Internationale Ferienkurse für Neue Musik

Musik für Frauenstimmen

Works by Maria Xaveria Perucona, Johann Adolf Hasse, Gustav Holst, and Arvo Pärt, as well as piano music by Sofia Gubaidulina, Lera Auerbach, and Arvo Pärt.

ECLAT Festival Neue Musik Stuttgart

Ein Fest für Neues

Lera Auerbach, a prominent composer, pianist, and author, will have her piece, Adam's Lament, premiered at the 10th Philharmonic Concert. Award-winning trumpeter Selina Ott will debut with the Bremen Philharmonic, performing Weinberg's Trumpet Concerto. The concert concludes with Tchaikovsky's Symphony No. 5, also known as the Fate Symphony. A pre-concert introduction starts 30 minutes prior in the Glocke's "Kleinen Saal".

Ein Fest für Neues

Lera Auerbach, a prominent composer, pianist, and author, will have her piece, Adam's Lament, premiered at the 10th Philharmonic Concert. Award-winning trumpeter Selina Ott will debut with the Bremen Philharmonic, performing Weinberg's Trumpet Concerto. The concert concludes with Tchaikovsky's Symphony No. 5, also known as the Fate Symphony. A pre-concert introduction starts 30 minutes prior in the Glocke's "Kleinen Saal".

Musik der Zeit - Schöpfungen im Frühling | Wittener Tage für neue Kammermusik

Akademie für Alte Musik Berlin

The Akademie für Alte Musik presents one of the most popular works of classical music in its original sound: Mozart's so-called ‘Great’ G minor Symphony, first performed in Vienna in 1788, is a work of passionate expression that does not shy away from harsh sounds and sombre minor tones. Ten years earlier, the composer had tried his luck in Paris in the hope of a permanent position. The French public's enthusiasm for virtuosity fuelled the establishment of the new ‘Sinfonie concertante’, which is characterised by several solo instruments - the ‘Wind Concertante’ features oboe, clarinet, horn and bassoon. The programme is rounded off with the E flat major Divertimento, written in Milan in 1771. The clarinets he used in this work for the first time opened up a new world of sound for Mozart.

Akademie für Alte Musik Berlin

In their first joint programme, Akamus and the up-and-coming star of the countertenor scene Carlo Vistoli dedicate themselves to key works of church music: Vivaldi set religious texts such as the psalm ‘Nisi Dominus’ to music with bittersweet sadness and operatic verve. The Venetian composer's ‘Stabat mater’, on the other hand, is one of the darkest baroque settings of the pain of Mary, the ‘Mater dolorosa’ and mother of Jesus. ‘I have had enough’ is also one of Bach's most moving cantatas.

Akademie für Alte Musik Berlin

Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.

Akademie für Alte Musik Berlin

Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.

Akademie für Alte Musik Berlin

Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.