Set your preferred locations for a better search. You can sign up here.

Hamburger Camerata / Samuel Hasselhorn / Gábor Hontvári

Date & Time
Sun, May 26, 2024, 20:00
»Give us peace« – how often have we heard these words in mass settings and hymns? But how often have they been thoughtlessly overlooked as an all too familiar line of text in the history of music? In times when this simple, yet terribly difficult request has become tragically topical, the Hamburger Camerata invites audiences to listen consciously.

Keywords: Symphony Concert

Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Musicians

Hamburger Camerata
Samuel HasselhornBariton
Gábor HontváriDirector

Program

Da pacem Domine for String OrchestraArvo Pärt
Lieder from »Des Knaben Wunderhorn« / Arrangement by Klaus SimonGustav Mahler
Zehn Märsche, um den Sieg zu verfehlenMauricio Kagel
Symphony in G major, Hob. I:100, »Military Symphony«Joseph Haydn
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.

Artistic depiction of the event

Hamburger Camerata / Nicolas Krüger

Sun, Sep 8, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Hamburger Camerata, Tamar Inbar (Oboe), Johann-Peter Taferner (Clarinet), Friedrich Müller (French horn), David Spranger (Bassoon), Nicolas Krüger (Director)
Instrumental concerto or symphony? Fortunately, if you don’t want to commit yourself, music history has a suitable genre: the »concertante symphony«. It originated in the 18th century when there were simply too many instrumentalists to dedicate a solo concerto to them all. Without further ado, orchestral and soloistic forms of music-making were combined in the»‘Sinfonia concertante«, which emphasises an »ensemble within an ensemble«, so to speak, without having to abandon the collective idea and demands of a symphony. The perfect opportunity for the Hamburg Camerata, which is organising its 2024/25 season under the motto »Camerata concertante«! True to the idea that even a chamber orchestra is only ever the sum of many individuals, an entire wind solo quartet emerges from the orchestral circle of colleagues in the »Sinfonia concertante« (probably wrongly) attributed to Mozart. And after the string section has separated in the rarely performed Serenade by the German-Italian former Mozarteum professor Ermanno Wolf-Ferrari, everyone comes together again in Mozart’s »all-time favourite«: the famous G minor Symphony K. 550.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

Hamburger Camerata / Vilmantas Kaliunas

Wed, Oct 16, 2024, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Hamburger Camerata, Lilit Grigoryan (Piano), Jan Christoph Semmler (Trumpet), Johann-Peter Taferner (Clarinet), Ulrike Höfs (Flute), Vilmantas Kaliunas (Conductor)
Mieczysław Weinberg? Just over a decade ago, this name was not even familiar to the established classical music fans here in Germany. And to this day, the Polish-Russian composer who died in 1996 and who was under the pressure of two dictatorships (the German and the Soviet) is still considered an insider tip. Although word has now spread that Weinberg no longer has to hide behind his fellow sufferer and mentor Dmitry Shostakovich. He exchanged artistically with the father of Soviet music again and again, and he felt that he was his »flesh and blood« – Reason enough for the Hamburger Camerata to trace this special friendship musically in challenging times. Under the seasonal motto »Camerata concertante«, the programme includes four works by the two, which explore the tension between solo, chamber and orchestral music making as varied as the tension between personal freedom and political compulsion.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

Hamburger Camerata / Gábor Hontvári

Tue, Feb 18, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Joanna Kamenarska (Violin), Amanda Kleinbart (French horn), Franziska Pietsch (Violin), Hila Karni (Cello), Gábor Hontvári (Director)
Double concertos for two solo instruments take the usual »concertante two-dimensionality« to »3D«, so to speak: in addition to the juxtaposition of solo and orchestra, there is also the relationship between the two solo parts to consider. And one is often inclined to imagine the latter as a role play: Are we witnessing a liaison or an argument between the two protagonists? True to its motto for the season, the Hamburg Camerata presents two such »3D concertante« works in this programme: in his piece for violin, cello and orchestra, the French Romantic composer Camille Saint-Saëns actually had the image of a muse in mind who ensnares a poet and frees him from his melancholy. It is not known whether the British contemporary Ethel Smyth had something similar in mind for her unusual double concerto for violin and horn. But the pioneer of the English women’s movement was certainly controversial. In contrast, Francis Poulenc saw his »Sinfonietta« from 1947 as more of a pleasure than a serious contribution to the time-honoured symphonic genre, in which the united »concertante camerata« breaks out into countless stylistic dimensions at the end.
Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Hamburger Camerata / Albrecht Menzel

