Classical Concerts in

Bamberg

Jakub Hrůša, Seong-Jin Cho

»To play without passion is unforgivable.« Beethoven famously said – and under the spirited conducting of Jakub Hrůša, emotionally moving concerts happen regularly. In this programme, we delve into the depths of two moving pieces: We start with Beethoven’s last piano concerto, with which he opened the door wide for the incipient Romantic period. He wrote this popular masterpiece at a time of unfavourable circumstances, when Vienna was occupied by the Napoleonic troops. It was premiered in 1811 and features revolutionary, upbeat passages as well as a rich variety of complex emotions. As soloist we welcome the young South Korean artist Seong-Jin Cho, one of the most remarkable pianists of his generation. Our Chief Conductor is always in his element with Martinů’s colourful pieces. He has loved the visionary power of this composer since his childhood and is now President of the International Martinů Circle. The composer was an exceptionally prolific man – and with the Symphony No. 4 we are interpreting one of his impressive instrumental masterpieces: it was written in exile in America in 1945 and reflects his joy over the end of the war as well as his longing for his homeland with folkloristic episodes. Martinů’s Fourth is one of those fascinating pieces that fulfils what Jakub Hrůša once said about the appeal of his Czech compatriot: »It’s wonderful to play Martinů. He is one of those composers who speak directly to everyone – musicians and audience alike. As soon as you put his music on the programme, it’s a success.«

Orgelkonzert: Nathan Laube

Don't miss it – because in this concert in our popular organ series, a phenomenal artist unleashes a musical firework: our guest is the American Nathan Laube, who holds a professorship at the Eastman School of Music in New York and is also a consultant for organ studies at the Royal Birmingham Conservatoire. As a famous organist, he performs internationally in renowned concert halls and loves to engage his audiences and inspire them for the organ world. The programme is very romantic with outstanding works: His varied recital begins with a vibrant play of colours – in the concert overture written around 1885 by the blind composer Alfred Hollins. César Franck wrote an epic tone poem with orchestral effect with his Fantasie aus den drei Stücken für große Orgel in 1878 for the official opening of the first concert hall organ in France. Nathan Laube then also demonstrates his outstanding virtuosity with two arrangements of significant piano works. Mendelssohn wrote his glowing »Variations sérieuses« in 1841 with »true passion«: In the course of the work, a highly original theme is increasingly harmonically veiled and the expressive range is constantly widened. Liszt pointed far into the future with his »Harmonies Poétiques et Religieuses« – and the piece »Funérailles« from this monumental cycle is also one of his most tragic compositions. The programme concludes with a highlight from the oeuvre of French composer Maurice Duruflé: with his three-movement organ suite, he created a milestone of the 20th century – and the finale toccata is still one of the most technically demanding pieces ever written for this instrument.

Jonathan Nott

»Sweet melancholy is the true nature of true love.« This quote by Novalis is an excellent reflection of our relationship with Jonathan Nott: since the turn of the millennium, he held the musical reins together from the podium for 16 years as our Chief Conductor in over 650 always original concerts both in Bamberg and on tour. On his departure, he said somewhat melancholically: »When we all – orchestra and conductor – achieve a result together, then we are influenced by each other. And even if we never see each other again: All the musicians of the Bamberg Symphony are a part of my life.« Fortunately, he has been returning regularly as a guest ever since – and this year’s programme is the start of a concert series with him over the next few seasons, which will also take us to places that were the centres of the chosen musical period. It once again bears his unmistakably individual and highly dedicated handwriting: After all, the English maestro honed our musical profile for musical modernism particularly intensively and lastingly during his time. Now it’s a concentration on two related works that were premiered together in Vienna 120 years ago – with each of the two composers conducting their own piece: Zemlinsky conducted his orchestral fantasy »The Mermaid« based on the well-known fairy tale by Hans Christian Andersen. His former student, then brother-in-law and friend Schönberg performed his tone poem »Pelléas et Mélisande«, based on Maeterlinck’s wonderful drama – which Jonathan Nott has long held dear to his heart. There is no doubt, therefore, that he will be a safe guide through these two works, revelling in late Romanticism.

