Carl-Philipp-Emanuel-Bach-Chor Hamburg / Akademie für Alte Musik Berlin / Hansjörg Albrecht

Date & Time

Sun, Apr 20, 2025, 20:00

Venue

The Magnificat by Carl Philipp Emanuel Bach, in which Mary expresses her love for God, but in which Mary is also celebrated as the epitome of love among mankind, forms the jubilant prelude to the final concert of this year’s International Bach Festival Hamburg with its youthful fire. In this concert, father and son face each other. Can the younger one stand up to the comparison with the older one? Can the son emancipate himself from the father with whom... Read full text

Keywords: Early Music, Vocal Music

Info & Ticket (www.elbphilharmonie.de)

Musicians

Carl-Philipp-Emanuel-Bach-Chor Hamburg
Akademie für Alte Musik Berlin
Hansjörg Albrecht	Director

Program

Magnificat Wq 215	Carl Philipp Emanuel Bach
Kommt, eilet und laufet BWV 249 »Oster-Oratorium«	Johann Sebastian Bach

Give feedback

Last update: Sat, Nov 23, 2024, 10:27

Similar events

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

Carl-Philipp-Emanuel-Bach-Chor Hamburg / Hansjörg Albrecht

Sun, Dec 8, 2024, 11:00

Elbphilharmonie, Großer Saal (Hamburg)

Carl-Philipp-Emanuel-Bach-Chor Hamburg, Mitglieder des NDR Elbphilharmonie Orchesters, Catalina Bertucci (Soprano), Anna Lucia Richter (Mezzo-Soprano), Maximilian Schmitt (Tenor), Ludwig Mittelhammer (Bass), Hansjörg Albrecht (Harpsichord), Hansjörg Albrecht (Director)

»Jauchzet, frohlocket« – for many people, Christmas would be unthinkable without this familiar cry of joy. Bach knows like no other how to capture the words of Luke’s Gospel surrounding the birth of Jesus Christ in musical images. Originally, the various cantatas were spread over different days and were performed on the corresponding public holidays. Today, they are usually grouped together to create a large, coherent Christmas picture. With Johann Sebastian Bach’s incomparable music, this third Advent becomes a musical and aesthetic preparation for Christmas.

Info (www.elbphilharmonie.de)

Carl-Philipp-Emanuel-Bach-Chor Hamburg / NDR Barock / Hansjörg Albrecht

Sat, Feb 8, 2025, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Carl-Philipp-Emanuel-Bach-Chor Hamburg, CPEB Young Artists (Choir ensemble), NDR Barock, Hansjörg Albrecht (Director), Hansjörg Albrecht (Cembalo)

Born the son of a violonist, Antonio Vivaldi received violin lessons at an early age. In 1703, at the age of 25, he became a music teacher at the »Ospedale della Pietà«, an orphanage for young girls. There he gave his pupils music lessons every day from an early age. As a result, most of the girls were able to play two or three instruments and were also familiar with solo singing. Vivaldi remained at the school until 1716, where he not only taught, but also composed concertos and oratorios for the weekly performances. The orchestra of the Ospedale soon gained a legendary reputation that extended beyond the country’s borders and attracted numerous travellers to Italy. »The most remarkable music here in Venice is that of the hospitals,« reported the French scholar Charles de Brosses in a letter dated August 1739. »There are four of them, all inhabited by illegitimate daughters or orphan girls, or those whom their parents are unable to bring up. They are brought up at the expense of the state, and are trained to excel in music. They sing like angels and play the violin, flute, organ, oboe, violoncello, in short, no instrument is so big that it would frighten them. They live in seclusion like nuns. About 40 of them take part in every concert. I assure you, there is nothing more attractive than the sight of a pretty young nun, in a white habit and with a bunch of pomegranates behind her ear, conducting an orchestra and beating time with the greatest grace and precision.« The eroticising effect of such women’s concerts can also be seen in the fact that a not inconsiderable number of male concertgoers use these events to look for a bride...

