Christiane Karg, sopranoA summary from original text in German | Read the original
Keywords: Chamber Music, Recital, Vocal Music
| Christiane Karg | Soprano |
| Anna Katharina Wildermuth | Violin |
| Noémi Zipperling | Violin |
| Caspar Vinzens | Viola |
| Lukas Sieber | Cello |
| Felix Mendelssohn Bartholdy | String Quartet in E-flat major, Op. 12 |
These events are similar in terms of concept, place, musicians or the program.
Love is one of those things: on the one hand, it is the most beautiful thing in the world, heaven on earth, the fulfilment of all our longings. Yet it is also often complicated, sometimes even exhausting – and unfortunately often the cause of great sorrow. Love is also the central theme of our internationally sought-after guest conductor's wonderful wish list for his programme in Bamberg: the native of Colombia, who will be Cologne’s new General Music Director from 2025, brings plenty of South American temperament and charisma to the stage in his performances. Andrés Orozco-Estrada wanted to become a musician from an early age – even though he pursued a second vocation for football for some time, seeing himself as a kind of »conducting goalkeeper«. In any case, »dealing with people« was and remains important to him to this day. In addition to works from his home country, the Viennese classical and modern periods, he is particularly fond of the romantic repertoire. And one hobbyhorse he likes to ride from the conductor's podium is the downright musical frenzy of the »Symphonie fantastique«, which revolves around the love of an artist for an unattainable actress. Debussy’s Faun is not really happy either, as the sensual piece only indulges in memories of beautiful nymphs. Christiane Karg interprets Mahler’s at times world-wearisome »Rückert-Lieder« – where at one point it says: »I live alone in my heaven, in my love, in my song!« Highly emotional pieces full of highs and lows perfectly suited to Andrés Orozco-Estrada – who, together with the orchestra musicians, always wants to »bring out every little detail«, but »ultimately wants to go about his work not only with a lot of intelligence, but also with a lot of heart«.
Love is one of those things: on the one hand, it is the most beautiful thing in the world, heaven on earth, the fulfilment of all our longings. Yet it is also often complicated, sometimes even exhausting – and unfortunately often the cause of great sorrow. Love is also the central theme of our internationally sought-after guest conductor's wonderful wish list for his programme in Bamberg: the native of Colombia, who will be Cologne’s new General Music Director from 2025, brings plenty of South American temperament and charisma to the stage in his performances. Andrés Orozco-Estrada wanted to become a musician from an early age – even though he pursued a second vocation for football for some time, seeing himself as a kind of »conducting goalkeeper«. In any case, »dealing with people« was and remains important to him to this day. In addition to works from his home country, the Viennese classical and modern periods, he is particularly fond of the romantic repertoire. And one hobbyhorse he likes to ride from the conductor's podium is the downright musical frenzy of the »Symphonie fantastique«, which revolves around the love of an artist for an unattainable actress. Debussy’s Faun is not really happy either, as the sensual piece only indulges in memories of beautiful nymphs. Christiane Karg interprets Mahler’s at times world-wearisome »Rückert-Lieder« – where at one point it says: »I live alone in my heaven, in my love, in my song!« Highly emotional pieces full of highs and lows perfectly suited to Andrés Orozco-Estrada – who, together with the orchestra musicians, always wants to »bring out every little detail«, but »ultimately wants to go about his work not only with a lot of intelligence, but also with a lot of heart«.
Mignon, Ophelia, and Mary, Queen of Scots—these three towering figures of literature and history provide the inspiration for an evening of words and music created by Christiane Karg, Malcolm Martineau, and actor Helmut Mooshammer. In addition to Goethe settings by Beethoven, Schubert, Wolf, Duparc, and Josephine Lange and Ophelia songs by Brahms, Strauss, Chausson, and Wolfgang Rihm, the program also includes Robert Schumann’s Gedichte der Königin Maria Stuart, the composer’s final vocal cycle written in 1852.
Engelsgleiche Klänge: Christiane Karg stimmt am Ende von Gustav Mahlers vierter Sinfonie ein glockenhelles Sopransolo über das »Himmlische Leben« an und Håkan Hardenberger macht sich, virtuos auf der Trompete singend, auf die Suche nach dem Paradies:Towards Paradise („»Dem Paradies entgegen«) überschrieb Jörg Widmann sein um die Schönheit ringendes Trompetenkonzert, das dessen umjubelter Uraufführungsinterpret Hardenberger zum Leuchten bringt. Und Andris Nelsons, der das weite Werk 2021 als Dirigent aus der Taufe hob, lotet es nun mit dem klangprächtigen Concertgebouworkest aus. Diesem Orchester mit großer Gustav-Mahler-Tradition eignet ein besonderer Zugang zu dessen unheimlich lichten, zauberhaft-ironisch ausklingenden vierten Sinfonie. Gefördert vom Kuratorium KölnMusik e.V.