Jonathan Nott

»Sweet melancholy is the true nature of true love.« This quote by Novalis is an excellent reflection of our relationship with Jonathan Nott: since the turn of the millennium, he held the musical reins together from the podium for 16 years as our Chief Conductor in over 650 always original concerts both in Bamberg and on tour. On his departure, he said somewhat melancholically: »When we all – orchestra and conductor – achieve a result together, then we are influenced by each other. And even if we never see each other again: All the musicians of the Bamberg Symphony are a part of my life.« Fortunately, he has been returning regularly as a guest ever since – and this year’s programme is the start of a concert series with him over the next few seasons, which will also take us to places that were the centres of the chosen musical period. It once again bears his unmistakably individual and highly dedicated handwriting: After all, the English maestro honed our musical profile for musical modernism particularly intensively and lastingly during his time. Now it’s a concentration on two related works that were premiered together in Vienna 120 years ago – with each of the two composers conducting their own piece: Zemlinsky conducted his orchestral fantasy »The Mermaid« based on the well-known fairy tale by Hans Christian Andersen. His former student, then brother-in-law and friend Schönberg performed his tone poem »Pelléas et Mélisande«, based on Maeterlinck’s wonderful drama – which Jonathan Nott has long held dear to his heart. There is no doubt, therefore, that he will be a safe guide through these two works, revelling in late Romanticism.

Public moderated rehearsal

»Listen carefully to all folk songs! They are a treasure trove of the most beautiful melodies and open your eyes to the nature of different cultures.« Robert Schumann once noted these wise words in his collection of »Musical House and Life Rules« – and Jakub Hrůša loves to rummage through the various treasure chests of late Romanticism with its manifold folkloristic styles. He constantly includes pieces by his beloved composer Dvořák on the programme – even the lesser-known ones, as he sees him as an artist »who is always interesting, in every work«. And so we now have the rarely performed »Heldenlied« to discover: a tone poem from 1898, which grippingly revolves around different moods from happiness to sorrow. For fans of sophisticated melodic works, we conclude with a large load of these: the Symphony No. 5 by Martinů, one of Jakub Hrůša’s favourite composers, revels in his typical soundscapes – with a rich array of colours, yearning parts, pulsating rhythms and hymn-like pathos.

Jakub Hrůša, Ray Chen

»Listen carefully to all folk songs! They are a treasure trove of the most beautiful melodies and open your eyes to the nature of different cultures.« Robert Schumann once noted these wise words in his collection of »Musical House and Life Rules« – and Jakub Hrůša loves to rummage through the various treasure chests of late Romanticism with its manifold folkloristic styles. He constantly includes pieces by his beloved composer Dvořák on the programme – even the lesser-known ones, as he sees him as an artist »who is always interesting, in every work«. And so we now have the rarely performed »Heldenlied« to discover: a tone poem from 1898, which grippingly revolves around different moods from happiness to sorrow. For one of the most famous violin concertos from 1878, which we have long had on our wish list, we welcome Ray Chen, a gifted virtuoso: he loves playing with us and can now immerse himself in the emotions alongside our orchestra – because the often emotionally fragile Tchaikovsky always wanted to express »all the agony and ecstasy of love« in his music. For fans of sophisticated melodic works, we conclude with a large load of these: the Symphony No. 5 by Martinů, one of Jakub Hrůša’s favourite composers, revels in his typical soundscapes – with a rich array of colours, yearning parts, pulsating rhythms and hymn-like pathos.

Bertrand de Billy, Kit Armstrong

How is the house built? When are the roof, walls and floors added? And will the structure be able to support itself? These are the questions of an architect – but they can also be the questions of conductors when they approach musical structures with their very own style and passion. It is therefore hardly surprising that Bertrand de Billy, who was already fantasising about becoming a conductor at the age of four, once said: »If it hadn’t worked out with music, I would probably have been an architect.« From an early age, he carefully observed the movements of conductors – whether from the choirboy's perspective or as an orchestral musician. Today, he conducts numerous renowned orchestras himself. His specialities include classics and key works of the 20th century and, as a native of Paris, time and again declarations of love for French music. With us, he combines Gershwin and Ravel, two composers who knew each other well and both absorbed the other’s idiom. Ravel’s dazzling piece »Daphnis et Chloé« is a fairytale story about two foundlings, which premiered in the French metropolis in 1912. Gershwin’s pulsating piano concerto also has something to do with the city of love: although it was composed in 1925 in the jazzy melting pot that is New York, large parts of it were later woven into the film »An American in Paris«. As a congenial sound designer, Bertrand de Billy will work with us and the pianist Kit Armstrong to delicately emphasise the different currents and similarities of the compositions like a musical architect: Because he never wants to be an overbearing chef d'orchestre, but simply to be an artist among artists: »The fulfilment of creating something together is indescribably beautiful.«

