Concerts with works by

Gustav Mahler

Sunday Morning Valentine Concert: Mahler and Prokofiev

The Sunday Morning Concert brings you wonderful and much-loved compositions, performed by top musicians from the Netherlands and abroad. Enjoy the most beautiful music in the morning! You can make your Sunday complete by enjoying a delicious post-concert lunch in restaurant LIER.The Royal Concertgebouw is one of the best concert halls in the world, famous for its exceptional acoustics and varied programme. Attend a concert and have an experience you will never forget. Come and enjoy inspiring music in the beautiful surroundings of the Main Hall or the intimate Recital Hall.

Die Unruhenden

CHRISTOPH MARTHALER MEETS GUSTAV MAHLER - TWO GRAND MASTERS RETURN TO THE STAATSOPER HAMBURG Gustav Mahler - star conductor, visionary composer, Hamburg resident by choice. And also: a restless artist who struggled with himself, a “restless one”, as his wife and Viennese icon Alma characterized him. A panorama of human experience unfolds in his music - always oscillating between joie de vivre and dance of death. To mark its 350th anniversary year, the Hamburg State Opera is dedicating special projects to the works of its creative former general music directors and artistic directors and is celebrating the most famous of them at the start of this series. The director Christoph Marthaler, known for his unconventional and playful scenic collages, approaches Mahler's oeuvre in an unusual evening of music theater. This artistic encounter explores the nuances of the composer's songs and instrumental music, interpreted in experimental arrangements by an ensemble of singers, actors and musicians. Following his acclaimed Lulu from 2017, Marthaler now brings this production close to the audience - as an intense chamber play in the opera stabile. Musical direction and arrangement: Johannes Harneit Production: Christoph Marthaler Stage: Duri Bischoff Costumes: Sara Kittelmann Dramaturgy: Malte Ubenauf, Judith Wiemers An evening at low volume Music theater by Christoph Marthaler with compositions by Gustav Mahler

Demons, Sorrow and a Duel

The concert begins with Demon by the British-American composer Freya Waley-Cohen (born 1989) – a co-commissioned work by the Royal Stockholm Philharmonic Orchestra premiered in 2023 by the City of Birmingham Symphony Orchestra. She found inspiration in old folk tales from the British Isles, chilling stories where a demon can manifest anywhere - here as both menacing and playful orchestral music.Menacing indeed. Mahler's heartbreaking Kindertotenlieder – Songs on the Death of Children – has tragic points of connection with Mahler's own life, and the composition would also come to seem like a premonition: a few years later, Mahler's eldest daughter Maria died. The poems by Friedrich Rückert that Mahler chose deal with the parents' grieving process and the slow reconciliation with a painful reality.The world-renowned Nina Stemme is the soloist in this poignant music. ”Nina Stemme has probably never sounded better”, wrote Svenska Dagbladet about a concert with her earlier this year.Royal Stockholm Philharmonic Orchestra's chief conductor Ryan Bancroft leads the orchestra in this program, which concludes with Carl Nielsen. Nielsen's Fourth Symphony is subtitled "Det uudslukkelige" (The Inextinguishable). It's dramatic music written in the midst of the First World War, famous in part for its duel between two timpanists.Read more about chief conductor Ryan Bancroft

Gastspiel in Budapest

Orchestre national du Capitole de Toulouse

Due to a strike on March 12th, access to Cologne Philharmonic will be difficult. Trams and most buses will not operate, but other train services will. Visitors should consider alternative transportation, depart early, and anticipate delays. Cellist Sol Gabetta performs alongside rising star conductor Tarmo Peltokoski, who leads a program connected to Wagner's influence without playing any of his compositions.

