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

Iveta Apkalna

Date & Time
Mon, Jan 13, 2025, 20:00
Iveta Apkalna describes Latvian organ compositions as a "mirror of her soul." In her portrait series, the Latvian organist dedicates an evening to her homeland. Featuring original compositions and arrangements, including Pēteris Vasks' "Hymnus," Aivars Kalējs' gentle "Via Dolorosa," and Lūcija Garūta's sensitive "Meditation." Music for the soul.

A summary from original text in German | Read the original

Artistic depiction of the event

Musicians

Iveta ApkalnaOrgan

Program

Fantasia für Orgel soloAlfreds Kalninš
Via Dolorosa für Orgel soloAivars Kalējs
Cantus ad pacem für OrgelPēteris Vasks
Weiße Landschaft Bearbeitung für Orgel soloPēteris Vasks / Tālivaldis Deksnis
Lied der Wellen Bearbeitung für Orgel soloJāzeps Vītols / Tālivaldis Deksnis
Meditacija (Meditation) für Orchester, Klavier oder OrgelLūcija Garūta
Hymnus für Orgel soloPēteris Vasks
Give feedback
Last update: Mon, Dec 30, 2024, 17:01

Similar events

These events are similar in terms of concept, place, musicians or the program.

Artistic depiction of the event

Iveta Apkalna, Organ

Mon, Apr 22, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Iveta Apkalna (Organ)
Franz Liszt was one of the greatest artists of his time. A marvellous virtuoso, a master of self-expression and, later in life, a monk-like recluse. That being the case, his music is both a playground for the piano virtuoso and a canon of equal significance on a metaphysical level too. And this is especially true of his organ music. Liszt’s programme music takes on a whole new dimension on this king of instruments – be it his portrayal of the titan Prometheus, the incredibly vivid vision of Francis of Paola walking on water, or the colossal »Funérailles«. In this solo performance, Iveta Apkalna, the organist-in-residence at the Elbphilharmonie, places the Hungarian-Austrian composer in context alongside French organ music. Works can be heard by the Romantics and by Liszt contemporaries Gabriel Dupont, Gabriel Pierné, Léon Boëllmann and César Franck, whose magnificent »Pièce héroïque« with its steadily intensifying dynamics closes the first half.
Artistic depiction of the event

Iveta Apkalna, organ

Tue, Jun 3, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Iveta Apkalna (Organ)
Iveta Apkalna pursues two milestones in organ music: Johann Sebastian Bach’s enormous Chaconne and César Franck’s ground-breaking »Grande pièce symphonique«, whose title alludes to the symphonic sound possibilities of the organ and fully exploits them. The titular organist of the Elbphilharmonie complements her solo programme with three further pieces, which also showcase »her« instrument in full splendour. Johann Sebastian Bach’s Chaconne was originally composed for violin. The contrapuntal entanglements which Bach created within it have, however, inspired several composers to arrange this work for organ. Also, the »Danse Macabre« by Camille Saint-Saëns, originally composed for voice and piano, only became famous in its orchestral version and sounds just as very wonderfully eerie on the organ. César Franck dedicated his »Prélude, fugue et variation« to his friend and organ colleague Saint-Saëns; the three movements seem very different and yet hang together thematically. As one of the forefathers of organ symphony, Franck is at the inception of a development which had far-reaching consequences for organ building and organ music: to this day (and so also at the Elbphilharmonie), the thousand organ pipes of one instrument should ideally cover the full range of symphonic sound. Iveta Akpalna, who, as the titular organist, knows the Elbphilharmonie organ like hardly anyone else, can exploit the entire colourful richness of the instrument to perfectly set the scene for each piece of her programme.
Artistic depiction of the event