Christoph Eschenbach, Christian Schmitt

Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«

Christoph Eschenbach, Christian Schmitt

Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«

Chamber concert: String quartet

This will be an emotionally powerful chamber concert centred around works that are close to the hearts of our four orchestra musicians. One of the composers will be on the podium himself: Gabriele Campagna has been a member of the Bamberg Symphony since 2022, but the violinist is a multi-talented musician who not only plays several instruments, but also passionately composes. His »Three Pieces« for string quartet are brand new and exciting music. Janáček’s magnificent first string quartet is entitled »Kreutzer Sonata« after Tolstoy’s novella, also taking a bow to Beethoven’s work of the same name and, in his words, revolving around »a woman, desperate, grief-stricken, exhausted to death«. He composed it in just one week in 1923 with almost searing vigour, driven by his love for Kamila Stösslová, 38 years younger than him: »note for note« fell »into his pen, glowing«. As a wonderful interlude, there is composing women’s power: the exciting artist Caroline Shaw was explicitly inspired by Haydn’s outstanding last string quartet in 2011, from which she quotes and catapults the whole into the musical world of the 21st century with »ludicrous, delicate, colourful transitions« – until a fading cello solo symbolises only the »memory of fragments of an old melody«. Finally, the dramatic quartet sounds of Schubert’s famous piece from 1824, a year of sorrow for him. It took its thematic material and name from his song of the same name to a poem by Matthias Claudius – and the central variations follow the poetic dialogue between »Death and the Maiden«. A thoroughly harrowing work, but as Schubert once said encouragingly: »Whoever loves music can never be completely unhappy.«

Jakub Hrůša, Jan Bartoš

Fascinating expedition: Thanks to Jakub Hrůša, we and our audience regularly get to enjoy gems from the rich treasure trove of Bohemian music repertoire. He loves to bring the stories to the stage that the composers from there have set to music so ingeniously. Smetana in particular was a master of symphonic poems, and in this programme we play no fewer than three of them. They were all composed decades before his famous cycle »Má vlast« and are far too rarely heard in Germany. Based on literature by Shakespeare, Schiller and Adam Oehlenschläger, they revolve around different characters: »Richard III«, »Wallenstein’s Camp« and »Haakon Jarl«. They were inspired around 1860 by an encounter with Franz Liszt – who once praised Smetana with the words: »Here you have the composer with the true Bohemian heart, the artist gifted by God.« To set the mood for these dazzling tone poems, we also present two richly nuanced works: firstly Stravinsky’s magnificent wind symphonies, in his words a »ceremony in which different groups meet in short litany-like dialogues«. Our Chief Conductor has chosen these pieces, first performed in 1921, because he loves the sound of our wind section so much – and is thus able to present them in a perfect light. There is also a work from the pen of the Czech modernist composer that Jakub Hrůša has long been fond of and therefore always wants to draw attention to: together with the accomplished pianist Jan Bartoš, we will perform Martinů's imaginative fifth and final piano concerto from 1958 – a charming example of the emotional power of his music.

»THE CARNIVAL OF ANIMALS«

The king of the animals, a lion, has taken a little nap after lunch and suspects no harm. But when he wakes up, he is struck by sheer horror. His precious crown has disappeared! Just one day before the grand animal carnival, the most important day of the year when the great ruler wants to be seen by his animal subjects. One thing is certain: the crown must be returned! Juri Tetzlaff has been one of the best-known and most popular faces on children’s television channel KiKA since 1997. He has also been a passionate presenter of concerts for children since 2001. Now he has revitalised a true classic of the genre with a version of his own lyrics. Tetzlaff transforms Camille Saint-Saëns’ »Carnival of Animals« into an exciting detective story, which he himself narrates in his usual exciting style. Enjoy an entertaining hands-on concert with a tricky murder mystery and breathtakingly beautiful music!Costumes are highly welcomed!

