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Concerts in Köln in season 2024/25 or later
The Isidore Quartet, hailing from New York, brings a unique Big Apple sound to Old Europe. Formed in 2019, they won the Banff Competition in 2022 and the Avery Fisher Grant in 2023. Influenced by the Juilliard String Quartet, they perform old and new music with a fresh perspective. They are also involved with "Project: Music Heals Us."
Oum El Ghaït Benessahraoui, a Moroccan singer, combats stereotypes against Muslim women and Arabs through her music. Her charismatic stage presence, adorned in vibrant attire, evokes a queen from Arabian Nights. Yet, her music blends Moroccan sounds with jazz, soul, and electronic elements. Her lyrics and music, grounded in the present, reflect modern Morocco and address contemporary issues.
This season, Jan Lisiecki presents a special project: three concerts featuring all of Beethoven's piano concertos and the Triple Concerto. The series begins with the contrasting pair of Piano Concertos Nos. 1 and 3 in C major and C minor. Lisiecki already shone with the Academy in 2018, stepping in for the ailing Murray Perahia. The result: a magnificent concert and some of the most exciting Beethoven albums of recent years.
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!
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.
Am zweiten Abend des groß angelegten Beethoven-Projekts von Jan Lisiecki und der Academy of St Martin in the Fields stehen mit den Klavierkonzerten Nr. 2 und Nr. 4 zwei weitere Klassik-Highlights auf dem Programm.Sie sind ein eingespieltes Team: Jan Lisiecki und die Academy of St Martin in the Fields. Das war bereits 2018 zu spüren, als Lisiecki mit allen fünf Beethoven-Konzerten für den erkrankten Murray Perahia einsprang. Die Verbindung zwischen Pianist und Ensemble ist seitdem eine besondere. Und der Wunsch von beiden Seiten, Beethovens Konzerte ein weiteres Mal in die Konzertsäle zu bringen, wird im Januar 2025 endlich Realität. An drei Abenden können Sie erleben den kompletten Beethoven-Zyklus erleben!
Jan Lisiecki präsentiert in dieser Saison gemeinsam mit der Academy of St Martin in the Fields sämtliche Klavierkonzerte Beethovens – und als Sahnehäubchen auch noch das nicht allzu häufig aufgeführte Tripelkonzert. Jan Lisiecki geht (mal wieder) aufs Ganze. Der sympathische Kanadier mit dem »profilscharfen Individualstil« (Der Spiegel) spielt in dieser Saison sämtliche Klavierkonzerte Beethovens – und als Sahnehäubchen auch noch das nicht allzu häufig aufgeführte Tripelkonzert. Zur Seite steht ihm dabei die Academy of St Martin in the Fields, mit der er bereits 2018 – als Einspringer für Murray Perahia – alle fünf Konzerte aufführte.
Rachmaninoff's second piano concerto, known for its emotional depth and technical demands, is tackled by the award-winning 20-year-old pianist Yunchan Lim. Following this, jazz star Wynton Marsalis demonstrates his creative power as a composer within a classical music setting.
Rachmaninoff's second piano concerto, known for its emotional depth and technical demands, is tackled by the award-winning 20-year-old pianist Yunchan Lim. Following this, jazz star Wynton Marsalis demonstrates his creative power as a composer within a classical music setting.
Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.
Leipzig was a musical hotspot in the 19th century, attracting prominent composers like Felix Mendelssohn Bartholdy. Pianist Olga Pashchenko and Concerto Köln explore the city's musical past, tracing connections between Mendelssohn, Robert Schumann, and Clara Wieck. Chopin also visited, praising Clara's piano playing and enjoying Schumann's hospitality.
Sibelius' Violin Concerto and Bartók's Concerto for Orchestra, featuring soloist Julia Fischer and the Royal Philharmonic Orchestra, promise an intense and highly virtuosic performance. Fischer emphasizes the natural element in Sibelius' concerto, which is among her favorites. Bartók's concerto, known for its strong strings and daring wind passages, also stands out for its intense sound.
What do we see in the mirror each morning? What do babies see when they first discover their reflections? Perhaps laughter, tired eyes, or traces of lost youth. We might perceive doppelgangers or strangers, or encounter faces old and new. Our soloist searches for her reflection and shadow in the concert hall, her oboe singing of passion, rage, and melancholy. She follows Handel's footsteps to London, eventually returning to present-day Cologne. There's much to hear and see for all ages!