Demons, Sorrow and a Duel

The concert begins with Demon by the British-American composer Freya Waley-Cohen (born 1989) – a co-commissioned work by the Royal Stockholm Philharmonic Orchestra premiered in 2023 by the City of Birmingham Symphony Orchestra. She found inspiration in old folk tales from the British Isles, chilling stories where a demon can manifest anywhere - here as both menacing and playful orchestral music.Menacing indeed. Mahler's heartbreaking Kindertotenlieder – Songs on the Death of Children – has tragic points of connection with Mahler's own life, and the composition would also come to seem like a premonition: a few years later, Mahler's eldest daughter Maria died. The poems by Friedrich Rückert that Mahler chose deal with the parents' grieving process and the slow reconciliation with a painful reality.The world-renowned Nina Stemme is the soloist in this poignant music. ”Nina Stemme has probably never sounded better”, wrote Svenska Dagbladet about a concert with her earlier this year.Royal Stockholm Philharmonic Orchestra's chief conductor Ryan Bancroft leads the orchestra in this program, which concludes with Carl Nielsen. Nielsen's Fourth Symphony is subtitled "Det uudslukkelige" (The Inextinguishable). It's dramatic music written in the midst of the First World War, famous in part for its duel between two timpanists.Read more about chief conductor Ryan Bancroft

Glasgow Royal Concert Hall

Robin Ticciati presents Mahler’s blockbuster journey from darkness to light. A trumpet sounds a fanfare, the orchestra cries out, and Mahler’s Fifth Symphony judders into life. But a symphony, said Mahler, must be like the world; and 70 minutes later the whole orchestra is storming the heavens in triumph. It’s a blockbuster journey from darkness to light, told in funeral marches, Viennese waltzes and of course, music’s sweetest love-letter – the rapturous Adagietto. But Robert Schumann knew a thing or two about love, too, and Glyndebourne Music Director Robin Ticciati is joined by pianist Francesco Piemontesi in Schumann’s heartfelt Piano Concerto – music in which these two artists share a very special rapport.

The Glasshouse, Gateshead

Robin Ticciati presents Mahler’s blockbuster journey from darkness to light. A trumpet sounds a fanfare, the orchestra cries out, and Mahler’s Fifth Symphony judders into life. But a symphony, said Mahler, must be like the world; and 70 minutes later the whole orchestra is storming the heavens in triumph. It’s a blockbuster journey from darkness to light, told in funeral marches, Viennese waltzes and of course, music’s sweetest love-letter – the rapturous Adagietto. But Robert Schumann knew a thing or two about love, too, and Glyndebourne Music Director Robin Ticciati is joined by pianist Francesco Piemontesi in Schumann’s heartfelt Piano Concerto – music in which these two artists share a very special rapport.

The Bridgewater Hall, Manchester

Robin Ticciati presents Mahler’s blockbuster journey from darkness to light. A trumpet sounds a fanfare, the orchestra cries out, and Mahler’s Fifth Symphony judders into life. But a symphony, said Mahler, must be like the world; and 70 minutes later the whole orchestra is storming the heavens in triumph. It’s a blockbuster journey from darkness to light, told in funeral marches, Viennese waltzes and of course, music’s sweetest love-letter – the rapturous Adagietto. But Robert Schumann knew a thing or two about love, too, and Glyndebourne Music Director Robin Ticciati is joined by pianist Francesco Piemontesi in Schumann’s heartfelt Piano Concerto – music in which these two artists share a very special rapport.

Mahler’s Fifth

Robin Ticciati presents Mahler’s blockbuster journey from darkness to light. A trumpet sounds a fanfare, the orchestra cries out, and Mahler’s Fifth Symphony judders into life. But a symphony, said Mahler, must be like the world; and 70 minutes later the whole orchestra is storming the heavens in triumph. It’s a blockbuster journey from darkness to light, told in funeral marches, Viennese waltzes and of course, music’s sweetest love-letter – the rapturous Adagietto. But Robert Schumann knew a thing or two about love, too, and Glyndebourne Music Director Robin Ticciati is joined by pianist Francesco Piemontesi in Schumann’s heartfelt Piano Concerto – music in which these two artists share a very special rapport.

Klassische Philharmonie Bonn, Ervis Gega

Popelka, Park · Mozart, Mahler

Dumka & Romanzen Kammerkonzert 6

Musicians of the Komische Oper Berlin present intensive listening experiences in special locations as part of their chamber concerts. From the festive ambience of the Schiller Theater to the monumental vastness of the old hangar at Tempelhof Airport, with new sound worlds at the Kindl site to enchanting experiences in a tent.

Nina Stemme | Königliches Philharmonisches Orchester Stockholm | Ryan Bancroft

World-renowned mezzo-soprano Nina Stemme joins the Royal Stockholm Philharmonic Orchestra, now led by Ryan Bancroft, to perform Mahler's poignant "Kindertotenlieder." Preceding this, the orchestra presents a contemporary homage to Liguria by Swedish composer Andrea Tarrodi. The concert concludes with Tchaikovsky's intensely passionate Symphony No. 5.

