Ensemble Resonanz / Leila Josefowicz / Claire Chase

Date & Time

Wed, Jan 22, 2025, 20:00

Venue

»Man is only completely a man when he plays.« Friedrich Schiller already understood it, and Ensemble Resonanz and Leila Josefowicz provide the proof: they light-footedly dismantle their world, reassemble it and take their audience on a boundless adventure of discovery. The Elbphilharmonie Grand Hall turns into a playground of creativity: from Leoš Janáček to Pauline Oliveros, they arrange a diverse musical collage, unhinge Bach, pile up the building blocks of life with Felix Mendelssohn and awaken the homo ludens in... Read full text

Keywords: Chamber Music

Info & Ticket (www.elbphilharmonie.de)

Musicians

Ensemble Resonanz
Claire Chase	Flute
Petteri Pitko	Harpsichord
Leila Josefowicz	Violin

Program

Double Concerto for Violin, Flute and Chamber Orchestra	Dai Fujikura
Concerto for Flute, Violin, Harpsichord, Basso continuo and Strings in A minor, BWV 1044 »Triple Concerto«	Johann Sebastian Bach
Streichquintett B-Dur op. 87	Felix Mendelssohn Bartholdy

Give feedback

Last update: Fri, Jan 10, 2025, 18:30

Similar events

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

Ensemble Resonanz

Mon, Dec 16, 2024, 20:00

Laeiszhalle, Großer Saal (Hamburg)

Ensemble Resonanz, Hanna Herfurtner (Soprano), Anne Bierwirth (Mezzo-Soprano), Mirko Ludwig (Tenor), Simon Schnorr (Bass), Johannes Öllinger (Electric Guitar), Markus Schwind (Trumpet), Michael Petermann (Vintage keyboards)

Why would an ensemble that made its name performing rarities from early and contemporary music then turn to the most successful oratorio of the Baroque? Ensemble Resonanz would presumably answer, »Christmas without the Christmas Oratorio is only half the story. As often as you may have heard or played the piece, you still want to hear or play it again.« The ensemble has been performing its own version of Bach’s Christmas classic for six years now – pared down and with unconventional instrumentation, a little like a concert at home for friends. The concert hall becomes a sitting room, the musicians become a choir, and the work becomes chamber music with Baroque violas, electric guitar and vintage keyboards.

Info (www.elbphilharmonie.de)

Ensemble Resonanz & Guests

Thu, Mar 28, 2024, 20:00

Laeiszhalle, Kleiner Saal (Hamburg)

Ensemble Resonanz, Hanna Herfurtner (Soprano), Anne Bierwirth (Alto), Thomas Volle (Tenor), Georg Gädker (Bariton), Simon Schnorr (Bass), Markus Schwind (Trumpet), Johannes Öllinger (Electric Guitar), Michael Petermann (Electric continuo)

A story about friendship and betrayal, violence and denunciation, crucifixion and violent death. Ensemble Resonanz dives into the heated events of Bach’s St John Passion and presents its own, intimate version with a chamber-music line-up. The notes remain unchanged, but there is no turba choir. Instead, a guitar and electronic continuo head off together on spheric forays.

Info (www.elbphilharmonie.de)

Ensemble Resonanz / Jeroen Berwaerts

Tue, Mar 5, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Jeroen Berwaerts (Trumpet), Alexander Krimer (Cor anglais), Johannes Fischer (Conductor), Annette Kurz (Scenography)

In everyday life, the city is more than just a background, a collective experiment in the social laboratory, a place for life and stories, for memories and longing: Ensemble Resonanz accompanies Copland to nighttime New York, and Tchaikovsky to an Italian summer; it lets Vito Zuraij serve up a surprise or two, then travels on to Rome and joins forces with Vivier to look behind the scenes at ourselves and at a foreign environment. A melancholy trumpet tune rises from the nocturnal solitude, gently underscored by shimmering strings, and fantasises about people’s nighttime thoughts in a city that never sleeps. This concert opens with Aaron Copland’s ode to New York »Quiet Cities«, which captures the feeling of space and the American spirit even in this huge metropolis. By way of contrast, Claude Vivier immerses himself in the sphere of mystery and longing with a work at once accessible and yet enigmatic, full of free-floating melodies that bring to life recollections of foreign places, people and musical traditions. In his »Souvenir de Florence«, Tchaikovsky blends his personal memories of an Italian summer with Russian folk music, while Ensemble Resonanz combines Tchaikovsky with Andrew Norman’s »Companion Guide to Rome«, each part of which consists of a study of Roman buildings. Can floor decoration be audible? Can music be turned into wallpaper?

