Concerts with works by

Robert Schumann

Concert de midi et demi avec Xinying FU, Samuel BACH, Vincent Pengkung YANG et Zoé HOYBEL

Festival Élite 2025 – Duo Ermitage

Klaus Mäkelä and Janine Jansen with the Concertgebouw Orchestra

Conductor Klaus Mäkelä says that a concert is like a journey through time. The composers featured on this programme were clearly inspired by older music. Robert Schumann had just suffered a nervous breakdown when he wrote his Second Symphony, a work in which he documents his recovery and overtly draws on the music of Bach, Haydn and Beethoven.Benjamin Britten’s music, in which the influence of older English masters is always palpable, is also in dialogue with the past. His Violin Concerto juxtaposes tradition with present-day circumstances: the year was 1939, and the threat of war imminent. With her extraordinary aptitude for capturing mood and atmosphere, violinist Janine Jansen is the perfect interpreter.Klaus Mäkelä says, ‘In Schumann’s music I always feel an aspect of the past, tradition, history. Britten too admired tradition. We make a combination with works from the 17th century by Purcell and Dowland, to prepare the atmosphere of the later works by Britten and Schumann, which contain the past. I think the music benefits from it. The cathedral-like, almost sacred atmosphere of Dowland and Purcell enhances those aspects in Schumann and Britten, putting their works in a different light.’

Klaus Mäkelä and Janine Jansen with the Concertgebouw Orchestra

Conductor Klaus Mäkelä says that a concert is like a journey through time. The composers featured on this programme were clearly inspired by older music. Robert Schumann had just suffered a nervous breakdown when he wrote his Second Symphony, a work in which he documents his recovery and overtly draws on the music of Bach, Haydn and Beethoven.Benjamin Britten’s music, in which the influence of older English masters is always palpable, is also in dialogue with the past. His Violin Concerto juxtaposes tradition with present-day circumstances: the year was 1939, and the threat of war imminent. With her extraordinary aptitude for capturing mood and atmosphere, violinist Janine Jansen is the perfect interpreter.Klaus Mäkelä says, ‘In Schumann’s music I always feel an aspect of the past, tradition, history. Britten too admired tradition. We make a combination with works from the 17th century by Purcell and Dowland, to prepare the atmosphere of the later works by Britten and Schumann, which contain the past. I think the music benefits from it. The cathedral-like, almost sacred atmosphere of Dowland and Purcell enhances those aspects in Schumann and Britten, putting their works in a different light.’

Concertgebouw Orchestra Annual Gala with Klaus Mäkelä

The Concertgebouw Orchestra presents its festive Annual Gala concert for loyal audience members, friends, and donors. The Annual Gala starts with a reception at 19.30, and the fashionable after-party goes on until midnight.Dress code: black tie.Guests are welcomed to a reception at 19.30, after which they will be ushered into the Main Hall for a uniquely memorable conducted by our artistic partner and future chief conductor, Klaus Mäkelä. Leading violinist Janine Jansen performs as soloist in Britten’s deeply moving Violin Concerto, the work with which she made her Concertgebouw Orchestra debut twenty years ago.The Concerto is preceded on the programme by the royal funeral march by Britten’s predecessor Purcell. Another well-known English lament from long ago opens Schumann’s deceptively sunny Second Symphony. Like Britten’s music, Schumann’s is also in dialogue with the past. Klaus Mäkelä says, ‘A concert is a journey. The cathedral-like, almost sacred atmosphere of Purcell enhances those aspects in Schumann and Britten, putting their works in a different light.’After the concert, you are invited to partake in the tantalising follow-up programmes in the foyers of the Concertgebouw. There will be ample opportunity to mingle with other guests, the conductor, soloists, and choir and orchestra members until midnight.

Märchenerzählungen

The hr-Sinfonieorchester's chamber concerts will stop at the Lauterbacher Hohhaus-Konzerte, featuring a program that sparks imagination. It includes Schumann's "Märchenerzählungen," Britten's "Phantasy Quartet," Mahler's early piano quartet movement, and miniatures by Klughardt and Juon, all contributing to a magical atmosphere.

Une soirée avec Chostakovitch

From the sarcastic music of The Nose, to his limpid final symphony featuring quotes from Rossini and Wagner, to his striking orchestration of Schumann’s Cello Concerto—a tribute to the multiple facets of Shostakovich.