Royal Stockholm Philharmonic Orchestra / Nina Stemme / Ryan Bancroft

The British Telegraph described Nina Stemme as undoubtedly »the greatest dramatic soprano of our time«, while German daily Die Welt recently paid tribute to her voice as »a soprano with a dark chestnut shimmer whose soft power is a true event«.The Swedish soprano can now be heard in Gustav Mahler’s highly emotional »Kindertotenlieder« at the Elbphilharmonie, accompanied by the Royal Stockholm Philharmonic Orchestra under the baton of its new chief conductor, young high-flyer Ryan Bancroft. The poet Friedrich Rückert dealt with the death of two of his children in over 400 poems, five of which Mahler set to music. And they have it all: in highly expressive, almost operatic style, Mahler uses all the timbres of the orchestra to illustrate the texts. Tragic, dark and beautiful at the same time – as if made for Nina Stemme. Ryan Bancroft is one of the most exciting young conductors of our time: orchestras and audiences alike are thrilled by his presence: »Even the little finger of his right hand is expressive,« the Times wrote about him. For the first time, he is a guest on the Elbe with »his« Stockholm orchestra, and dedicates the second half of the concert to Tchaikovsky’s Fifth Symphony, which deals in powerful music with the unpredictability of fate.

Ein Liederabend mit Diana Damrau und Jonas Kaufmann

Gustav Mahler and Richard Strauss, two great late-Romantic composers, met in their mid-twenties and remained lifelong friends. Despite their differences, which Mahler compared to miners digging from opposite sides of a mountain, they admired each other. This concert features songs from Mahler's "Des Knaben Wunderhorn" and Strauss's love songs, highlighting their closeness in this genre.

Jukka-Pekka Saraste Marianne Beate Kielland Oslo Filharmoniske Kor Gustav Mahler

“A symphony is like a world - it must contain everything,” Gustav Mahler said to his colleague Jean Sibelius in 1907. None of Mahler’s symphonies is closer to this ideal than Symphony No. 3, which, with its six movements and a total duration of about a hundred minutes, is Mahler’s longest. In 1895, he expressed the same idea to Natalie Bauer-Lechner during the work with Symphony No. 3: “... for me, «symphony» means constructing a world with all the technical means at one’s disposal. The eternally new and changing content determines its own form.”Mahler changed a lot in the symphony up until its premiere in 1902—among other things, the movement titles, which he eventually removed completely. But the working titles have been a joy for posterity since they give an insight into Mahler’s sources of inspiration for the music. “Pan Awakes, Summer Marches In” was the name he gave the first movement. The working titles suggest ascent:What the Flowers in the Meadow Tell Me.What the Animals in the Forest Tell Me.What the Man Tells Me.What the Angels Tell Me.What Love Tells Me. The first movement lasts half an hour and is almost like a symphony in itself. The second and third movements are shorter and lighter in form. In the fourth movement the soloist sings lyrics from Nietzsche’s Also sprach Zarathustra. In the fight movement, the soloist is accompanied by a “choir of angels” (women’s choir and boy’s choir). The last movement is a slow Adagio where Mahler’s world is gathered in a peaceful ending.

Ruby Hughes. Manchester Collective End of My Days

Soprano Ruby Hughes commented on her program "End of My Days," created with the Manchester Collective during the first COVID-19 lockdown: "Music always has the potential to speak to us, to comfort us, and to help us feel understood." The program's songs by John Dowland, Claude Debussy, Gustav Mahler, and other composers, including contemporary ones, empathetically explore themes of love, loss, and separation. Mahler's "Urlicht" conveys the confidence that we will return to where we came from when we enter eternity. The title song by Errollyn Wallen embraces death and celebrates life.

Ian Bostridge | Oberon Trio

For tenor Ian Bostridge, songs are emotional rollercoasters. He consistently pushes his artistic boundaries, always striving for the highest standards. Whether expressing bliss or sorrow, exuberance or melancholy, Bostridge explores the depths of songs with intellectual acuity and emotional range. His distinctive performances have long been synonymous with sophisticated artistry. With the Oberon Trio, he presents a new program dedicated to the pursuit of beauty, featuring works arranged by Matthias Schlothfeldt for tenor and piano trio.