Founded in 2019, the Berlin-based Leonkoro Quartett won a number of internationally recognised prizes in 2022 and attracted international attention. Since then, the young ensemble’s career has been skyrocketing: »This quartet should soon be one of the most famous quartets of our time,« according to a review of their first album. »Leonkoro« means »lion heart« in Esperanto, an allusion to the famous children’s book of the same name by Astrid Lindgren about two courageous brothers. The quartet is framed by the brothers Jonathan and Lukas Schwarz on first violin and cello. Together with violinist Amelie Wallner and violist Mayu Konoe, they studied with string quartet luminaries such as Heime Müller from the Artemis Quartet and Günter Pichler from the Alban Berg Quartet.
According to the accounts of his contemporaries, Wolfgang Amadeus Mozart was not only a gifted composer but also an enthusiastic quartet player on violin and viola, a passion he shared with his friend and mentor Joseph Haydn. One would have loved to have been there when the two unpacked their instruments to engage in joint rehearsals and music-making. What musical ideas were exchanged here? How was the timbre of Mozart’s playing composed and what ideas of articulation did he come up with? In any case, his admiration for Haydn seems to have been very great. Mozart dedicated a cycle of six string quartets in all to him in 1785. In Rudolf Kelterborn’s string quartet, styles and musical influences mix to the utmost. Complexity, plurality and stylistic diversity intertwine here and in this way create an extremely contemporary sound painting that is at the same time deeply rooted in musical tradition. In the second part, the Amaryllis Quartet will be joined by the solo flutist of the Bavarian Radio Orchestra, Henrik Wiese, and will trace the musical journey back to Mozart via the romantic-impressionist music of Albert Roussel and Mozart’s contemporary Johann Martin Kraus. Mozart’s instrumental music would be inconceivable without his opera compositions, so the evening concludes with an aria from »Le nozze di Figaro«, linking the two genres that were so important to Mozart.
Please note the change of artist: The Doric String Quartet unfortunately had to cancel its appearance in this concert due to health reasons. The outstanding Kuss Quartet has kindly agreed to step in. The programme featuring two late string quartets by Beethoven remains unchanged. Beethoven’s late string quartets are among the most fascinating that 19th century music history created: passionate, stirring and yet full of disruptions, they have asked questions of their listeners ever since and are not for nothing regarded as forerunners of the modern age. His final string quartet is a sophisticated composition with catchy melodies, unexpected twists and turns as well as an eerily beautiful slow movement consisting of variations. Its finale entitled »Der schwer gefasste Beschluss« (The Difficult Decision), in particular, made the work famous and provides conjectures to this day as to why the composer probably inwardly slaved away. The String Quartet in A minor, which he composed after a long illness, also offers an insight into Beethoven’s soul. At the centre of this five movement work is an intimate »Dankgesang eines Genesenen« (Thanksgiving of a Convalescent) – touching music which makes you forget time and space. The Kuss Quartet contrasts Beethoven’s emotional depth with a piece dedicated to them that takes a tongue-in-cheek look at the luminary: The composer Bruno Mantovani quotes the thematic material of all Beethoven quartets – within eleven minutes. »My relationship with Beethoven is very intimate, so it seemed impossible for me to compose a homage to him. For this Sixth Quartet, intimidated by the prospect of a confrontation with a corpus that for me, represents the Nirvana of musical history, I decided to turn toward a humorous project.«
The up-and-coming Alinde Quartet is regarded as one of the most exciting chamber music ensembles of its generation, as confirmed by numerous awards at international competitions (including the »Città di Pinerolo« and »Salieri-Zinetti«) and invitations to perform at Europe’s most prestigious concert halls and festivals, such as the Philharmonie and Funkhaus Köln, the Konzerthaus Berlin, the Elbphilharmonie Hamburg and the Verbier Festival. The Alinde Quartet is named after Schubert’s song of the same name, which captures the four musicians’ passionate search for musical truth and their fascination with the impermanence of the world.
Formed in 2019, after a few successful competitions, the career of this young ensemble is heading sharply upwards: »This quartet should very soon be one of the most famous quartets of present times,« it says in a review of their first album. At the Elbphilharmonie, the four musicians can prove all their qualities because their programme passes through over 200 years of music history and, consequently, calls for the greatest flexibility. In the artificial language of Esperanto, »Leonkoro« means »Lionheart«, a reference to the famous children’s book of the same name by Astrid Lindgren about two courageous brothers. Because this quartet is framed on first violin and cello by brothers Jonathan and Lukas Schwarz. Together with violinist Amelie Wallner and violist Mayu Konoe, they studied under string quartet luminaries, such as Heime Müller from the Artemis Quartet and Günter Pichler from the Alban Berg Quartett. And did so successfully: within the briefest time, they scooped up prizes at the International String Quartet Competition at London’s Wigmore Hall, at the Concours International de Quatuor in Bordeaux and the MERITO String Quartet Award. In their programme, they firstly contrast the final, very contemplative quartet by Wolfgang Amadeus Mozart with the youthful light-hearted early work of Paul Hindemith. Both composers were on the viola at their respective premiere – and so were still able to apply the finishing touch to their music. Mendelssohn gave the notes for his quartet to his brother, a passionate cellist, for his birthday. He was quite obviously happy about this and performed the work very successfully. To this day, the second movement, a true »song without words«, and the third movement, which evokes dancing fairies from Mendelssohn’s »A Midsummer Night’s Dream, are particularly delightful«.
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