Iveta Apkalna, organ

Date & Time

Tue, Jun 3, 2025, 20:00

Venue

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... Read full text

Keywords: Organ Concert

Info & Ticket (www.elbphilharmonie.de)

Musicians

Iveta Apkalna

Organ

Program

Danse macabre, Op. 40 / adaptation for organ by Edwin Henry Lemare	Camille Saint-Saëns
Chaconne aus: Partita Nr. 2 d-Moll BWV 1004 / from: Partita No. 2 in D minor, BWV 1004 (adaptation for organ by Matthias Keller)	Johann Sebastian Bach
Requiem and Walpurgisnacht / from: Faust	Petr Eben
Prélude, fugue et variation in B minor, Op. 18 / from: Six Pièces d’Orgue	César Franck
Grande pièce symphonique in F-sharp minor, FWV 29	César Franck

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.

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.

Info (www.elbphilharmonie.de)

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.

Info & Ticket (www.elbphilharmonie.de)

Iveta Apkalna

Mon, Jan 13, 2025, 20:00

Kölner Philharmonie (Köln)

Iveta Apkalna (Organ)

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.

Info (www.koelner-philharmonie.de)

Iveta Apkalna & Alinde Quartett

Tue, Jun 17, 2025, 20:00

Kölner Philharmonie (Köln)

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.

Info & Ticket (www.koelner-philharmonie.de)

Zuzana Ferjenčíková, organ

Mon, Mar 11, 2024, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Zuzana Ferjenčíková (Organ)

When a composer writes a work they have a clear idea or vision of how they want it to sound. Sometimes though, other tonal ideas emerge in retrospect, or history decides that a work can, in fact, sound quite different. That is the moment for the arranger to step in and tailor a new »tonal garment« for the piece, as it were. In the case of Franz Liszt’s symphonic poems, for instance, this was done by his contemporary Alexander Winterberger and the modern visionary Jean Guillou. Winterberger turned the piano variations on »Weinen, Klagen, Sorgen, Zagen« into a veritable organ work – so successfully, in fact, that the original piano version is hardly ever played nowadays. Guillou, on the other hand, himself a first-rate virtuoso, took Liszt’s vision of the Orpheus saga and expanded on it to create a fabulous orgy of sound for organ. Now the Slovak organist and former Guillou student Zuzana Ferjenčíková is just the right person to perform this repertoire. Blessed with a phenomenal technique and driven by an incessant inner passion, she breathes new life into these arrangements at her Elbphilharmonie debut – which includes Sergei Rachmaninov’s famous »Isle of the Dead« and keyboard works by Mozart, one of which Ferjenčíková has arranged herself. Finally, Guillou’s truly titanic fantasy on Hyperion, the divine messenger of light, is an original work written for the organ.>

Info (www.elbphilharmonie.de)

Karol Mossakowski, Organ

Tue, Dec 10, 2024, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Karol Mossakowski (Organ)

France and Germany – today, these two countries are best friends. The long-standing rivalry between them has, however, not only led to many a disagreement in politics. Even in the field of organ music, they took different paths for a long time: in France, people celebrated sound and tone colour; in Germany, virtuosity and counterpoint. Karol Mossakowski showcases the best of both worlds: a sedate organ symphony in the style of Widor, sound magic in the style of Fauré and visionary music in the style of Alain – all of them first-rate musical gems. Fauré clad the myth of Pelléas and Mélisande in subtle, highly sensitive sounds, Alain paved the way for the 21st century with his organ music widening the musical horizon. Not for nothing are the moving Litanies on the foundation of human existence some of the most widely played organ works of all for instance. Mendelssohn and Liszt are bywords for the German Romantic school. The variations sérieuses as well as the Mephisto Waltzes had originally been written for piano, but the art of arrangement has a long tradition especially in organ circles. What is not playable will be made playable – that is the motto here. After all, compared with pianists, organists also have two feet and an enormous pool of tonal colours at their disposal. Karol Mossakowski will also make use of this when he pursues another tradition cultivated by organists: improvisation. Here too, he is a true master of his trade.