Info & Ticket (www.elbphilharmonie.de)

Carl-Philipp-Emanuel-Bach-Chor Hamburg / Symphoniker Hamburg / Hansjörg Albrecht

Sat, Jun 8, 2024, 19:30

Laeiszhalle, Großer Saal (Hamburg)

Carl-Philipp-Emanuel-Bach-Chor Hamburg, Neuer Knabenchor Hamburg, Symphoniker Hamburg, Elise van Es (Soprano), Wolfram Lattke (Tenor), Daniel Ochoa (Bass), Hansjörg Albrecht (Director)

»Could you give your orchestra a little longing for spring when you play it, because I had that with me when I wrote it. I would like the very first trumpet blast to sound as if from on high, like a call to awakening,« wrote Robert Schumann to the conductor Wilhelm Taubert about his First Symphony in B flat major, of which he once proudly proclaimed: »It was born in a fiery hour.« It was written in a true creative frenzy: the 31-year-old composer sketched it in just four days at the end of January 1841 and finished the entire score a good three weeks later, on 20 February. This early spring symphony by Robert Schumann forms the opening of this intoxicating evening, the second half of which features the famous Carmina Burana. Carl Orff became famous overnight in 1937 with the large-scale Carmina Burana. Contemporary harmonies and expressive melodies are combined here with elements of medieval music, powerful rhythms and an artful simplicity. Orff composed this work to Latin, Middle and Old High German songs that were found in 1803 in the Benediktbeuren monastery in Bavaria and are today among the most important literary testimonies of the Middle Ages. In three parts, the songs of Carmina Burana tell of love and courtship, of romance and mysticism, but above all of the cycle of life. To this day, the work is one of the most popular pieces of serious music of the 20th century.

Info (www.elbphilharmonie.de)

Carl-Philipp-Emanuel-Bach-Chor Hamburg / Concerto Köln / Hansjörg Albrecht

Fri, Apr 11, 2025, 19:30

Laeiszhalle, Großer Saal (Hamburg)

Carl-Philipp-Emanuel-Bach-Chor Hamburg, Concerto Köln, Hansjörg Albrecht (Director)

The opening concert of this year’s International Bach Festival Hamburg will feature Carl Philipp Emanuel Bach’s Passion cantata »Die letzten Leiden des Erlösers«, written for Hamburg, performed in the Laeiszhalle by the ensemble Concerto Köln, which specialises in historical performance practice, and the Carl-Philipp-Emanuel-Bach-Choir. Together with the final concert on Easter Sunday, it forms the thematic arc of this Bach festival centred on the Passion and Resurrection.

Info & Ticket (www.elbphilharmonie.de)

Carl-Philipp-Emanuel-Bach-Chor / Dresdner Festspielorchester / Hansjörg Albrecht

Tue, Mar 12, 2024, 19:30

Laeiszhalle, Großer Saal (Hamburg)

Dresdner Festspielorchester, Carl-Philipp-Emanuel-Bach-Chor Hamburg, Julia Sophie Wagner (Soprano), Bettina Ranch (Alto), Daniel Johannsen (Evangelist), Andreas Post (Tenor), Matthias Winckhler (Bass-Bariton), Klaus Mertens (Bass), Hansjörg Albrecht (Director)

Bach, Bach, Bach ... Johann Sebastian Bach was a master of pastiche: he loved to reuse his own compositions in new contexts and to copy his pieces in order to demonstrate their flexibility and universality and to give them new expression. With the Lukas-Passion, we hear a work in precisely this pastiche manner. Bach never managed to finish writing this Passion. Now the Bach specialists Lorenz and Christoph Eglhuber, together with the renowned conductor Hansjörg Albrecht, have gone into Bach’s copying and composing room to write this missing Passion from his own compositions. The result is a highly exciting, dramatic work – from pieces written by Bach himself. The Carl-Philipp-Emanuel-Bach-Chor Hamburg brings it to the stage with the finest cast. The soloists are all absolute Bach experts. The Dresdner Festspielorchester is an orchestra made up of members of top-class ensembles of period performance practice. The audience can expect a festive baroque concert in the Passion season!

Info (www.elbphilharmonie.de)

Akademie für Alte Musik Berlin

Tue, Oct 22, 2024, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Akademie für Alte Musik Berlin, Carlo Vistoli (Countertenor), Xenia Löffler (Oboe), Georg Kallweit (Violin)

In their first joint programme, Akamus and the up-and-coming star of the countertenor scene Carlo Vistoli dedicate themselves to key works of church music: Vivaldi set religious texts such as the psalm ‘Nisi Dominus’ to music with bittersweet sadness and operatic verve. The Venetian composer's ‘Stabat mater’, on the other hand, is one of the darkest baroque settings of the pain of Mary, the ‘Mater dolorosa’ and mother of Jesus. ‘I have had enough’ is also one of Bach's most moving cantatas.