Info (www.elbphilharmonie.de)

Ensemble Resonanz / Jeroen Berwaerts

Wed, Mar 6, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Jeroen Berwaerts (Trumpet), Alexander Krimer (Cor anglais), Johannes Fischer (Conductor), Annette Kurz (Scenography)

In everyday life, the city is more than just a background, a collective experiment in the social laboratory, a place for life and stories, for memories and longing: Ensemble Resonanz accompanies Copland to nighttime New York, and Tchaikovsky to an Italian summer; it lets Vito Zuraij serve up a surprise or two, then travels on to Rome and joins forces with Vivier to look behind the scenes at ourselves and at a foreign environment. A melancholy trumpet tune rises from the nocturnal solitude, gently underscored by shimmering strings, and fantasises about people’s nighttime thoughts in a city that never sleeps. This concert opens with Aaron Copland’s ode to New York »Quiet Cities«, which captures the feeling of space and the American spirit even in this huge metropolis. By way of contrast, Claude Vivier immerses himself in the sphere of mystery and longing with a work at once accessible and yet enigmatic, full of free-floating melodies that bring to life recollections of foreign places, people and musical traditions. In his »Souvenir de Florence«, Tchaikovsky blends his personal memories of an Italian summer with Russian folk music, while Ensemble Resonanz combines Tchaikovsky with Andrew Norman’s »Companion Guide to Rome«, each part of which consists of a study of Roman buildings. Can floor decoration be audible? Can music be turned into wallpaper?

Info (www.elbphilharmonie.de)

Liedstadt & Ensemble Resonanz

Mon, May 26, 2025, 19:00

Konzerthaus Berlin, Kleiner Saal (Berlin)

Mais Harb (Voice), Hêja Netirk (Voice), Julian Prégardien (Tenor), Faleh Khaless (Oud), Deniz Mahir Kartal (Flute), Hozan Safear (Perkussion), Musiker*innen des Ensemble Resonanz, Kinderchor der Al-Farabi Musikakademie

Mais Harb, Hêja Netirk and Julian Prégardien - three first-class singers share their favorite songs and reinterpret them together with the musicians of Ensemble Resonanz and guests. Experimental Kurdish music by Hêja Netirk meets Franz Schubert sung by Julian Prégardien. Mais Harb's Arabic songs resound with a fresh string sound. Melodies from Germany, Kurdistan, Syria, Austria and Iran combine with the support of the children's choir of the Al-Farabi Music Academy to create a genuine Berlin song recital.

Info & Ticket (www.konzerthaus.de)

Ensemble Resonanz / Véronique Gens / Riccardo Minasi

Thu, Apr 25, 2024, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Ensemble Resonanz, Véronique Gens (Soprano), Riccardo Minasi (Conductor)

With his Fourth Symphony, Brahms left posterity an orchestral monolith, austere and monumental, the sum of his ability as a composer and an expression of radical tradition. In this concert, Brahms’s legacy is juxtaposed with dramatic atmosphere from Locatelli and with Berlioz’s unique piece about the death of Cleopatra, with soprano and Berlioz specialist Véronique Gens in the title role. In this programme the Hamburg-based Ensemble Resonanz combines three composers who broke rules and set standards: Pietro Antonio Locatelli, sometimes regarded as the Paganini of the 18th century, was a lover of effects and dramatic atmosphere taken from the wunderkammer of Baroque instrumental music. Hector Berlioz submitted his bold cantata about the death of Cleopatra for the Prix de Rome, but it was rejected as being too daring. The Symphony No. 4 in E minor is the last symphony from the pen of Johannes Brahms, the sum of his own resources as a composer, and of the entire history of Western composition. Picking up where Bach and Beethoven left off, Brahms recycles material from music history, combining tradition with ideas that are thoroughly innovative. Everything flows here from the outset; the music is a fabric where everything is in motion; all certainty is lost: the Fourth is a complex work that breaks through all manner of formal boundaries.

Info (www.elbphilharmonie.de)

Ensemble Resonanz / Saerom Park / Dirk Rothbrust

Tue, May 28, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Saerom Park (Cello), Dirk Rothbrust (Percussion), Gregor A. Mayrhofer (Conductor)

Therapy for the restless and the overstimulated – that’s one way to describe Rebecca Saunders’s music. »She focuses the ear on minute gradations of timbre and intonation, and turns her performers into Zen masters of attention and focus«, writes the Guardian. How fortunate, then, that no less than five Elbphilharmonie concerts are dedicated to Saunders this season. Bringing this spotlight to a close is the award-winning Ensemble Resonanz – with a full-length Saunders programme, of course. Characteristically of Saunders, the Concerto for Violoncello, Strings and Percussion explores a minute musical ornament, the trill. In the hands of the cellist Saerom Park, it is transformed, says Saunders, into an »unpredictable sound fragment«. A backdrop of shimmering overtones and glissandi animates the piece »Unbreathed« with an eerie magic. And to close, »All that dust« is an opportunity for the percussion to shine, brilliantly performed by Dirk Rothbrust. As one critic brilliantly summarised, »Saunders is looking to create moments of such intensity that music ceases to simply be sound, but becomes an all-consuming synaesthetic experience.«

Info (www.elbphilharmonie.de)

Ensemble Resonanz / Ilya Gringolts / Riccardo Minasi

Wed, Jun 12, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Ilya Gringolts (Violin), Riccardo Minasi (Conductor)

