Guest in Weikersheim

Guest performance

Guest performance

Guest performance

Guest in Fulda

"Women, you angels of the earth! Heaven's loveliest creation! You are the sole ray that illuminates our lives." (Alphonse de Lamartine) We start with the meaning-laden Adagietto from Mahler's Fifth Symphony, inspired in 1901 by his blossoming love for his future wife Alma. A musical marriage proposal with strings and harp, it is a beguilingly beautiful work, albeit shot through with hauntingly world-weary and nostalgic tones. Like many great composers, Richard Strauss had a strong woman at his side – the singer Pauline, for whom he composed many of his vocal works. His lush "Four Last Songs" strike a tone of farewell. These settings of texts by Hesse and Eichendorff were written in 1948, when Strauss’ world had been shattered by the war and he was growing “weary of wandering”, to quote the final line of the last song. While profound grief can often stifle creativity, it sometimes can also awaken new creative energies – as proven by our programme’s emotional final piece, a "work of superhuman strength" written by Josef Suk, who had close personal ties with Dvořák. He became not only the latter’s master student, but also his friend and son-in-law as well, falling in love with Dvořák’s daughter Otylka. But this happiness was abruptly destroyed by Dvořák’s demise in 1904 and the tragically early death of Otylka a mere fourteen months later. Suk wrote the moving symphony "Asrael" to overcome this trauma and in memory of his loved ones, saying: "Such misfortune either destroys a person or brings all the forces lying dormant in them to the surface. Music saved me."

Guest in Dortmund

Recording & Broadcast BR-KLASSIKIt‘s a great mystery what and where the soul is exactly: whether it is immaterial or somehow palpable or a measurable energy – yet researchers have said to have found out that its weight is 21 grams. Opinions differ widely across humanity. However, many agree that this precious essence plays an important role. This season, we want to tie in Anton Bruckner‘s symphonies with other compositions which, in their own way, have a soul-related, and sometimes spiritual, content. In this concert, Lahav Shani, winner of our MAHLER COMPETITION in 2013 and the new principal conductor of the Munich Philharmonic, will conduct the world premiere of a work written by the Baku-born composer Frangis Ali-Sade, who once said: »Every time, music helps me to chase away the problems of life.« Paul Ben-Haim‘s violin concerto is also worth discovering: his scintillating works combine European, Israeli and Arab traditions – because the artist, born as Paul Frankenberger in Munich, fled to Palestine in 1933. The violin concerto from 1960, which at times sounds like film music, turns out to be very stirring, but also exudes a wonderfully soulful tranquillity at times. At the end, Bruckner‘s Seventh Symphony, with which he finally achieved the longed-for breakthrough as a recognised composer in 1884. It captivates with masterly intensifications and heartfelt moments such as in the stirring Adagio – and is one of those confessional works about which it was said that in them there appeared »a changing radiance of a spiritual kind«.

Guest in Erlangen

»I love conducting so much that I absolutely have to do it.« Ruth Reinhardt realised this when she was 16 and her career today proves her right. Born in Saarbrücken, she completed her studies in Zurich, Leipzig and New York – and is now one of the up-and-coming female conductors who regularly perform with orchestras around the world. The young artist is especially praised for her versatility, her dynamic performances, her musical intelligence and her unorthodox choice of works. Her Bamberg debut is also a proof of this, as she leads us through some exciting repertoire: two pieces by Paul Hindemith – a modern composer who is particularly favoured by our guest conductor – set the scene. His provocative Ragtime from 1921 combines a Bach fugue with jazz elements, while the symphony »Mathis der Maler« portrays the inner and outer struggles of an eminent Renaissance artist in a colourful way. In between, the musical journey goes back 150 years to the Viennese classical period: to the time of Haydn, who liked to combine the highest standards with humour and popular elements in his symphonies. At the request of our solo cellist Marius Urba, a concerto for cello and wind orchestra composed in 1980 will also be performed, a wild ride through various genres: it was written by Friedrich Gulda, who was regarded as an enfant terrible in the classical music business. The audience is in for a colourful concert with a wide variety of ingredients and flavours. But as Ruth Reinhardt once said about her musical experiments, which might just come from a hot and sizzling witch’s kitchen – and have become her trademark: »I always like concert programmes that have contrasts!«

Guest in Erlangen

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«.

Guest in Würzburg

»What comes from the heart goes back to the heart. This is the true theory of music, sought by all true lovers and connoisseurs at all times, and will be sought until the end of the world.« Thus it is written in the »Basic rules of tonal order« from 1755 – and our concert leads us right into the 18th century. For the first time, we welcome Bernard Labadie to the conductor’s podium – one of the world’s leading specialists in the music of that period, loved by audiences and the press for his moving interpretations. The Canadian artist’s chosen programme includes enchanting works: Mozart’s Funeral Music, composed in 1785 to mark the deaths of two Masonic brothers. The »Jupiter« Symphony fascinates with a whole range of emotions as well as the grandiose finale – and was quickly celebrated as the »highest triumph of instrumental composition«. With William Youn as soloist, we play Beethoven’s highly popular first piano concerto from 1795/96, a refreshing piece with festive glamour, passionate lyricism and an high-spirited dance gesture at the end. But rarely heard repertoire is also on the programme this week: one of the rediscovered works by the German-Bohemian composer Antonio Rosetti, who was born 275 years ago. Nils Mönkemeyer has discovered the brilliant viola concerto – a rhythmically captivating and melodically catchy piece. We are looking forward to Bernard Labadie’s individual interpretation, as he is known for his great musical flair, his enjoyment of the works, his energetic conducting and his attention to detail.

Guest in Würzburg

»What comes from the heart goes back to the heart. This is the true theory of music, sought by all true lovers and connoisseurs at all times, and will be sought until the end of the world.« Thus it is written in the »Basic rules of tonal order« from 1755 – and our concert leads us right into the 18th century. For the first time, we welcome Bernard Labadie to the conductor’s podium – one of the world’s leading specialists in the music of that period, loved by audiences and the press for his moving interpretations. The Canadian artist’s chosen programme includes enchanting works: Mozart’s Funeral Music, composed in 1785 to mark the deaths of two Masonic brothers. The »Jupiter« Symphony fascinates with a whole range of emotions as well as the grandiose finale – and was quickly celebrated as the »highest triumph of instrumental composition«. With William Youn as soloist, we play Beethoven’s highly popular first piano concerto from 1795/96, a refreshing piece with festive glamour, passionate lyricism and an high-spirited dance gesture at the end. But rarely heard repertoire is also on the programme this week: one of the rediscovered works by the German-Bohemian composer Antonio Rosetti, who was born 275 years ago. Nils Mönkemeyer has discovered the brilliant viola concerto – a rhythmically captivating and melodically catchy piece. We are looking forward to Bernard Labadie’s individual interpretation, as he is known for his great musical flair, his enjoyment of the works, his energetic conducting and his attention to detail.