Carnival concert: "THE CARNIVAL OF THE ANIMALS"

John Storgårds, Lucas & Arthur Jussen

We are delighted that John Storgårds will be our guest again this season, as he is a highly valued member of our orchestra family. In addition to his regular appearances in Bamberg as a conductor, he was active in other roles last summer: as part of the jury in our Mahler Competition. As a conductor, he is known for his creative instinct in arranging programmes and will guide us through his rich selection of works with a keen sense of rhythm: We start with a waltz from a rarely heard gem – Shostakovich’s operetta, first performed in 1959, which revolves around everyday life in a Plattenbau housing estate. Poulenc could be a real »rascal« – as evidenced by his concerto written in 1932, despite some of its elegiac tones. We are pleased to welcome two young pianists, Lucas and Arthur Jussen, for their debut in Bamberg. The concert will also feature the Symphony No. 3 by Ukrainian composer Victoria Polevá: this haunting piece was written in 2003 and at times creates powerful sonic massifs, but is otherwise characterised by a melancholy tone. This austere mood suits our guest conductor wonderfully as a transition to the initially very pensive nature of Shostakovich’s Symphony No. 6 – which, however, then ends in a sarcastic circus frenzy. This is sure to be a moving experience, as the press raved about our cordial collaboration with the likeable Finn on the podium: »John Storgårds allowed for highly emotional, exuberant, free and joyful music-making, which the superb Bambergers savoured to the full. Everything was just right – a great moment!«

John Storgårds, Lucas & Arthur Jussen

We are delighted that John Storgårds will be our guest again this season, as he is a highly valued member of our orchestra family. In addition to his regular appearances in Bamberg as a conductor, he was active in other roles last summer: as part of the jury in our Mahler Competition. As a conductor, he is known for his creative instinct in arranging programmes and will guide us through his rich selection of works with a keen sense of rhythm: We start with a waltz from a rarely heard gem – Shostakovich’s operetta, first performed in 1959, which revolves around everyday life in a Plattenbau housing estate. Poulenc could be a real »rascal« – as evidenced by his concerto written in 1932, despite some of its elegiac tones. We are pleased to welcome two young pianists, Lucas and Arthur Jussen, for their debut in Bamberg. The concert will also feature the Symphony No. 3 by Ukrainian composer Victoria Polevá: this haunting piece was written in 2003 and at times creates powerful sonic massifs, but is otherwise characterised by a melancholy tone. This austere mood suits our guest conductor wonderfully as a transition to the initially very pensive nature of Shostakovich’s Symphony No. 6 – which, however, then ends in a sarcastic circus frenzy. This is sure to be a moving experience, as the press raved about our cordial collaboration with the likeable Finn on the podium: »John Storgårds allowed for highly emotional, exuberant, free and joyful music-making, which the superb Bambergers savoured to the full. Everything was just right – a great moment!«

Chamber concert: Violin Piano

»A very nice change!« This is how our concertmaster Bart Vandenbogaerde describes his performances as a soloist or in small ensembles. The Belgian showed an enormous musical talent from an early age and quickly fell in love with the violin. He has been playing in our orchestra since 2013 and, according to him, feels »very much at home« in Bamberg. In this chamber concert, he and pianist Margarita Höhenrieder will perform inspiring works that embody the spirit of late Romanticism and the fin de siècle. It begins with a stroke of genius by 23-year-old Richard Strauss: his only violin sonata was composed in 1887 and is a milestone full of sparkling tonal colours, which the Munich-born composer mastered so congenially. Gabriel Fauré was living in vibrant Paris at the time, where his opus 13 was premièred in 1877: The composition impresses with an energetic opening movement with original themes, a fantastic Andante in a swinging barcarole rhythm, an ethereal Scherzo and a whirling finale. The concluding pieces, which originate from the homeland of our concertmaster, are characterised by equally virtuoso upswings: Eugène Ysaÿe was a legendary violinist for whom a number of composers wrote pieces - and about whom it was said: »The birds sing, he plays the violin!« But the Belgian musician wrote impressive music himself, including the Mazurkas published in 1884: In these brilliant pieces, intimate music-making alternates with passionate eruptions. This will be an enchanting chamber concert, not least because Bart Vandenbogaerde plays the music on a very special instrument - a violin made by the famous Italian violin maker Guarneri del Gesù in 1742.

