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Similar events

These events are similar in terms of concept, place, musicians or the program.

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Akademie für Alte Musik Berlin

Tue, Mar 25, 2025, 20:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Mitglieder der Akademie für Alte Musik Berlin, Xenia Löffler (Oboe), Erwin Wieringa (Horn), Mayumi Hirasaki (Violin), Georg Kallweit (Violin), Georg Kallweit (Viola), Clemens-Maria Nuszbaumer (Viola), Katharina Litschig (Cello)
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Artistic depiction of the event
Finished

Akademie für Alte Musik Berlin

Wed, Mar 26, 2025, 20:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Mitglieder der Akademie für Alte Musik Berlin, Xenia Löffler (Oboe), Erwin Wieringa (Horn), Mayumi Hirasaki (Violin), Georg Kallweit (Violin), Georg Kallweit (Viola), Clemens-Maria Nuszbaumer (Viola), Katharina Litschig (Cello)
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Artistic depiction of the event
Finished

Akademie für Alte Musik Berlin

Thu, Mar 27, 2025, 20:00
Konzerthaus Berlin, Kleiner Saal (Berlin)
Mitglieder der Akademie für Alte Musik Berlin, Xenia Löffler (Oboe), Erwin Wieringa (Horn), Mayumi Hirasaki (Violin), Georg Kallweit (Violin), Georg Kallweit (Viola), Clemens-Maria Nuszbaumer (Viola), Katharina Litschig (Cello)
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Jan 31, 2025, 19:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Feb 1, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Joana Mallwitz

Sun, Feb 2, 2025, 16:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Feb 21, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Antoine Tamestit (Viola)
Off to Italy! If not in person, you can at least escape the grey of Berlin for a while with the Konzerthausorchester, Joana Mallwitz and our former artist in residence violist Antoine Tamestit. First, Swedish composer Andrea Tarrodi will take you through picturesque Ligurian villages. The 21-year-old Felix Mendelssohn also fell in love with the southern landscape: ‘There is music in it, it sounds and resounds from all sides.’ He wrote to his sister Fanny: ‘In general, composing is now fresh again. The ‘Italian Symphony’ is making great progress; it will be the funniest piece I have written.’ However, the first version was only completed with great effort in the Berlin winter of 1832 - you would never know that from listening! Hector Berlioz travelled through the Abruzzo mountains. Impressions from this tour and inspiration from Byron's poem ‘Childe Harold's Pilgrimage’ resulted in a stylistically unique symphony in which the solo viola seems to embody the thematically rather static traveller, while the orchestra seems to embody the romantic, roaring world, including a serenade to the lover and a description of a robbers' camp.
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Feb 22, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Antoine Tamestit (Viola)
Off to Italy! If not in person, you can at least escape the grey of Berlin for a while with the Konzerthausorchester, Joana Mallwitz and our former artist in residence violist Antoine Tamestit. First, Swedish composer Andrea Tarrodi will take you through picturesque Ligurian villages. The 21-year-old Felix Mendelssohn also fell in love with the southern landscape: ‘There is music in it, it sounds and resounds from all sides.’ He wrote to his sister Fanny: ‘In general, composing is now fresh again. The ‘Italian Symphony’ is making great progress; it will be the funniest piece I have written.’ However, the first version was only completed with great effort in the Berlin winter of 1832 - you would never know that from listening! Hector Berlioz travelled through the Abruzzo mountains. Impressions from this tour and inspiration from Byron's poem ‘Childe Harold's Pilgrimage’ resulted in a stylistically unique symphony in which the solo viola seems to embody the thematically rather static traveller, while the orchestra seems to embody the romantic, roaring world, including a serenade to the lover and a description of a robbers' camp.
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Christoph Eschenbach

Fri, Mar 28, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Christoph Eschenbach (Conductor), Simon Haje (Piano)
Our former chief conductor Christoph Eschenbach is back on the podium of the Konzerthausorchester and is bringing a highly talented young pianist with him: The 20-year-old Simon Haje will play Beethoven's fourth piano concerto from 1805, which already points in the direction of Romanticism. Robert Schumann was not the only one who loved the work, which is the first of its genre to begin directly with the solo instrument. The audience also liked it extraordinarily well straight away. Bruckner's Symphony No. 3 did not fare so well at first, which is why the easily unsettled composer revised it more often than any other of his nine symphonies. It was not until 1890 (17 years after the completion of the first version) that musicians and Viennese audiences finally stopped objecting and the work was finalised!
Artistic depiction of the event
Finished

Konzerthausorchester Berlin, Christoph Eschenbach

Sat, Mar 29, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Christoph Eschenbach (Conductor), Simon Haje (Piano)
Our former chief conductor Christoph Eschenbach is back on the podium of the Konzerthausorchester and is bringing a highly talented young pianist with him: The 20-year-old Simon Haje will play Beethoven's fourth piano concerto from 1805, which already points in the direction of Romanticism. Robert Schumann was not the only one who loved the work, which is the first of its genre to begin directly with the solo instrument. The audience also liked it extraordinarily well straight away. Bruckner's Symphony No. 3 did not fare so well at first, which is why the easily unsettled composer revised it more often than any other of his nine symphonies. It was not until 1890 (17 years after the completion of the first version) that musicians and Viennese audiences finally stopped objecting and the work was finalised!