ensemble reflektor / David Orlowsky / Katharina Wincor

Ensemble Musikfabrik

Zum ersten Mal waren sich der Franzose Pierre Boulez und der Amerikaner Elliott Carter in den frühen 1950er Jahren in Paris begegnet. Und sofort entstand zwischen diesen Komponisten eine Freundschaft fürs Leben. Das Ensemble Musikfabrik und Bas Wiegers erinnern nun an diese zwei wichtigen Tonsetzer der Moderne mit Kultstücken der Neuen Musik. Und einer der Solisten ist Pianist Pierre-Laurent Aimard, der Boulez und Carter viel zu verdanken hat.Zunächst steht Klarinettist Carl Rosman im Mittelpunkt – in Boulez’ »Domaines« (1968), in dem er den Raum erwandert und dabei den Dialog mit fünf weiteren Instrumentalisten sucht. Ein musikalisches Gespräch entwickelt sich ebenfalls in Elliott Carters »Doppelkonzert« (1961) zwischen zwei Kammerorchestern – mit ihren solistischen Wortführern Benjamin Kobler am Cembalo und Pierre-Laurent Aimard am Klavier. Igor Strawinsky hielt übrigens dieses »Double Concerto« für ein absolutes Meisterwerk!

Ensemble Resonanz / Nils Mönkemeyer / William Youn / Riccardo Minasi

»This Mozart is rock ’n’ roll«, said the NDR about the recording of the last three Mozart symphonies by Ensemble Resonanz under its Principal Guest Conductor Riccardo Minasi. Symphony No. 35 »Haffner« is now on the programme with this level of energy. In addition, Nils Mönkemeyer on the viola and William Youn on the piano explore fragments from Mozart’s pen. The programme ends with Mozart’s symphony in all its elegance, preceded by his thoughts in the form of sketches and fragments, arranged by Isabel Mundry: melodies to whistle along to, a charming minuet, a presto with verve and a rapturous gesture. The casual overture by his contemporary Marianna von Martines invites us into the salon of the 18th century, while in a new chamber concerto Manfred Trojahn distils the muted sound of gardens that have become silent.

Ensemble Resonanz / Abel Selaocoe / Saerom Park

South African cellist Abel Selaocoe redefines the parameters of the cello and combines virtuoso skills with improvisation, singing and body percussion. He has found an ideal ally in Ensemble Resonanz, which also enthusiastically explores innovative and new paths in its concerts, sometimes as the Ensemble in Residence of the Elbphilharmonie Hamburg and sometimes in the chamber music club it founded itself in the Hamburg district of St Pauli. Together they move through worlds, genres and eras – until they arrive together in the future. In »Silent Woods« by Antonín Dvořák, the leaves rustle in the wind with four celli. »When We Were Trees« by Italian cellist and composer Giovanni Sollima takes us through the seasons in a true sound adventure with a mix of different styles – sometimes classical, sometimes folkloristic, sometimes percussive, sometimes meditative. Kate Moore contributes a new composition for cello and Selaocoe’s voice.

Ensemble Resonanz / Abel Selaocoe / Saerom Park

South African cellist Abel Selaocoe redefines the parameters of the cello and combines virtuoso skills with improvisation, singing and body percussion. He has found an ideal ally in Ensemble Resonanz, which also enthusiastically explores innovative and new paths in its concerts, sometimes as the Ensemble in Residence of the Elbphilharmonie Hamburg and sometimes in the chamber music club it founded itself in the Hamburg district of St Pauli. Together they move through worlds, genres and eras – until they arrive together in the future. In »Silent Woods« by Antonín Dvořák, the leaves rustle in the wind with four celli. »When We Were Trees« by Italian cellist and composer Giovanni Sollima takes us through the seasons in a true sound adventure with a mix of different styles – sometimes classical, sometimes folkloristic, sometimes percussive, sometimes meditative. Kate Moore contributes a new composition for cello and Selaocoe’s voice.

David Briggs, Organ

The first part of David Briggs’ concert proceeds majestically, the second part is symphonic. With this British organist, one of the stars of the organ world is gracing the Elbphilharmonie: previously a cathedral organist in Truro and Gloucester, then as artist in residence in New York and Toronto, he is in demand worldwide when the king of instruments is to sound. Because if there is one thing that the British can do it is this: royal splendour! The baroque composer Jeremiah Clarke had already elegantly celebrated this in his »Prince of Denmark’s March«. This is why the contemporary composer Patrick Gowers has written a humorous remark in the rumba rhythm. The story of Pelléas and Mélisande, which Claude Debussy immersed in impressionistic orchestral colours and David Briggs arranged for organ, also plays in the royal atmosphere. Furthermore, Briggs is devoted to Symphony No. 1 by Johannes Brahms. Because this is his speciality: arranging big orchestral symphonies for symphonic organ. Primarily, the symphonies of Gustav Mahler impressed the Brit, but also Brahms is eminently suitable, especially his first symphonic opus. The tremendous pedal point for instance (fittingly the name for accompanying repeated notes) with which the first movement begins is really made to be played on the eponymous instrument. And with a skilful arranger such as David Briggs we can be certain: the other three movements will also sound as if they were composed for the organ. Especially when he has such a symphonic instrument as the organ of the Elbphilharmonie under his feet and hands.

Chamber Orchestra – David Fray

David Afkham & Christian Tetzlaff

This concert promises two exciting novelties: David Afkham will be the third conductor making his debut this season, and a symphony by Franz Schmidt will be performed for the first time ever in a BRSO concert. Afkham, currently Chief Conductor of the Spanish National Orchestra, trained as a conductor with the renowned Bernard Haitink, who was also closely associated with the BRSO – which makes for a fitting debut. Franz Schmidt is one of the Viennese fin-de-siècle composers who is unjustly neglected nowdays. Schmidt himself described the Fourth Symphony, written in 1932-1933 after the death of his 30-year-old daughter in childbirth, as a “requiem.” His epic, late-Romantic style results in deeply-felt music imbued with formal finesse and a tragic, poignant character. Berg’s Violin Concerto, written in 1935, provides the perfect companion piece, since it is also a “requiem” for someone who departed early from this world: Manon Gropius, Alma Mahler’s daughter, who died when she was only 18 years old.

David Afkham & Christian Tetzlaff

This concert promises two exciting novelties: David Afkham will be the third conductor making his debut this season, and a symphony by Franz Schmidt will be performed for the first time ever in a BRSO concert. Afkham, currently Chief Conductor of the Spanish National Orchestra, trained as a conductor with the renowned Bernard Haitink, who was also closely associated with the BRSO – which makes for a fitting debut. Franz Schmidt is one of the Viennese fin-de-siècle composers who is unjustly neglected nowdays. Schmidt himself described the Fourth Symphony, written in 1932-1933 after the death of his 30-year-old daughter in childbirth, as a “requiem.” His epic, late-Romantic style results in deeply-felt music imbued with formal finesse and a tragic, poignant character. Berg’s Violin Concerto, written in 1935, provides the perfect companion piece, since it is also a “requiem” for someone who departed early from this world: Manon Gropius, Alma Mahler’s daughter, who died when she was only 18 years old.

David Afkham & Christian Tetzlaff

Gewandhausorchester, David Robertson Dirigent

Mahler keeps the specific worldly references of his 7th Symphony dark. Alma claims his night music evokes Eichendorff's visions. Diepenbrock says Mahler mentioned Rembrandt. Mahler said the sounds of cowbells from a distance symbolize his otherworldly solitude.