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Expeditionskonzert mit Joana Mallwitz

Date & Time
Sat, Jul 5, 2025, 19:00
‘The expedition concerts are all about the pure joy of listening. We approach the great masterpieces of classical music from different directions, listen to the details, combine background stories and anecdotes with musical discoveries and take the audience on this journey,’ says Joana Mallwitz, describing the format. She first shares her enthusiasm at the piano, then switches to conducting the Konzerthausorchester. The entire work is then performed together - in this case, Franz Schubert's Symphony No. 9 in C major,... Read full text

Keywords: Symphony Concert

Artistic depiction of the event

Musicians

Konzerthausorchester Berlin
Joana MallwitzConductor

Program

Sinfonie C-Dur D 944 („Große“)Franz Schubert
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Last update: Fri, Nov 22, 2024, 12:43

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Expeditionskonzert mit Joana Mallwitz

Sun, Sep 22, 2024, 15:00
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Konzerthausorchester Berlin, Joana Mallwitz (Conductor)
‘The expedition concerts are all about the pure joy of listening. We approach the great masterpieces of classical music from different directions, listen to the details, combine background stories and anecdotes with musical discoveries and take the audience on this journey,’ says Joana Mallwitz, describing the format. She first shares her enthusiasm at the piano, then switches to conducting the Konzerthausorchester. The entire work is then performed together - in this case, Bela Bartók's brilliantly orchestrated Concerto for Orchestra from 1943, in whose five movements the composer combines Western musical tradition with Hungarian folk music.
Artistic depiction of the event

Expeditionskonzert mit Joana Mallwitz

Sun, Dec 1, 2024, 15:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor)
‘The expedition concerts are all about the pure joy of listening. We approach the great masterpieces of classical music from different directions, listen to the details, combine background stories and anecdotes with musical discoveries and take the audience on this journey,’ says Joana Mallwitz, describing the format. She first shares her enthusiasm at the piano, then switches to conducting the Konzerthausorchester. The entire work is then performed together - in this case Ludwig van Beethoven's Fifth Symphony from 1807/08, the first four notes of which are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his/her fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift his fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
Artistic depiction of the event

Joana Mallwitz & Janine Jansen

Thu, Jun 23, 2022, 20:00
Joana Mallwitz (Conductress), Janine Jansen (Violin), Symphonieorchester des Bayerischen Rundfunks
At least since 2020, when she gave her rousingly acclaimed début at the Salzburg Festival in Così fan tutte, Joana Mallwitz has figured in the top echelon of international conductors. She entered the festival’s history as the first woman to conduct a new opera production, and became a darling of the audience with her at once engaged and effortless artistry. Since 2018 she has also enriched the music life of Nuremberg as the city’s general music director and impassioned musical communicator, and in 2023­/24 she will become the principal conductor of the Berlin Konzerthaus Orchestra. For her eagerly awaited BRSO début she has chosen classic repertoire items that demand utmost precision and a fresh approach. On one of her riveting video tours we can already follow her through the rhythmic complexities of Beethoven’s Seventh. As soloist, the BRSO greets the Dutch violinist Janine Jansen, a welcome guest of the orchestra since 2012.
Artistic depiction of the event

Joana Mallwitz & Janine Jansen

Fri, Jun 24, 2022, 20:00
Joana Mallwitz (Conductress), Janine Jansen (Violin), Symphonieorchester des Bayerischen Rundfunks
At least since 2020, when she gave her rousingly acclaimed début at the Salzburg Festival in Così fan tutte, Joana Mallwitz has figured in the top echelon of international conductors. She entered the festival’s history as the first woman to conduct a new opera production, and became a darling of the audience with her at once engaged and effortless artistry. Since 2018 she has also enriched the music life of Nuremberg as the city’s general music director and impassioned musical communicator, and in 2023­/24 she will become the principal conductor of the Berlin Konzerthaus Orchestra. For her eagerly awaited BRSO début she has chosen classic repertoire items that demand utmost precision and a fresh approach. On one of her riveting video tours we can already follow her through the rhythmic complexities of Beethoven’s Seventh. As soloist, the BRSO greets the Dutch violinist Janine Jansen, a welcome guest of the orchestra since 2012.
Artistic depiction of the event