Iveta Apkalna / Herbert Schuch

Wed, Mar 26, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Iveta Apkalna (Organ), Herbert Schuch (Piano)
They both have keyboards – but that is just about where the common ground between the organ and piano ends. One needs wind to produce its sound, while the other has hammers that strike its strings. The former is often associated with the sacred interior of a church, where its monumental form, known as the prospect, often looms high above, while the latter has been a staple item of furniture in many a private living room ever since the 19th century. So there is little overlap between the two, which is why compositions for both instruments together are so extremely rare. Iveta Apkalna, organist-in-residence at the Elbphilharmonie, and pianist Herbert Schuch have now curated a programme that presents the two instruments both separately and together in all their glory. Two works form the focus of this concert, both by Julius Reubke who died young: he composed a large piano sonata and an organ sonata. The latter is an absolute highlight of the repertoire for organ romanticism, transferring the newly created genre of symphonic poetry to the organ with a powerful sound by setting the 94th Psalm of the bible to music. As famous as the organ sonata is, the sister work for piano is rarely performed – although the virtuoso passages and colourful symphonies can certainly stand up alongside Franz Liszt. Set around these two solo works, where Iveta Apkalna and Herbert Schuch have the spotlight to themselves, there are works that prove the organ and piano can complement each other to wonderful effect: the mysterious »Choral’s Dream« by French organ master Thierry Escaich is performed at the beginning. A generation before him, his colleague and fellow countryman Jean Langlais also composed works for organ and piano. And the Latvian composer Andris Dzenītis even stages a world premiere this evening.
Artistic depiction of the event

Iveta Apkalna & Alinde Quartett

Tue, Jun 17, 2025, 20:00
Iveta Apkalna (Organ), Alinde Quartett (Ensemble)
Nahezu eine ganze Saison lang haben die Organistin Iveta Apkalna und das Alinde Quartett in ihren philharmonischen »Porträt«-Konzerten begeistert. Zum Abschluss präsentieren sich Organistin und Quartett nun zusammen. Quer durch die Musikgeschichte geht es dabei – bis hin zu einem neuen Werk, das der mit dem »Hindemith-Preis« ausgezeichnete Regensburger SJ Hanke für Orgel und Streichquartett geschrieben hat.Den Anfang machen die Fünf aber mit einer Kirchensonate von Mozart. Von da ab spielt man immer wieder auch seine individuelle Klasse aus. Iveta Apkalna feiert den atemberaubenden Klangstrom des Minimal-Music-Gurus Philip Glass. Das Alinde Quartett verzaubert dagegen mit dem mal kantablen, mal kunstvoll kontrapunktischen »Quartetto dorico«, das der Italiener Ottorino Respighi 1924 komponierte.
Artistic depiction of the event

Iveta Apkalna | Luxembourg Philharmonic | Gustavo Gimeno

Sun, Oct 27, 2024, 18:00
Iveta Apkalna (Organ), Luxembourg Philharmonic (Ensemble), Gustavo Gimeno (Conductor)
The Organ Concerto by Francis Poulenc, a classic of the large-scale organ repertoire, is performed by Latvian organist Iveta Apkalna with the Luxembourg Philharmonic under Gustavo Gimeno. The concert also features a new work by Claude Lenners and Ottorino Respighi's "Roman Festivals" and "Pines of Rome".
Artistic depiction of the event

Hamburg Philharmonic State Orchestra/ Iveta Apkalna / Kent Nagano

Sun, Nov 3, 2024, 11:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, Iveta Apkalna (Organ), Yun-Peng Zhao (Violin), Léo Marillier (Violin), Franck Chevalier (Viola), Alexis Descharmes (Cello), Kent Nagano (Conductor)
At some point towards the end, when Helmut Lachenmann’s »Tanzsuite mit Deutschlandlied«, composed in 1980, actually quotes or at least hints at Haydn’s Imperial Quartet, it has long been clear that this is not a hymn we should be singing along to. And there is certainly no suggestion of an invitation to dance in this piece, by one of the most impactful composers of recent decades. In this provocative work, once premiered – where else – in Donaueschingen and performed here with the sensational Quatuor Diotima from Paris, Lachenmann was interested in noises, breaks and the question of what a sound actually really is.
Artistic depiction of the event

Hamburg Philharmonic State Orchestra/ Iveta Apkalna / Kent Nagano

Mon, Nov 4, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, Iveta Apkalna (Organ), Yun-Peng Zhao (Violin), Léo Marillier (Violin), Franck Chevalier (Viola), Alexis Descharmes (Cello), Kent Nagano (Conductor)
At some point towards the end, when Helmut Lachenmann’s »Tanzsuite mit Deutschlandlied«, composed in 1980, actually quotes or at least hints at Haydn’s Imperial Quartet, it has long been clear that this is not a hymn we should be singing along to. And there is certainly no suggestion of an invitation to dance in this piece, by one of the most impactful composers of recent decades. In this provocative work, once premiered – where else – in Donaueschingen and performed here with the sensational Quatuor Diotima from Paris, Lachenmann was interested in noises, breaks and the question of what a sound actually really is.