Jan Garbarek Group feat. Trilok Gurtu

Jan van Duikeren & Marcel Veenendaal

Irreversible Entanglements feat. Moor Mother

Since forming in 2015, the band Irreversible Entanglements has been one of the leading voices in contemporary free jazz. With uncompromising songs, the five musicians draw attention to social and political ills and abuses, highlighting injustices such as the oppression of women, discrimination against people of color, ignorance of colonial crimes and the exploitation of nature. At the same time, the direct and unencrypted words of the poet and spoken-word artist Camae Ayewa, aka »Moor Mother«, also encourage people to reject the status quo now, and to actively work for a better future in freedom and dignity. On the fourth studio album »Protect Your Light« (2023), Moor Mother’s profound lyrics are combined with catchy melodies, ecstatic and impulsive improvisations by Keir Neuringer (saxophone) and Aquiles Navarro (trumpet), and the danceable rhythms of Tcheser Holmes (drums) and Luke Steward (bass). An impressive package that seeks – and finds – musical answers to the pressing social questions of our time.

Jan Vogler

The name of the German cellist Jan Vogler is associated with his legendary interpretations of Johann Sebastian Bach’s famous six solo cello suites. The audience will have the opportunity to hear all six works in one concert and thus follow the fascinating dialogue between Jan Vogler’s Stradivarius cello and Bach’s sonorous universe.

Family Group mini / Fedak Band

Open sales on September 5.

Family Group mini / Fedak Band

Open sales on September 5.

Xatar feat. heavytones

Two pop-cultural icons come together here: With their joint live programme »Das Letzte Mahl«, Xatar and heavytones break down genre boundaries and mix trademark soul/funk/jazz sound with hard rap from the street. When explosive brass sections, driving percussion, funky guitars and vintage keyboard pads meet gangster rap with ruthless lyrics, it promises nothing less than a new level of hip hop and energetic live entertainment.

Portable Infinity & David Helbock’s Random/Control feat. Fola Dada

»Portable Infinity« is the name of the Scandinavian-American project. The all-star quartet carries with it not only the history of jazz but also personal encounters with greats like Pat Metheny, Herbie Hancock, John Scofield, and Esbjörn Svensson. Many elements come together here: extensive experience, openness to new ideas, and the sheer joy of playing. David Helbock is one of those musicians who brim with ideas. Almost every year, he surprises with a new band. The »storyteller at the piano« (3Sat) still considers his long-standing group »Random/Control« to be his most significant project. A hallmark of the trio is the multitude of instruments. Often, far more than three can be heard simultaneously: piano, percussion, clarinets, saxophones, flutes, didgeridoo, and all sorts of brass transform the stage into a madcap playground.

Portable Infinity & David Helbock’s Random/Control feat. Fola Dada

»Portable Infinity« is the name of the Scandinavian-American project. The all-star quartet carries with it not only the history of jazz but also personal encounters with greats like Pat Metheny, Herbie Hancock, John Scofield, and Esbjörn Svensson. Many elements come together here: extensive experience, openness to new ideas, and the sheer joy of playing. David Helbock is one of those musicians who brim with ideas. Almost every year, he surprises with a new band. The »storyteller at the piano« (3Sat) still considers his long-standing group »Random/Control« to be his most significant project. A hallmark of the trio is the multitude of instruments. Often, far more than three can be heard simultaneously: piano, percussion, clarinets, saxophones, flutes, didgeridoo, and all sorts of brass transform the stage into a madcap playground.

JazzKLUB / Marylin Mazur Group / A stunning arsenal of instruments from all over the world

The lucky ones, born early enough to have participated in that legendary concert, certainly remember the Danish drummer’s spectacular performance with Miles Davis’ group at the 1988 Warsaw Jazz Jamboree. Consecutive generations of fans grew up with Marilyn Mazur’s playing on Jan Garbarek’s records, a collaboration which lasted over a decade. While, paradoxically, only selected works by the New-York-born Dane with Polish roots are known in Poland, the same cannot be said about Denmark, where Marilyn Mazur is considered an institution. Her stunning arsenal of instruments from around the world makes one forget what an original drummer she is on a traditional set. The groove driving you deep into your seat provides a counterpoint for the delicate pieces permeated with the spirit of world music, a genre Mazur pioneered in the 80s. A great personality, with an arsenal of excellent accomplishment to her name, still moving forward with a youthful energy. Tomasz Gregorczyk Concert duration: approximately 90 minutes

Jan Mráček plays Strawinski

“Coincidence is itself merely the collision of the creative impulses.” (Friedrich Nietzsche) This concert presents a sound sculpture premiered in 1963 that plays with coincidence and seeks to exhaust the possibilities offered by mechanics. Ligeti’s "Poème symphonique" is a fascinating musical experiment: on stage are 100 metronomes, which are set in motion by some musicians. The metronomes tick away valiantly, all higgledy-piggledy at first, but then more and more of them lose their momentum and fall silent, until in the end only the most persistent metronome remains. Stravinsky, a musical revolutionary like Ligeti, once said of his creative ideas: "You take up a tradition to make something new." For his 1931 Violin Concerto, he drew on the baroque era – but defiantly spiced his music with whimsical ingredients from 20th-century light music. We look forward to welcoming Czech violinist Jan Mráček to the stage as our soloist in this exciting work. Mráček was the youngest prize winner of the "Prague Spring" competition in 2010 and since then has carved out a remarkable career. To bring our programme to a close, our orchestra will play a work that critic Eduard Hanslick found to contain an extraordinary "energy of genuine symphonic invention”. Brahms had completed his last symphony during his summer vacation of 1885. Even before its premiere in Meiningen, which the composer himself conducted, the work triggered associations with the cosmos in Brahms’ friend Elisabeth von Herzogenberg: "The deeper I look into it, the more stars appear, the more individual joys I have, both expected and surprising, and the clearer becomes the consistent character that makes a unity of this multiplicity”.