Joana Mallwitz & Janine Jansen

Sat, Jun 25, 2022, 19:30
Joana Mallwitz (Conductress), Janine Jansen (Violin), Symphonieorchester des Bayerischen Rundfunks
At least since 2020, when she gave her rousingly acclaimed début at the Salzburg Festival in Così fan tutte, Joana Mallwitz has figured in the top echelon of international conductors. She entered the festival’s history as the first woman to conduct a new opera production, and became a darling of the audience with her at once engaged and effortless artistry. Since 2018 she has also enriched the music life of Nuremberg as the city’s general music director and impassioned musical communicator, and in 2023­/24 she will become the principal conductor of the Berlin Konzerthaus Orchestra. For her eagerly awaited BRSO début she has chosen classic repertoire items that demand utmost precision and a fresh approach. On one of her riveting video tours we can already follow her through the rhythmic complexities of Beethoven’s Seventh. As soloist, the BRSO greets the Dutch violinist Janine Jansen, a welcome guest of the orchestra since 2012.
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Sep 7, 2024, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Joana Mallwitz leads the Konzerthausorchester Berlin into her second season as Chief Conductor with a programme of dance music, which for her is ‘perfect’ for the opening of the season. What's more, our new Artist in Residence Sheku Kanneh-Mason is making his first appearance - with Antonín Dvorak's Cello Concerto, which ‘adds a particularly festive element thanks to its familiarity and elegance,’ says our chief conductor. ‘Apart from that, it goes very well with John Adams’ ‘The Chairman Dances’ and Sergei Rachmaninov's Symphonic Dances: We have three composers from three eras who went to America and dealt with issues of exile, flight and home. While abroad, they incorporated musical elements from their homeland into their works.’ We are very much looking forward to starting a 2024/25 season with you that is as full of musical energy and excitement as this opening!
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Sep 20, 2024, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Lucas & Arthur Jussen (Piano)
What does the faun do in the afternoon? He plays the flute! And in such a dreamy and colourful way that you would never have expected the shaggy hybrid of human and billy goat. He owes this image correction to Claude Debussy - and the flautists one of their most beautiful orchestral solos. The pianistic brilliance and perfect interplay of our former Artists in Residence Lucas and Arthur Jussen impressed Joey Roukens so much that he began to write a double concerto for the brothers, ‘in which the two soloists sound not so much as two separate soloists, but as one super pianist on one super grand piano, so to speak. This means that there are many unison passages: Both pianos play exactly the same notes. In any case, the unison is an element that appears frequently in my work, perhaps a legacy of the ‘Dutch musical tradition’.’ According to the Amsterdam-based composer, he was also influenced by Italian baroque toccatas. The brilliantly orchestrated Concerto for Orchestra from 1943, in whose five movements Bela Bartók combines Western musical tradition with Hungarian folk music, completes a varied concert evening as the main work, which takes the Konzerthausorchester under the direction of Joana Mallwitz from Impressionism through classical modernism to the 21st century.
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Sep 21, 2024, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Lucas & Arthur Jussen (Piano)
What does the faun do in the afternoon? He plays the flute! And in such a dreamy and colourful way that you would never have expected the shaggy hybrid of human and billy goat. He owes this image correction to Claude Debussy - and the flautists one of their most beautiful orchestral solos. The pianistic brilliance and perfect interplay of our former Artists in Residence Lucas and Arthur Jussen impressed Joey Roukens so much that he began to write a double concerto for the brothers, ‘in which the two soloists sound not so much as two separate soloists, but as one super pianist on one super grand piano, so to speak. This means that there are many unison passages: Both pianos play exactly the same notes. In any case, the unison is an element that appears frequently in my work, perhaps a legacy of the ‘Dutch musical tradition’.’ According to the Amsterdam-based composer, he was also influenced by Italian baroque toccatas. The brilliantly orchestrated Concerto for Orchestra from 1943, in whose five movements Bela Bartók combines Western musical tradition with Hungarian folk music, completes a varied concert evening as the main work, which takes the Konzerthausorchester under the direction of Joana Mallwitz from Impressionism through classical modernism to the 21st century.
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Jan 31, 2025, 19:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!
Artistic depiction of the event

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Feb 1, 2025, 20:00
Konzerthaus Berlin, Großer Saal (Berlin)
Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Sheku Kanneh-Mason (Cello)
Sofia Gubaidulina's ‘Fairytale Poem’ from 1971, with which the Konzerthausorchester and Joana Mallwitz begin their concert, is, according to the composer, about a little piece of chalk with big dreams of marvellous things that it wants to draw. Unfortunately, it is only used as blackboard chalk at school and is eventually thrown away. A boy finds it and begins to draw castles, gardens and sunsets on the street. The chalk is too happy to realize that it is finally disintegrating. Shostakovich's first cello concerto from 1959 shows how the composer was finally able to utilise a wealth of long frowned upon modernist techniques after the death of Stalin. The cellist of the century and dedicatee Mstislav ‘Slava’ Rostropovich became the great midwife. With us, artist in residence Sheku Kanneh-Mason takes on the solo part.Tchaikovsky dedicated the Fourth Symphony, premiered in 1878, to his confidante and patron Nadezhda von Meck. They never met, but exchanged 1200 letters. He wrote to her about the last movement of the Fourth: ‘If you don't have enough reason to find happiness in yourself, mingle with people, see what a good time they are having, how they abandon themselves completely to joyful feelings!’ One can only add to that: Welcome to the Konzerthaus, mingle with our audience!