Info (www.konzerthaus.de)

Akademie für Alte Musik Berlin

Thu, Jan 23, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Akademie für Alte Musik Berlin, Voces Suaves, Georg Kallweit (Violin)

In their first joint programme, Akamus and the award-winning Basel vocal ensemble Voces Suaves present musical highlights from the generation of German composers before Johann Sebastian Bach and thus the impressive musical world into which he was born. The programme includes works by the extended Bach family as well as by composers who are largely unknown today and who preceded the later Thomaskantor in his important positions in Mühlhausen, Weimar and Leipzig. From the oeuvre of Johann Sebastian Bach, the double-choir motet ‘Der Geist hilft unser Schwachheit auf’ will be performed..

Info & Ticket (www.konzerthaus.de)

Symphoniker Hamburg / Carl-Philipp-Emanuel-Bach-Chor Hamburg / Pablo González

Wed, Jan 1, 2025, 19:00

Laeiszhalle, Großer Saal (Hamburg)

Symphoniker Hamburg, Carl-Philipp-Emanuel-Bach-Chor Hamburg, Mitglieder der EuropaChorAkademie, Jacquelyn Wagner (Soprano), Sophie Harmsen (Mezzo-Soprano), AJ Glueckert (Tenor), Markus Eiche (Bass), Pablo González (Conductor)

Performances of Beethoven’s Ninth Symphony at the Laeiszhalle at the turn of the year have long since become a popular tradition. The composer made music history with the fourth movement of the work, which was premiered around 200 years ago, as he introduced the use of vocal soloists and choir in a symphony that was unusually large in scope and was to change the genre forever. Schiller’s »Ode to Joy«, set to music in this work, conveys a vision of universal brotherhood and unity among all people that transcends national and cultural boundaries. Beethoven set the words to emotionally powerful music, which Berlioz praised as »unsurpassably great«, Mendelssohn complimented as »the highest a human being can achieve«, Wagner hailed as the »human gospel of the art of the future« and Tchaikovsky elicited the poignant judgement: »Beethoven’s Ninth is not only the greatest, but also the most human of all symphonies.«

Info (www.elbphilharmonie.de)

Symphoniker Hamburg / Carl-Philipp-Emanuel-Bach-Chor Hamburg / Pablo González

Tue, Dec 31, 2024, 16:00

Laeiszhalle, Großer Saal (Hamburg)

Performances of Beethoven’s Ninth Symphony at the Laeiszhalle at the turn of the year have long since become a popular tradition. The composer made music history with the fourth movement of the work, which was premiered around 200 years ago, as he introduced the use of vocal soloists and choir in a symphony that was unusually large in scope and was to change the genre forever. Schiller’s »Ode to Joy«, set to music in this work, conveys a vision of universal brotherhood and unity among all people that transcends national and cultural boundaries. Beethoven set the words to emotionally powerful music, which Berlioz praised as »unsurpassably great«, Mendelssohn complimented as »the highest a human being can achieve«, Wagner hailed as the »human gospel of the art of the future« and Tchaikovsky elicited the poignant judgement: »Beethoven’s Ninth is not only the greatest, but also the most human of all symphonies.«

Info (www.elbphilharmonie.de)

AKADEMIE FÜR ALTE MUSIK BERLIN & CHRISTOPHER AINSLIE

Fri, Feb 14, 2025, 19:30

Pierre Boulez Saal (Berlin)

Ainslie Christopher (Countertenor), Members of the Akademie für Alte Musik Berlin and Students of the Barenboim-Said Akademie (Ensemble)

Countertenor Christopher Ainslie—who made his debut with the Boulez Ensemble last season—and the Akademie für Alte Musik Berlin present a selection of arias from the operas of George Frideric Handel that celebrate the joys and sorrows of love. The musicians are joined by students of the Barenboim-Said Akademie who will work with the ensemble for first-hand training in historical performance practice. Instrumental pieces by Handel’s London contemporaries frame the operatic excerpts.

Info & Ticket (www.boulezsaal.de)