Ensemble Resonanz / Saerom Park / Dirk Rothbrust

Date & Time

Tue, May 28, 2024, 19:30

Venue

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... Read full text

Keywords: Chamber Music, Contemporary

Info & Ticket (www.elbphilharmonie.de)

Musicians

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

Program

Module 1 »melody« / from: Dust	Rebecca Saunders
Module 5 »metal« / from: Dust	Rebecca Saunders
Module 3 »triangles« / from: Dust	Rebecca Saunders
Module 4 »crystal« / from: Dust	Rebecca Saunders
Unbreathed	Rebecca Saunders
Fantasia a 6 No. 2 in G minor	William Byrd
Ire / Concerto for Violoncello, Strings and Percussion	Rebecca Saunders
Breath	Rebecca Saunders

Give feedback

Last update: Thu, Nov 21, 2024, 15:06

Similar events

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

Ensemble Resonanz / Abel Selaocoe / Saerom Park

Wed, Jun 11, 2025, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Abel Selaocoe (Cello), Abel Selaocoe (Vocals), Saerom Park (Cello)

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.

Info & Ticket (www.elbphilharmonie.de)

Ensemble Resonanz / Abel Selaocoe / Saerom Park

Thu, Jun 12, 2025, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Ensemble Resonanz, Abel Selaocoe (Cello), Abel Selaocoe (Vocals), Saerom Park (Cello)

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.

Info & Ticket (www.elbphilharmonie.de)

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)

When We Were Trees – Abel Selaocoe & Ensemble Resonanz

Sat, Jun 14, 2025, 14:15

Het Concertgebouw, Main Hall (Amsterdam)

Ensemble Resonanz, Abel Selaocoe (Cello), Saerom Park (Cello)

The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!

Info & Ticket (www.concertgebouw.nl)

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 / 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)