Chant de la Nuit

Mahler’s ‘Song of the Night’ Symphony contains some of the Austrian composer’s finest inspirations: this sweeping nocturnal poem never ceases to fascinate, with its mysterious twists and turns and its darkly sensual lyricism.

Benjamin Appl and James Baillieu: Forbidden Fruit

For lovers of chamber music the Recital Hall is the venue of choice. You can hear the musicians breathe and you can practically touch them. This hall is also cherished by musicians for its beautiful acoustics and direct contact with the audience. In the Recital Hall you can hear the best musicians of our time. Buy your tickets now and experience the magic of the Recital Hall for yourself!

Royal Concertgebouw Orchestra / Klaus Mäkelä

There are few orchestras that can boast as long a Mahler tradition as the Royal Concertgebouw Orchestra from Amsterdam. Even during Gustav Mahler’s lifetime, the orchestra regularly performed his symphonies and helped the composer achieve the fame he enjoys to this day. Klaus Mäkelä, who takes over as the orchestra’s chief conductor in 2027, continues this tradition with a performance of Mahler’s First Symphony. The composer wrote about his work: »It has become so overpowering – it flowed out of me like a mountain stream!« Also on the programme is Arnold Schönberg’s early work »Verklärte Nacht« for string orchestra, based on Richard Dehmel’s poem of the same name. Before Schönberg climbed to the top of the avant-garde and shocked the music world with his twelve-tone music, he wrote deeply Romantic pieces in his younger years, in which he endeavoured to unite the styles of Wagner and Brahms.

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.

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

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: 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.

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.

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.

Musikpreis der deutschen Wirtschaft Ensemble Resonanz Finalkonzert

Seit 1953 fördert der Kulturkreis der deutschen Wirtschaft junge, aufstrebende Talente der klassischen Musik. Der Musikpreis soll dabei zu Beginn einer Musikkarriere als kraftvolle Unterstützung dienen und richtet sich an herausragende Instrumentalisten*innen und Sänger*innen unter 30 Jahren, die im deutschsprachigen Raum leben und mit einer eigenständigen künstlerischen Stimme Brücken zum Publikum bauen. Der im Jahr 2024 neu ausgerichtete Musikpreis der deutschen Wirtschaft umfasst nicht nur das Preisgeld in Höhe von 15.000 Euro, sondern vor allem Auftrittsmöglichkeiten bei renommierten Partnerfestivals im Rahmen der „Kulturkreis-Tournee“. Zu den Partnerfestivals gehören neben dem Heidelberger Frühling das Beethovenfest Bonn, die Festspiele Mecklenburg-Vorpommern, die Ludwigsburger Schlossfestspiele, das Lucerne Festival sowie das Rheingau Musik Festival. Beim Finalkonzert erhalten die drei Finalist*innen die Möglichkeit, sich sowohl der Jury als auch dem breiten Publikum des Festivals zu präsentieren. Dabei werden sie vom Ensemble Resonanz begleitet. Die Jury besteht aus den Intendant:innen und künstlerischen Leiter:innen der Partnerfestivals, Fachberatern sowie dem Musikgremium und der Vertretung der Geschäftsstelle des Kulturkreises.Konzert ohne PauseFinalist*innen Tabea Wink Blockflöte Clarissa Bevilacqua Violine Jonas Müller BaritonDie Finalist*innen werden begleitet vom Ensemble Resonanz unter Dirigent Gregor A. Mayrhofer.Jury Thorsten Schmidt, Anselm Cybinski (Heidelberger Frühling) Steven Walter, Dr. Annette Semrau (Beethovenfest Bonn) Ursula Haselböck (Festspiele Mecklenburg-Vorpommern) Christiane Weber (Lucerne Festival) Maria Luisa Villena-Ossa (Schlossfestspiele Ludwigsburg) Michael Herrmann, Timo Buckow (Rheingau Musik Festival) Prof. Nils Mönkemeyer (Hochschule für Musik und Theater München) Prof. Steven Sloane (Universität der Künste Berlin) Rodger Masou (Geschäftsführung des Kulturkreises) Musikgremium des Kulturkreises (Vorsitzender Prof. Dr. Tobias Wollermann)

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.