Andris Nelsons

Dominant alpha males or sensitive organisers: conductors are very different – and one might think that the profession has been around forever. Compared to many others, however, it is still relatively young: it only emerged in the 19th century. Before that, only one of the players or the composer himself made a few hand gestures from the piano. But during the Romantic period in particular, the ensembles became larger and larger and the scores became more complex. A person was now needed to coordinate everything in order to avoid chaos. Mendelssohn is regarded as the first conductor in today’s understanding of the term, who set the standard as Gewandhauskapellmeister. He was followed by other big names in Leipzig, including Arthur Nikisch, Wilhelm Furtwängler, Bruno Walter, Kurt Masur and Herbert Blomstedt. Since 2018, Andris Nelsons has been holding the strings together there – but he also loves conducting our orchestra, and we are delighted that he is coming back to Bamberg. Because he is a phenomenon: he lives, breathes and loves music – and celebrates this with an unmistakable trademark of virtually painted lines, conveying strong emotions. The programme he has chosen combines dance works from East and West – after all, music is a wonderful means of building bridges across borders: His Latvian compatriot Arturs Maskats wrote an exciting tango in 2002, while Carlos Simon wrote the colourful »Four Black American Dances« in 2022. There is also a beguiling feast for the ears with Rimsky-Korsakov’s caleidoscope about the storyteller Scheherazade – and Andris Nelsons will certainly conduct again in the same way as he once mentioned in an interview: »Ultimately, you have to follow your heart, that’s where the impulse comes from.«

Andris Nelsons

Dominant alpha males or sensitive organisers: conductors are very different – and one might think that the profession has been around forever. Compared to many others, however, it is still relatively young: it only emerged in the 19th century. Before that, only one of the players or the composer himself made a few hand gestures from the piano. But during the Romantic period in particular, the ensembles became larger and larger and the scores became more complex. A person was now needed to coordinate everything in order to avoid chaos. Mendelssohn is regarded as the first conductor in today’s understanding of the term, who set the standard as Gewandhauskapellmeister. He was followed by other big names in Leipzig, including Arthur Nikisch, Wilhelm Furtwängler, Bruno Walter, Kurt Masur and Herbert Blomstedt. Since 2018, Andris Nelsons has been holding the strings together there – but he also loves conducting our orchestra, and we are delighted that he is coming back to Bamberg. Because he is a phenomenon: he lives, breathes and loves music – and celebrates this with an unmistakable trademark of virtually painted lines, conveying strong emotions. The programme he has chosen combines dance works from East and West – after all, music is a wonderful means of building bridges across borders: His Latvian compatriot Arturs Maskats wrote an exciting tango in 2002, while Carlos Simon wrote the colourful »Four Black American Dances« in 2022. There is also a beguiling feast for the ears with Rimsky-Korsakov’s caleidoscope about the storyteller Scheherazade – and Andris Nelsons will certainly conduct again in the same way as he once mentioned in an interview: »Ultimately, you have to follow your heart, that’s where the impulse comes from.«

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.

Cushion concert: Ruby Red and the pirate with the golden treasure

Oh no! Someone broke into the concert hall overnight and stole the shiny flute from our flutist’s personal locker! Who on earth could have done it? When Ruby Red finds a letter in a bottle on the banks of the Regnitz on her way to rehearsal, the whole thing becomes clear: a pirate has written to take revenge on a Bamberg sailor who stole his golden treasure from him years ago. That’s why the pirate stole everything that glitters and twinkles in Bamberg. Even the flute! Ruby and her friends try to find a solution so that the flutist can get her flute back. But how does one calm down an angry pirate? Perhaps with a musical treasure? Find out how the story ends! Our seat cushion concerts, developed by our education team, take place in the concert hall directly on stage. People of all ages make themselves comfortable on cushions, close to all the action, and are invited to listen, watch and join in.