In his twelve famous Concerti grossi, Arcangelo Corelli translated the coexistence and interweaving of single parts and the whole into Baroque orchestral music that was to become highly influential. Ilya Gringolts counters this with capricious poses on the solo violin, celebrating the birth of virtuosity. Ensemble pieces encounter islands of calculated walks along the dividing line between the collective and the individual. Arcangelo Corelli marked the pinnacle of the Baroque concerto grosso. His instrumental music travelled beyond Italy to influence composers all over Europe, in both his own and succeeding generations. If we listen to the dialogue structure of Corelli’s Concerti grossi, where a group of soloists is juxtaposed with the supporting sound of the whole orchestra, it is clear why the Baroque is referred to as the era of the concertante style. However, this was soon to become a thing of the past in the 18th century, as the soloist moved more and more into the limelight. The individual began to outstrip the collective. Capricious – a word denoting something or someone whimsical, unconventional, even bizarre… The Caprices for Solo Violin written by Pietro Locatelli, Giuseppe Tartini, Niccolò Paganini and Salvatore Sciarrino are dominated by virtuoso elements that express the soloist’s individuality.

Info (www.elbphilharmonie.de)

Ensemble Resonanz / Ilya Gringolts / Riccardo Minasi

Thu, Jun 13, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Ilya Gringolts (Violin), Riccardo Minasi (Conductor)

In his twelve famous Concerti grossi, Arcangelo Corelli translated the coexistence and interweaving of single parts and the whole into Baroque orchestral music that was to become highly influential. Ilya Gringolts counters this with capricious poses on the solo violin, celebrating the birth of virtuosity. Ensemble pieces encounter islands of calculated walks along the dividing line between the collective and the individual. Arcangelo Corelli marked the pinnacle of the Baroque concerto grosso. His instrumental music travelled beyond Italy to influence composers all over Europe, in both his own and succeeding generations. If we listen to the dialogue structure of Corelli’s Concerti grossi, where a group of soloists is juxtaposed with the supporting sound of the whole orchestra, it is clear why the Baroque is referred to as the era of the concertante style. However, this was soon to become a thing of the past in the 18th century, as the soloist moved more and more into the limelight. The individual began to outstrip the collective. Capricious – a word denoting something or someone whimsical, unconventional, even bizarre… The Caprices for Solo Violin written by Pietro Locatelli, Giuseppe Tartini, Niccolò Paganini and Salvatore Sciarrino are dominated by virtuoso elements that express the soloist’s individuality.

Info (www.elbphilharmonie.de)

Ensemble Resonanz / Jasmin Tabatabai / Riccardo Minasi

Wed, Nov 20, 2024, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Ensemble Resonanz, Riccardo Minasi (Conductor), Jasmin Tabatabai (Narrator), Clemens K. Thomas (Concept), Publikumsgespräch:, Naika Foroutan (Professor of Integration Research), Naika Foroutan (Social Policy at Humboldt-Universität zu Berlin), Jana Puglierin (Political scientist), Jana Puglierin (Head of the Berlin office of the think tank European Council on Foreign Relations), Max Czollek (Poet), Max Czollek (Essayist), Max Czollek (Curator), Max Czollek (Political scientist), Thilo Braun (Moderator)

Conductor Riccardo Minasi is characterised by a deep interest in researching music history, energetic orchestral conducting and a unique musical vision. As Principal Guest Conductor, he leads the Hamburg-based Ensemble Resonanz through Beethoven’s »Heroic« Symphony – the bold soundtrack of European ideals of democracy and freedom. But what happens when these values are put to the test? Beethoven’s Symphony No. 3 with its heroic character and revolutionary energy is heard in the concert hall as a manifesto of the Enlightenment and the democratic values of Europe. It is dedicated to Napoleon Bonaparte, whom Beethoven regarded at the time as a symbol of hope for individual freedom and democratic progress. But what happens to the evocative power of this music when human rights and humanity are put up for discussion in the face of complex challenges at Europe’s borders, what happens to us when we have to ask ourselves in a reality check whether our values end at these borders? In the concert, Beethoven’s »Sinfonia Eroica« meets the story of flight and migration by interweaving music and text passages: In June 2019, the crew of the Sea-Watch 3 rescued 53 people from distress at sea and set course for Italy. A 21-day odyssey followed – a »modern« odyssey on the Mediterranean that changed our view of Europe’s borders. After listening and feeling comes speaking – this concert with the Eroica will be followed by an interactive forum, an auditorium discussion about Europe, Beethoven and the limits of the concert format: Naika Foroutan (Professor of Integration Research and Social Policy at Humboldt University in Berlin), Jana Puglierin (Political scientist, head of the Berlin office of the think tank European Council on Foreign Relations) and Max Czollek (poet, essayist, curator, political scientist) will discuss on the podium and with the audience. Thilo Braun will moderate the discussion.

Info (www.elbphilharmonie.de)