiring acoustics.

Măcelaru & Faust

For Isabelle Faust only the art matters, not the trappings. She plays with aplomb, focus, deep feeling—that’s how the violinist enthrals the audience, particularly with Shostakovich’s Second Violin Concerto, which, seriously ill in 1967, he »squeezed out note by note, with difficulty«. Sharply reduced, introverted music that concentrates completely on the violin. Music that inquires into where we are going and why.

ENERGIE!

The Folkwang Chamber Orchestra Essen, brimming with energy, takes the Philharmonie stage in April. Beethoven's 7th Symphony, full of dance-like rhythms, and Mendelssohn's Violin Concerto in E minor, with its catchy melodies, promise a captivating performance. Young violinist Anna Im, winner of multiple international competitions, performs the solo. The program also includes "Seven Hills" by German-Turkish composer Sinem Altan, a piece exploring and linking the traditions of her two homelands. This performance is supported by the Guadagnini Foundation, dedicated to supporting exceptional young talents.

Clara-Jumi Kang plays Prokofiev's Violin Concerto No. 1

The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!

Hamburg Philharmonic State Orchestra / Daniel Cho / James Conlon

In this concert with the Hamburg Philharmonic State Orchestra conducted by James Conlon, »the« Czech composer of the 19th century meets »the« Czech composer of the 20th. We are, of course, talking about Antonín Dvořák and Bohuslav Martinů. With his Seventh Symphony, Dvořák was keen to prove that he was far more than merely a master of local Czech influences. »My symphony should turn out in such a way that it moves the world,« and it has done so ever since its acclaimed premiere in London in the 1880s. »I cannot tell you how much the English honour me! I’m written about everywhere and they say I’m the lion of this year’s music season in London.«

Gewandhausorchester, Herbert Blomstedt Dirigent

If the Gewandhaus Orchestra could only perform one work, it would be Bruckner's Seventh Symphony. This piece, premiered by the orchestra, is uniquely tied to its history and represents the deepest emotions. Conductor Herbert Blomstedt receives standing ovations upon entering the stage, and the hall's structural integrity is tested after every performance. The symphony's climax features a powerful cymbal crash in the Adagio, a controversial addition potentially attributed to the first conductor, Arthur Nikisch, and now accepted in the latest edition.

8th Subscription Concert

Last but not least

Towards the end of his eventful life as a composer, Dmitri Shostakovich once again sets out to write a symphony, his fifteenth by now. It is bound to be his last, as the seriously ill Russian is fully aware of. Still, his decision stands: »I would like to write a cheerful symphony.« And indeed, his final symphonic endeavour begins with a twinkle in the eye, mischievously orchestrated. But by the second movement, the mood has already changed, and movement by movement, the score turns into what seems like a musical biography. A painful chorale, moments of eerie trembling, and sharp irony – Shostakovich creates a musical review of his own oeuvre and the horrors of his era. His life as an artist is still marked by panic, even though two decades have gone by since Stalin’s death. Thus it is not surprising that Shostakovich’s sense of humour, essential for survival, keeps drifting towards the grotesque and becomes terrifying. At the end, you can almost hear death itself coming towards you, bones rattling. The fifth and last piano concerto by Ludwig van Beethoven also reflects the political turmoil of the era. No tranquility to compose in early 1809. Instead: the sounds of war, gunfire, and Napoleon just outside of Vienna. Even though the first movement is marked by triumphant pathos, the weighty subtitle Emperor describes but a single facet of this extraordinary piano concerto which includes one of the most heavenly and tender slow movements Beethoven ever wrote: A dream sequence, far from this world, a divine melody that Leonard Bernstein later borrowed for his heart-wrenching Somewhere in the West Side Story. Without further ado, and using the effect of surprise he is known for, Beethoven charges into the finale which features a few innovative particularities: a duet for solo piano and timpani, for example, resembling a distant memory of the drums of war. The Gürzenich Orchestra looks forward to this musical adventure, and to two living legends: Eliahu Inbal as conductor, born 1936 in Jerusalem, and the magnificent Elisabeth Leonskaja at the piano.

Simeon-Orchester / Liv Migdal / Vilmantas Kaliunas

Simeon-Orchester

Hamburger Orchestergemeinschaft / Cornelia Monske / Wolf Tobias M. Müller

The Hamburger Orchestergemeinschaft e.V. has existed since 1904 and is thus the oldest amateur symphony orchestra in Hamburg. Today it performs at least two concerts a year and gives young, very talented conductors and soloists the opportunity to gain experience with orchestras and public performances in large concert halls.

LPO at Saffron Hall

Not for nothing is Schubert’s expansive final symphony known as ‘The Great’ – it is music of broad vistas, lofty ambition, but also a sparkling vivacity and seamlessly stitched, intricate detail.LPO Conductor Emeritus Vladamir Jurowski brings a depth of insight and imagination to this totemic work, and to the arresting drama of Beethoven’s work. He and violinist Vilde Frang are a perfectly attuned pairing to bring out the poetry and eloquence of Schumann’s concerto. Frang is making waves. A deeply expressive communicator with a luminous sound, and astonishing technical facility, she is an ever-thoughtful interpreter.

World Doctors Orchestra / Stefan Willich

Made up entirely of doctors from all over the world who have achieved musical excellence, the World Doctors Orchestra presents a rich French programme, from Tomasi’s brilliant Concerto to two pillars in the repertoire, by Debussy and Saint-Saëns.