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Guest in Würzburg

Date & Time
Wed, Jun 18, 2025, 20:00
»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... Read full text

Keywords: Symphony Concert

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Musicians

Bernard LabadieConductor
William YounPiano

Program

Konzert für Klavier und Orchester Nr. 1 C-Dur op. 15Ludwig van Beethoven
Symphonie Nr. 41 C-Dur »Jupiter« KV 551Wolfgang Amadeus Mozart
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Last update: Sun, Jan 26, 2025, 20:33

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Guest in Würzburg

Thu, Jun 19, 2025, 20:00
Kaisersaal der Residenz (Würzburg)
Bernard Labadie (Conductor), Nils Mönkemeyer (Viola)
»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.
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MOZARTFEST WÜRZBURG

Sat, Jun 10, 2023, 20:00
Dom (Würzburg)
Christoph Eschenbach (Conductor), Stefan Schmidt (Organ)
“The music I hear is the eternal music of the spheres.” To commemorate the 100th birthday of György Ligeti, this year's concert in Würzburg Cathedral will begin with one of his revolutionary works for organ. "Volumina" was premiered in 1962 and opens up soundscapes that seem to come from another world – one musician commented that the piece sounded like "the Holy Spirit roaring in your ears". The work eschews the usual structuring elements such as melody and rhythm, a choice that gives rise to a shimmering music made up of mysterious clusters of notes. For this, the organist needs quite literally to pull out all the stops – and the special cluster technique even requires the use of the forearms, fists, or lead weights. Next on the programme is Bruckner’s third symphonic cosmos. The Austrian composer had a fervent belief in God and held Wagner in boundless admiration. In 1873 he travelled to Bayreuth in person, taking both his Second and his not quite finished Third Symphony along, in order to ask the "master of all masters" whether he could dedicate one of the two compositions to him. However, apparently a lot of Weihenstephan beer flowed that evening in Villa Wahnfried – and afterwards Bruckner, who was not much of a drinker, simply could not remember which work Wagner had chosen and needed to clarify by letter that it was in fact the Third. Bruckner quotes some Wagner themes in this work, and at several points the influence of sacred music is discernible in chorale-like passages as well as in echoes of one of Bruckner’s own “Ave Maria” motets. In the final movement, Bruckner then combines folk music with solemn pathos, commenting: "That's life. The polka signifies the world’s humour and gaiety – the chorale its sadness and pain.”
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Guest performance at the Mozartfest Würzburg

Thu, Jun 6, 2024, 20:00
Dom (Würzburg)
Andrew Manze (Conductor), Frank Peter Zimmermann (Violin)
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Guest in Fulda

Fri, Feb 24, 2023, 20:00
Schlosstheater (Fulda)
Jakub Hrůša (Conductor), Corinne Winters (Soprano)
"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."
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Guest in Dortmund

Sat, Dec 2, 2023, 19:30
Konzerthaus Dortmund (Dortmund)
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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«.
Info (www.bamberger-symphoniker.de)
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Guest in Weikersheim

Fri, Jan 17, 2025, 19:30
Tauberphilharmonie (Weikersheim)
Giovanni Antonini (Conductor), Giovanni Antonini (Recorder)
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Info (www.bamberger-symphoniker.de)
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Guest in Erlangen

Sun, Dec 15, 2024, 19:30
Heinrich-Lades-Halle (Erlangen)
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»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!«
Info (www.bamberger-symphoniker.de)