Karin Bonelli / Christoph Eggner

Christoph Sietzen & Friends

Christoph Sietzen ist ein preisgekrönter Multipercussionist und ein gefeierter Solist im Dialog mit großen Orchestern. Doch seine Liebe gilt auch der Kammermusik. In Köln konzertiert er mit Tabea Zimmermann, Königin der Bratsche, und mit Cembalokünstler Mahan Esfahani.Tam-Tam, Schellen, Marimba & Co. sind selten in der Kammermusik zu erleben. Wenige Komponisten haben sie in kleinere Besetzungen einbezogen. Eine schöne Ausnahme bilden Luciano Berios experimentelles Stück »Naturale« und das als unspielbar geltende Kuriosum »Oophaa« von Iannis Xenakis. Der Tausendsassa am Schlagwerk, Christoph Sietzen, die brillante Bratschistin Tabea Zimmermann und der Held am Cembalo, Mahan Esfahani, stellen sich gerne solchen Herausforderungen und inspirieren sich gegenseitig. Gefördert vom Kuratorium KölnMusik e.V.

Christoph Eschenbach, Christian Schmitt

Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«

Christoph Eschenbach, Christian Schmitt

Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«

Konzerthausorchester Berlin, Christoph Eschenbach

Our former chief conductor Christioph Eschenbach is back on the podium of the Konzerthausorchester and is bringing a highly talented young pianist with him: The 19-year-old Simon Haje will play Beethoven's fourth piano concerto from 1805, which already points in the direction of Romanticism. Robert Schumann was not the only one who loved the work, which is the first of its genre to begin directly with the solo instrument. The audience also liked it extraordinarily well straight away. Bruckner's Symphony No. 3 did not fare so well at first, which is why the easily unsettled composer revised it more often than any other of his nine symphonies. It was not until 1890 (17 years after the completion of the first version) that musicians and Viennese audiences finally stopped objecting and the work was finalised!

Konzerthausorchester Berlin, Christoph Eschenbach

Our former chief conductor Christioph Eschenbach is back on the podium of the Konzerthausorchester and is bringing a highly talented young pianist with him: The 19-year-old Simon Haje will play Beethoven's fourth piano concerto from 1805, which already points in the direction of Romanticism. Robert Schumann was not the only one who loved the work, which is the first of its genre to begin directly with the solo instrument. The audience also liked it extraordinarily well straight away. Bruckner's Symphony No. 3 did not fare so well at first, which is why the easily unsettled composer revised it more often than any other of his nine symphonies. It was not until 1890 (17 years after the completion of the first version) that musicians and Viennese audiences finally stopped objecting and the work was finalised!

Christoph Sietzen | MOTUS Percussion

Christoph Sietzen, an award-winning multi-percussionist, joins forces with MOTUS Percussion to create a spectacular auditory experience. Their performance ranges from subtle sounds to captivating eruptions. Sietzen takes on a new work by composer Philipp Maintz, collaborating with MOTUS Percussion for a full-length stage performance. "Motus" signifies movement, tremor, and dance, hinting at the energy they unleash.

André Heller’s Menschenkinder: Christoph Ransmayr

The writer Christoph Ransmayr, born in Wels, Upper Austria in 1954, was already writing for travel and culture magazines, such as »Transatlantik«, »Merian« and »Geo«, during his studies before he had finally made a name for himself as a freelance writer. Ransmayr’s writings, profoundly influenced by his journeys across all continents, have been translated into more than 30 languages and awarded numerous literary prizes. Ransmayr lived in Ireland for years, but is now back in Vienna. In conversation with André Heller, he permits insights into deeply personal experiences. It is a gripping conversation in which Ransmayr genuinely runs through even the dark hours of his life. In his film series »Menschenkinder«, André Heller has been profiling very different personalities and their lives since 2013. Insightful conversations give the interviewees free reign to recount from their memoirs. Without any pressure or specified direction, they disclose such intimate insights into their career, suddenly recollect long-forgotten memories and, completely incidentally, create a panorama of contemporary history and lived-in worlds. Christoph Ransmayr describes himself as a »semi-nomad«, who has traversed almost the entire world in the course of his life. Please note: This film will be shown in German.

Our honorary conductor Christoph Eschenbach

»And the soul, unguarded, wants to soar in free flights, to live within the magic circle of the night deeply and a thousandfold.« These dream-lorn lines by Hermann Hesse inspired Richard Strauss to write one of his moving »Four Last Songs«. These depict a life cycle and bear witness to his confrontation with his own death. At 83, the aged composer looked back on his triumphant life »weary of wandering«. When a journalist asked him about his next projects, Strauss answered with a wink: »Well, just die!« But his son persuaded him to compose another »major work«, saying, »Dad, stop brooding, write some beautiful songs instead.« And Strauss succeeded in a beguiling way, for the highly romantic settings hover in an inimitable atmosphere of weightlessness. With us, the voice of Hanna-Elisabeth Müller soars to these soulful songs. Christoph Eschenbach then leads us through a work by Bruckner that was first performed in 1873 and was composed as a direct expression of a deep life crisis due to the so-called »St. Anna affair«: as he was hardly noticed as a composer in Vienna at that time, he gave piano lessons at the St. Anna educational institution – and once confidentially called one of his pupils »my darling«. Even though Bruckner felt wrongly suspected, the newspapers made a scandal out of this event. He was soon rehabilitated, but wrote his second symphony in this humiliated state of mind – which therefore has a restless, pessimistic underlying mood: it fluctuates between heartfelt prayers, desperate outbursts, clueless silences and wild dance scenes.

Christoph Prégardien & Daniel Heide: Schubert

For lovers of chamber music the Recital Hall is the venue of choice. You can hear the musicians breathe and you can practically touch them. This hall is also cherished by musicians for its beautiful acoustics and direct contact with the audience. In the Recital Hall you can hear the best musicians of our time. Buy your tickets now and experience the magic of the Recital Hall for yourself!

Christoph Eschenbach dirigiert Elgar und Brahms