Concert de midi et demi avec Xinying FU, Samuel BACH, Vincent Pengkung YANG et Zoé HOYBEL

Gewandhausorchester, Ingo Metzmacher Dirigent

Richard Strauss's "Also sprach Zarathustra" impressed even Nietzsche. Arnold Böcklin's paintings were highly regarded in the late 19th century, inspiring artists like Klinger, Hofmannsthal, Brahms, and Busoni. Reger's Böcklin Suite includes pieces inspired by "The Isle of the Dead", "Bacchanal", "The Hermit Fiddler", and "Play of the Waves". Cellist Julius Klengel premiered both Strauss's and Reger's works at the Gewandhaus. Klengel's student, Rudolf Metzmacher, father of conductor Ingo Metzmacher, created an edition of Schumann's Cello Concerto that's still used today.

Gewandhausorchester, Ingo Metzmacher Dirigent

Richard Strauss's "Also sprach Zarathustra" impressed even Nietzsche. Arnold Böcklin's paintings were highly regarded in the late 19th century, inspiring artists like Klinger, Hofmannsthal, Brahms, and Busoni. Reger's Böcklin Suite includes pieces inspired by "The Isle of the Dead", "Bacchanal", "The Hermit Fiddler", and "Play of the Waves". Cellist Julius Klengel premiered both Strauss's and Reger's works at the Gewandhaus. Klengel's student, Rudolf Metzmacher, father of conductor Ingo Metzmacher, created an edition of Schumann's Cello Concerto that's still used today.

Chopin Piano

Yokohama-born Sachiko Furuhata debuted at Carnegie Hall in November 2017 to a standing ovation. She has since performed at major venues such as San Francisco's Herbst Theatre, Edinburgh's Usher Hall, Leipzig Gewandhaus, Berlin Philharmonic, and Hamburg's Elbphilharmonie. She has played with orchestras like the Russian State Philharmonic and German Radio Philharmonic. She is a popular and sought-after pianist in Europe.

Festkonzert der Universität Duisburg-Essen

Humperdinck's "Hansel and Gretel" Evening Prayer segues into Schumann's rarely heard Horn Concerto, performed by Folkwang University students. Copland's vibrant "Outdoor Overture" contrasts with Stravinsky's evocative "Firebird." Celebrate 60 years of orchestral music in the Ruhr region.

One and only

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.

Olga Pashchenko | Concerto Köln | Harry Ogg

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.

London Symphony Orchestra/Daniel Harding

Night music and love songs – Mahler and Schumann at their romantic best.

One and only

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.

One and only

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.

Katharina Konradi | Catriona Morison | Ammiel Bushakevitz

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.

Tokorazawa

3. Orchesterkonzert

This evening is dedicated to two outstanding Romantic composers: Johannes Brahms and Robert Schumann. When the young Brahms introduced himself to the Schumanns in Düsseldorf, it marked the beginning of an intense friendship. Schumann, impressed by Brahms' talent, published an article praising him as a "strong warrior" whose piano sonatas were already "veiled symphonies." Brahms, like Schumann, initially composed exclusively for piano before exploring other genres. Schumann's Piano Concerto in A minor dissolved the typical classical concerto's solo-ensemble opposition, interweaving piano and orchestra. Brahms' Symphony No. 2, a cheerful counterpart to his weighty first, features soft horns, elegant strings, and a pastoral character, incorporating folk song elements characteristic of German Romanticism. The lyrical side theme of the first movement even quotes his lullaby, "Guten Abend, Gute Nacht."

Tokyo

CHRISTIAN IMMLER & ANDREAS FRESE

In 2013, Jörg Widmann composed his first—and to date his only—song cycle. Das heiße Herz (“The Hot Heart”) is based on the works of a wide range of authors, including Clemens Brentano, Heinrich Heine, Klabund, and Peter Härtling, as well as lesser known poems from Des Knaben Wunderhorn. Christian Immler and Andreas Frese, who have won acclaim for their collaboration on the cycle’s premiere recording, perform Widmann’s songs opposite works by Schumann and Mahler.

Lied concert with Sarah Connolly

The highly acclaimed English mezzo-soprano Sarah Connolly has held the title of Dame Sarah since 2017. Her opera career has been long and successful, spanning from the Baroque to contemporary repertoire. Among the many celebrated productions she has been involved in are Mozart's Titus at the English National Opera, Purcell's Dido and Aeneas at La Scala in Milan, and Richard Strauss's Ariadne auf Naxos at the Metropolitan Opera in New York.Alongside her opera career worldwide, art song has always been a central part of her artistry. Here we hear her in songs that truly showcase her versatility, by composers including Robert Schumann, Gustav Mahler, Barber, Eisler, and Britten.Magnus Svensson is the artistic director of the lied concert series. Alongside concert activities in the Nordic countries and the rest of Europe, he has also performed in Russia and the USA. Since 2012, he has also worked at the Royal Swedish Academy of Music on the re-publishing of older Swedish music.