Info (www.elbphilharmonie.de)

David Briggs, Organ

Thu, Feb 6, 2025, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

David Briggs (Organ)

The first part of David Briggs’ concert proceeds majestically, the second part is symphonic. With this British organist, one of the stars of the organ world is gracing the Elbphilharmonie: previously a cathedral organist in Truro and Gloucester, then as artist in residence in New York and Toronto, he is in demand worldwide when the king of instruments is to sound. Because if there is one thing that the British can do it is this: royal splendour! The baroque composer Jeremiah Clarke had already elegantly celebrated this in his »Prince of Denmark’s March«. This is why the contemporary composer Patrick Gowers has written a humorous remark in the rumba rhythm. The story of Pelléas and Mélisande, which Claude Debussy immersed in impressionistic orchestral colours and David Briggs arranged for organ, also plays in the royal atmosphere. Furthermore, Briggs is devoted to Symphony No. 1 by Johannes Brahms. Because this is his speciality: arranging big orchestral symphonies for symphonic organ. Primarily, the symphonies of Gustav Mahler impressed the Brit, but also Brahms is eminently suitable, especially his first symphonic opus. The tremendous pedal point for instance (fittingly the name for accompanying repeated notes) with which the first movement begins is really made to be played on the eponymous instrument. And with a skilful arranger such as David Briggs we can be certain: the other three movements will also sound as if they were composed for the organ. Especially when he has such a symphonic instrument as the organ of the Elbphilharmonie under his feet and hands.

Info & Ticket (www.elbphilharmonie.de)

Olivier Latry, Organ

Tue, Apr 22, 2025, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Olivier Latry (Organ)

Olivier Latry, one of the most acclaimed organists of our time, returns to play the organ at the Elbphilharmonie. As one of the organists of Notre-Dame Cathedral in Paris, he represents one of the oldest and most important musical traditions in the history of music. This is reflected too in his programme, which consists exclusively of works by former Notre-Dame organists or, to put it another way, Latry’s esteemed predecessors. There is Louis Vierne, for example, whose organ symphonies rank among the undisputed highlights of symphonic organ music, and particularly his Third Symphony. It is probably the best known of the six and a work full of drama, lyricism and mysticism. Pierre Cochereau’s Boléro is equally well known and loved. Originally composed as an improvisation and only set down in writing at a later date, the legendary titulaire of Notre-Dame transformed a simple theme by one of his predecessors into an intoxicating orgy of sound. Olivier Latry also has a reputation for being a gifted improviser. This is a discipline traditionally cultivated in France, where he is regarded as a maestro full of inspiration and ideas. But before giving us a taste of this, we hear music by Jean-Pierre Leguay, one of Latry’s colleagues at Notre-Dame until 2016. Leguay is regarded as a composer keen to forge a path for musical tradition into the future. A masterful improviser himself, his innovative music often transgresses from firmly cemented traditions, picking up on these traditions in original ways at the same time.

Info & Ticket (www.elbphilharmonie.de)

Iveta Apkalna | Luxembourg Philharmonic | Gustavo Gimeno

Sun, Oct 27, 2024, 18:00

Kölner Philharmonie (Köln)

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".

Info (www.koelner-philharmonie.de)

Paul Jacobs / Organ Concert

Sat, May 25, 2024, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Paul Jacobs (Organ)

Not only is »Livre du Saint-Sacrement« the final and most extensive organ work by Olivier Messiaen, it also marks the grand summation of his entire oeuvre, with the French composer delving right back to his early beginnings. Like his first composition for organ, »Le banquet céleste«, its subject matter is the Holy Communion. Though unequivocally theological, this music also has an overwhelming inner depth. It is an immense source of fascination and sensuality. And, lasting some two hours in total, it is also both a revelation and something of a challenge. The American organist Paul Jacobs, who has been described by the Washington Post as one of the »greatest living virtuosos« and is the first organist ever to win a Grammy, is now headed for the Elbphilharmonie. Since 2002, he has performed the complete organ works of Olivier Messiaen in marathon concerts across various US cities, each lasting an inordinate number of hours. No question, then, that Jacobs is just the right man for this quite daunting undertaking.

Info (www.elbphilharmonie.de)