Sun, Dec 8, 2024, 18:00
Laeiszhalle, Großer Saal (Hamburg)
Hamburger Camerata, Albrecht Menzel (Violin), Lir Vaginsky (Violin), Felicitas Schiffner (Violin)
Four composers, four good tidings. What does Christmas actually sound like? For the Baroque composers, one thing was clear: pastoral music for shepherds was a must. Giuseppe Torelli wonderfully captured the scene in the stable in Bethlehem in his »Concerto in the Form of a Pastoral for the Most Holy Night«. Shepherds also cavort in Antonio Vivaldi’s »Four Seasons«. Alongside them, you can hear a dog barking, ice crunching, leaves rustling and birds chirping. Vivaldi’s virtuoso panorama of the seasons is great cinema for the ears. His compatriot Nino Rota even won an Oscar for his film music for the classic film »The Godfather«. But at its core, the grand master of film music was also always concerned with a happy message: composing makes him happy, Rota once said. And making others happy with his music was »the centrepiece« of his work. After all, Bach’s music would be inconceivable without the good news of Christianity. He concluded each of his scores with a pious »Soli Deo gloria« (Glory to God alone), and his music – such as the concerto for three violins – sparkles with vitality.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

Hamburger Camerata / Valentin Egel

Sat, Feb 8, 2025, 20:00
Laeiszhalle, Großer Saal (Hamburg)
Hamburger Camerata, Tamar Inbar (Oboe), Reinhold Friedrich (Trumpet), Joanna Kamenarska (Violin), Valentin Egel (Director)
If there is a group of works that matches the Hamburger Camerata’s season’s motto »Camerata concertante« like pot and lid, it is the »Brandenburgischen Konzerte« by Johann Sebastian Bach! The six »Concerts avec plusieurs instruments«, which the Köthener Hofkapellmeister wrote in 1721 as his artistic calling card for Margrave Christian Ludwig von Brandenburg, are a real playground for concerting soloists and ensembles in all conceivable constellations. On the 275th anniversary of Bach’s death, which is celebrated by the Musikwelt on 28 July 2025, the Hamburger Camerata, with soloists from its own ranks as well as musical friends finally dedicated themselves to the entire »Six Pack« in one evening with soloists from its own ranks and musical friends.
Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Hamburger Camerata / Joanna Kamenarska

Thu, Jun 5, 2025, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Hamburger Camerata, Joanna Kamenarska (Violin), Joanna Kamenarska (Director)
Ideally, they should all work together harmoniously: the wind and string instruments of an orchestra. Sometimes, however, it can also lead to astonishing listening experiences to experience the registers separately. And if works for string orchestra have a long tradition in music history anyway, it is only in keeping with the spirit of the »Camerata concertante« motto that the wind players of the Hamburg Camerata are also allowed to present themselves as a »concertante« ensemble at the end of the season! The programme for this concert therefore includes three works that explore the traditional variety of instrumentation in the serenade and divertimento genres in order to bring the different qualities of the orchestral sections to the fore: Dvořák’s all too rarely performed Serenade op. 44 is inspired by Mozart’s great wind piece, the »Gran Partita«. Bartók’s Divertimento, on the other hand, is based on the Baroque form of the »concerto grosso«, which is characterised by the typical alternation of solo and tutti passages within the string orchestra. And Mozart’s Divertimento K. 251 brings the strings and selected wind instruments together in a sonorous way.
Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Altonaer Singakademie / Hamburger Camerata