What do we see in the mirror each morning? What do babies see when they first discover their reflections? Perhaps laughter, tired eyes, or traces of lost youth. We might perceive doppelgangers or strangers, or encounter faces old and new. Our soloist searches for her reflection and shadow in the concert hall, her oboe singing of passion, rage, and melancholy. She follows Handel's footsteps to London, eventually returning to present-day Cologne. There's much to hear and see for all ages!
Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.
What do we see in the mirror each morning? What do babies see when they first discover their reflections? Perhaps laughter, tired eyes, or traces of lost youth. We might perceive doppelgangers or strangers, or encounter faces old and new. Our soloist searches for her reflection and shadow in the concert hall, her oboe singing of passion, rage, and melancholy. She follows Handel's footsteps to London, eventually returning to present-day Cologne. There's much to hear and see for all ages!
Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.
What do we see in the mirror each morning? What do babies see when they first discover their reflections? Perhaps laughter, tired eyes, or traces of lost youth. We might perceive doppelgangers or strangers, or encounter faces old and new. Our soloist searches for her reflection and shadow in the concert hall, her oboe singing of passion, rage, and melancholy. She follows Handel's footsteps to London, eventually returning to present-day Cologne. There's much to hear and see for all ages!
Experience a small break from everyday life at the Cologne Philharmonic Hall – inspiring, touching, authentic. A place full of music, for an unusual lunch break, a break from the city noise or simply a break from everyday life. The Philharmonic Lunch is made possible by KölnMusik together with the WDR Symphony Orchestra and the Gürzenich Orchestra Cologne.
Katharina Konradi, known for her success in opera and operetta, prefers art songs. She will perform a rare duet concert in Cologne with mezzo-soprano Catriona Morison and pianist Ammiel Bushakevitz. Their program focuses on romantic and late-romantic duets—hidden gems rarely heard in concert halls.
What do we see in the mirror each morning? What do babies see when they first discover their reflections? Perhaps laughter, tired eyes, or traces of lost youth. We might perceive doppelgangers or strangers, or encounter faces old and new. Our soloist searches for her reflection and shadow in the concert hall, her oboe singing of passion, rage, and melancholy. She follows Handel's footsteps to London, eventually returning to present-day Cologne. There's much to hear and see for all ages!
Experience a guaranteed sound rush when the Bamberg Symphony Orchestra and Ray Chen tackle Tchaikovsky's luscious Violin Concerto. The top violinist presents himself as always both virtuosic and approachable. Ray Chen, also a social media star, believes musicians should be ambassadors for their art, making classical music accessible through entertaining videos and flawless performances.
Exceptional violinist Arabella Steinbacher inspired Luxembourgish composer Georges Lentz to create an ethereal violin concerto. Its sound expands through the Philharmonie like starlight under the Australian Outback sky, Lentz's composing location. Olga Neuwirth's "Masaot" delves into a river of memories and associations, music as both home and foreign land. Georges Aperghis' eighth Etude ignites a new celebration of orchestral virtuosity.
The WDR Big Band's "Young Cats" concerts showcase exceptional young jazz talents. This time, Belgian saxophonist Simon Comté and Bavarian double bassist Nils Kugelmann are featured. The concerts will be conducted by Jakob Helling.
In the 19th century, piano arrangements played a crucial role in disseminating symphonic works, with Franz Liszt's arrangements of Ludwig van Beethoven's symphonies considered the pinnacle. Igor Levit takes on this challenge. He performs Liszt's piano version, a feat that demands everything from a pianist. Levit also presents music by Johann Sebastian Bach and late piano pieces by Johannes Brahms.
A diverse international group of outstanding soloists, sponsored by the UK's Young Classical Artists Trust (YCAT), is causing a stir. Schubert's magnificent Octet demonstrates a beautiful complement of wind and string instruments, bridging to the present. Inspired by it, Samuel Coleridge-Taylor composed his romantic Nonet. YCAT-Collective musicians continue to inspire audiences.
Beethoven, though never in Italy, had connections. His 3rd Symphony, "Eroica", was dedicated to Napoleon, exiled to Elba. Riccardo Minasi conducts Ensemble Resonanz. The program also features works by Locatelli (concerti grossi), Handel (operatic pieces), and Cherubini (aria from "Medea"), whom Beethoven admired.
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