Cushion concert: Ruby Red and the pirate with the golden treasure

Oh no! Someone broke into the concert hall overnight and stole the shiny flute from our flutist’s personal locker! Who on earth could have done it? When Ruby Red finds a letter in a bottle on the banks of the Regnitz on her way to rehearsal, the whole thing becomes clear: a pirate has written to take revenge on a Bamberg sailor who stole his golden treasure from him years ago. That’s why the pirate stole everything that glitters and twinkles in Bamberg. Even the flute! Ruby and her friends try to find a solution so that the flutist can get her flute back. But how does one calm down an angry pirate? Perhaps with a musical treasure? Find out how the story ends! Our seat cushion concerts, developed by our education team, take place in the concert hall directly on stage. People of all ages make themselves comfortable on cushions, close to all the action, and are invited to listen, watch and join in.

Cushion concert: Ruby Red and the pirate with the golden treasure

Oh no! Someone broke into the concert hall overnight and stole the shiny flute from our flutist’s personal locker! Who on earth could have done it? When Ruby Red finds a letter in a bottle on the banks of the Regnitz on her way to rehearsal, the whole thing becomes clear: a pirate has written to take revenge on a Bamberg sailor who stole his golden treasure from him years ago. That’s why the pirate stole everything that glitters and twinkles in Bamberg. Even the flute! Ruby and her friends try to find a solution so that the flutist can get her flute back. But how does one calm down an angry pirate? Perhaps with a musical treasure? Find out how the story ends! Our seat cushion concerts, developed by our education team, take place in the concert hall directly on stage. People of all ages make themselves comfortable on cushions, close to all the action, and are invited to listen, watch and join in.

Cushion concert: Ruby Red and the pirate with the golden treasure

Oh no! Someone broke into the concert hall overnight and stole the shiny flute from our flutist’s personal locker! Who on earth could have done it? When Ruby Red finds a letter in a bottle on the banks of the Regnitz on her way to rehearsal, the whole thing becomes clear: a pirate has written to take revenge on a Bamberg sailor who stole his golden treasure from him years ago. That’s why the pirate stole everything that glitters and twinkles in Bamberg. Even the flute! Ruby and her friends try to find a solution so that the flutist can get her flute back. But how does one calm down an angry pirate? Perhaps with a musical treasure? Find out how the story ends! Our seat cushion concerts, developed by our education team, take place in the concert hall directly on stage. People of all ages make themselves comfortable on cushions, close to all the action, and are invited to listen, watch and join in.

Krzysztof Urbański, Alina Ibragimova

»I’m happy about every listener, regardless whether they are musically trained or not. Concert halls are not museums and everyone can love music. I feel like an entertainer. And people notice that.« Krzysztof Urbański once said this in an interview – and he really is a charming entertainer on the conductor’s podium. No surprise, as the friendly Pole first wanted to be a dancer and then a football player as a kid before discovering his passion for conducting. He has been mixing up the classical music scene with his distinctive style for many years now. He particularly loves his guest performances with us and we are happy that he will be holding the baton again – in an emotionally charged programme that he has meticulously prepared as he always does. He has a strong affection for Shostakovich’s Symphony No. 5, with which the composer silenced his critics for a short time in 1937 – a typically ambiguous work with which he wanted to portray the »becoming of the personality«, in other words »the individual human being with all his feelings and doubts«. Before that, things are no less turbulent: with Alina Ibragimova as soloist, Sibelius’ brilliant violin concerto is performed. According to the composer’s wife, he was »on fire the whole time« during its composition. And you can hear this in the piece with its majestic melodies and sparkling action – including in the finale, which a critic humorously called a »polonaise for polar bears«, while Sibelius described it as a »danse macabre«. A programme that is perfectly suited to the temperament of Krzysztof Urbański, who once said: »I simply can’t do anything about this energy that slumbers inside of me. I just do what I feel.«