Sat, Feb 22, 2025, 19:30
Laeiszhalle, Großer Saal (Hamburg)
Altonaer Singakademie, Neuer Knabenchor Hamburg, Jugendchor Voci.ssimo, Hamburger Camerata, Antonia Strieder (Soprano), Inka Stubbe (Alto), Andreas Preuß (Tenor), Sönke Tams Freier (Bariton), Christoph Westphal (Director)
Antonín Dvorák wrote his Mass in D major op. 86 for the consecration of a village castle chapel in 1887, so it can be seen as a kind of occasional composition, with the occasion acting as a most welcome trigger of ready forces. Sacred compositions had always played a role in Dvořák’s oeuvre, even if they seem to have taken a back seat to his symphonic works. Nevertheless, it was the Stabat Mater of 1877 that laid the foundation for the international reception of his music. The Mass in D major is much more modestly conceived, in keeping with the village setting and the possibilities of the chapel. Nevertheless, even in the original organ version, Dvorák shows his full mastery. In the compositional simplicity, the proximity to classical music, especially to Schubert as a role model, can be felt at all times. At the same time, Dvořák succeeds in capturing the cheerful, carefree atmosphere of the lovely Bohemian countryside and the simplicity of a deeply religiously rooted country folk with his own folkloristic originality of melody. Dvorák created the rarely performed orchestral version heard in this concerto in 1892, in which he remains very close to the original conception, but skilfully uses the possibilities of the orchestra to differentiate the dynamics more finely and realise a richer harmony. The »Mass of the Children«, written by John Rutter in 2002 in memory of his son Christopher, who died at the age of 19, is much more than a mass with an obbligato children’s choir part. Rutter counterpoints the mass text of the Latin Missa brevis with poetic texts in English, including verses from the pen of Bishop Thomas Ken (1637–1711), who wrote them for the scholars of Winchester College. They set the Mass in the context of a daily routine, from waking (»Awake, my soul...«) to going to sleep (»Glory to thee, my God, this night...«) and are mainly sung by the children’s choir. In this way, Rutter focuses on the Mass text from a child’s perspective, while the large choir illuminates the adult perspective. The »Mass of the Children« also sheds light on different musical perspectives. Coming from the English choral tradition himself, Rutter enriches his style in general and the Mass in particular with elements from jazz and pop by integrating them into a multi-layered harmony and rhythm. Rutter’s melodic inventiveness in the Kyrie may evoke musical associations for some, while the unusual rhythms in the Gloria are reminiscent of South American dances. In Dona nobis, Rutter quotes a canon by Thomas Tallis (ca. 1505–1585) and thus draws a line back to his own musical roots.
Info & Ticket (www.elbphilharmonie.de)
Artistic depiction of the event

Hamburger Camerata / Joanna Kamenarska / Delyana Lazarova

Sat, Mar 2, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Hamburger Camerata, Joanna Kamenarska (Violin), Delyana Lazarova (Director)
Intercultural, international understanding, peaceful coexistence of all (lifestyles): what cannot be promoted often enough in the present day was a matter of course for many composers of the past. In his late »London« symphonies, Joseph Haydn brought together Hungarian folklore, Austrian court culture and pan-European art music – which also went down well in the English capital. The Hungarian Zoltán Kodály, in his research into rural peasant songs, in turn came across the realisation that there is much more in common in the musical traditions of the European peoples than one might think.
Info (www.elbphilharmonie.de)
Artistic depiction of the event

Jonathan Tetelman / Hamburger Camerata / Frédéric Chaslin

Thu, Jul 3, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Jonathan Tetelman (Tenor), Hamburger Camerata, Frédéric Chaslin (Conductor)
Voice and charisma – that is the unanimous, enthusiastic judgement of the critics when it comes to Jonathan Tetelman. »A star par excellence« is how the New York Times describes him. The Chilean-American tenor is on stage as Alfredo in »La Traviata« at the Royal Opera House Covent Garden or as Pinkerton in »Madame Butterfly« at the Metropolitan Opera and demonstrates his skills in a »dark-coloured tenor timbre« (SZ) and with »balsamic verve« (Der Tagesspiegel), while the audience listens spellbound. Jonathan Tetelman makes his Elbphilharmonie debut with a sonorous journey through the most beautiful tenor arias from the great operas of Puccini, Verdi and others.
Info & Ticket (www.elbphilharmonie.de)