TRIO ORELON

Founded in 2019, Trio Orelon has been one of the best-kept secrets of the chamber music scene for some time, but that is about to change: ever since winning the ARD Competition in 2023, the three musicians have received international acclaim and invitations to some of the world’s most prestigious concert halls. Consisting of Marco Sanna (Italy), Arnau Rovira i Bascompte (Spain), and Judith Stapf (Germany), an alumna of the Barenboim-Said Akademie, the ensemble makes its Pierre Boulez Saal debut with an ambitious program of works by Schumann, Weinberg, and Rihm.

My Bloody Valentine

From a recital by an Aphrodite on the eve of Valentine’s Day, one might expect a classic ode to romantic love, but singer Aphrodite Patoulidou has something else in mind.

Elsa Grether / Mathias Weber

Three great works of chamber music that refer to the same basic note »A«. But what different worlds they come from in terms of character and form: Schumann's Sonata in A minor, Franck's in A major and Beethoven's monumental Opus 47 – the »Kreutzer Sonata« in A minor and A major. The sensational duo of internationally acclaimed artists, French violinist Elsa Grether and Hamburg Érard pianist Mathias Weber, captivates with its spirited, gripping, sensual and sensitive playing, in which both voices display equal flights of virtuosity as well as delicately merging magical passages. The Érard concert grand piano by César Franck from 1863, on which a breathtaking clarity and transparency of sound can be produced thanks to its parallel sides, lends the interpretation of these magnificent works a historical dimension.

Echo Rising Stars with viola

The French-Dutch violist Sào Soulez Larivière is trained at the Hanns Eisler School of Music in Berlin, where he now resides. He has received numerous awards for his brilliant playing and is also praised for his exciting programs. Since 2023, Sào Soulez Larivière has been teaching at the Mozarteum in Salzburg.Together with pianist Annika Treutler, Sào Soulez Larivière released his first album, Impressions, in 2021. Now they begin the concert with Robert Schumann's enchanting Märchenbilder (Fairy Tales) for viola and piano and conclude with Shostakovich's Sonata for Viola and Piano, his very last composition. In between, a newly written piece by American composer Julia Wolfe, who was once involved in founding the almost cult-favorite music collective Bang on a Can.Rising Stars is a unique and forward-looking collaboration between 24 of Europe’s leading concert halls, all members of the European Concert Hall Organisation (ECHO). A handful of young musicians and ensembles from various countries are selected each year and given the opportunity to tour the concert halls and perform before international audiences. Experience shows that those who are selected as Rising Stars also have internationally successful careers.

Sachiko Furuhata / Piano Recital

Yokohama-born Sachiko Furuhata made her debut in 2017 at Carnegie Hall New York to standing ovations. Since then, she has made guest appearances at various major concert halls such as the San Francisco Herbst Theatre, the Edinburgh Usher Hall, the Leipzig Gewandhaus, the Berlin Philharmonie and the Hamburg Laeiszhalle. As a soloist she has played with orchestras such as the Russian State Philharmonic Orchestra or the German Radio Philharmonic Orchestra.

Biennale of the Berliner Philharmoniker Piano recital with Alexander Melnikov

Was the world a better place in the Romantic era? Alexander Melnikov explores this question through his piano recital – following the theme of our Biennale entitled Paradise lost? On the threat to nature. With Schubert’s Wanderer Fantasy, Melnikov leads you through idyllic landscapes and man-made chasms, reveals the poetry of Schumann’s Waldszenen, and shows atmospheric images of nature in Franz Liszt’s piano works. The forest appears here as a place of retreat – from the self and from encroaching industrialisation. By contrast, Alexander Scriabin prophesies the destruction of the world in the grand conflagration of Vers la flamme.

Kam­mer­kon­zert V

For more than six decades, the chamber concerts by musicians from the Staatskapelle have been a constant feature of the Staatsoper programme. This season, ensembles have come together to select music from different periods, styles and cultures under the theme of ‘playing together’. On eleven dates in the Apollosaal, which with its special atmosphere is an ideal venue for chamber music and communicative interaction between players and listeners, works from the Baroque to the present day will be performed in constellations that are both exciting and harmonious, in which tangible contrasts play just as important a role as a common resonance and the balancing of opposites.

Schicksal – Tschaikowskys Fünfte

The theme "Man and Fate" has fascinated many composers. Beethoven, for example, in his music for Goethe's drama "Egmont", in which a hero tries to achieve his country's freedom but tragically fails. In his fifth symphony, Tchaikovsky illuminates the tragedy of his emotional distress: A dark, murmuring motif runs through the work, for the composer an expression of "complete submission to fate." In between, a pearl of romantic concert literature yet to be discovered by many: Immediately after taking up his post as Düsseldorf music director, Schumann euphorically wrote his Cello Concerto - today a far too rarely performed work.