Krzysztof Urbański, Alina Ibragimova

»I’m happy about every listener, regardless whether they are musically trained or not. Concert halls are not museums and everyone can love music. I feel like an entertainer. And people notice that.« Krzysztof Urbański once said this in an interview – and he really is a charming entertainer on the conductor’s podium. No surprise, as the friendly Pole first wanted to be a dancer and then a football player as a kid before discovering his passion for conducting. He has been mixing up the classical music scene with his distinctive style for many years now. He particularly loves his guest performances with us and we are happy that he will be holding the baton again – in an emotionally charged programme that he has meticulously prepared as he always does. He has a strong affection for Shostakovich’s Symphony No. 5, with which the composer silenced his critics for a short time in 1937 – a typically ambiguous work with which he wanted to portray the »becoming of the personality«, in other words »the individual human being with all his feelings and doubts«. Before that, things are no less turbulent: with Alina Ibragimova as soloist, Sibelius’ brilliant violin concerto is performed. According to the composer’s wife, he was »on fire the whole time« during its composition. And you can hear this in the piece with its majestic melodies and sparkling action – including in the finale, which a critic humorously called a »polonaise for polar bears«, while Sibelius described it as a »danse macabre«. A programme that is perfectly suited to the temperament of Krzysztof Urbański, who once said: »I simply can’t do anything about this energy that slumbers inside of me. I just do what I feel.«

Jakub Hrůša, Konstantin Krimmel

»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.

Chamber concert: String quartet

A concert with impressive string quartets – because our orchestra members love to regularly step out of the big orchestra apparatus and work intensively on works close to their hearts as chamber musicians. And the first one is a real piece of work, according to contemporaries even »as incomprehensible as Chinese«, to which the composer rumbled the words »Cattle! Donkeys!«: Beethoven’s magnificent fugue op. 133 – a highly unique late work from 1825 that goes to the limits of what was possible, with monumental architectural structures and, despite some friendly tunes, with enormous inner tensions. One of the pieces to be rediscovered in this programme comes from the beloved homeland of our concertmaster: Ilian Garnetz grew up in a creative environment – and was awarded the title of »Artist of the Moldavian People« as a music mediator and representative of his country. Now, together with his fellow musicians, he would like to introduce the Bamberg audience to the fourth string quartet by his former violin professor and composer Boris Dubosarschi. It was influenced by the work of Shostakovich – with which the concert ends on a stirring note: His string quartet No. 8 was composed in 1960, during which he reflected on the destruction of the city of Dresden during the war in 1945. It expresses his shock at this and was published »in memory of the victims« of that time. However, Shostakovich felt that this subjective work of confession with its own quotations from his pieces could also be dedicated to his own commemoration – and also mentioned that it was »of such a pseudo-tragic nature that I shed many tears while composing it.«

Family concert: MALTE SWEEPS UP! SCHUMANN CAUGHT BY SURPRISE

The things you find when cleaning ... the »Rheinische«? Sounds like an insurance policy. But it’s music by Robert Schumann. And he actually composed it standing up – at a table. Perhaps so that he could dance better? Cleaner and professional polisher Malte will make your ears sparkle. You are in for lively sounds and incredible stories with all the highs and lows from the lives of Clara and Robert Schumann. Guaranteed to be cheerfully dust-free!The concert will be conducted by Oscar Jockel, assistant conductor to Kirill Petrenko with the Berlin Philharmonic and recipient of the Siemens Conductor Scholarship.

Chamber concert: String sextet

Remarkable leaps and bounds for the chamber music playing that our orchestra members love: Borodin was actually a full-time chemist and physician, but his passion for music constantly rekindled, including from 1859 in Heidelberg – where he composed his romantic string sextet in D minor. Some time later, he returned to Russia and the work was lost. It did not turn up for almost 100 years until it was finally discovered in an antiquarian bookshop. And it may still be missing something, as it consists of just two movements – one of which seems to shimmer like Mendelssohn’s »Midsummer Night’s Dream« and the other is laced with folk songs from Borodin's homeland. Dvořák’s sextet, premiered in 1879, also bubbles along folkloristically, which has to do with its chronological proximity to his famous »Slavonic Dances« and emphasises his image as a »Bohemian musician«. Although this was only one aspect of his multifaceted personality, Dvořák loved the cheerful and colourful environment around him, where people liked to celebrate festivals. His work quickly became one of the classics of the genre – and also inspired Schönberg to write his string sextet »Verklärte Nacht« in 1899. It is based on a poem by Richard Dehmel, saying: »There is a glow around everything, you drift with me across a cold sea, but a warmth of your own flickers from you into me, from me into you.« Schönberg found a poetic voice here that reflected his aesthetic stance – and an impressive love story that defied the moral standards of the time. He created a late romantic musical world for this – and the composition is one of his most popular pieces of chamber music today.