In this very exciting and unusual concert, internationally performing clarinettist Sabine Grofmeier fuses the sound of her clarinet with beautiful melodies from Paraguay and South America!
Keywords: Chamber Music
| Sabine Grofmeier | Clarinet |
| Los Muchachos Paraguayos |
Information not provided |
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»Los Cubanos Postizos is a real punk-rock band, disguised as a Cuban orchestra,« Ribot says about one of his most popular and catchy music projects. The band name (meaning »false Cuban«) already suggests that with Ribot as a Jewish guitarist it is not an authentic realisation of Cuban music. The project should in fact be understood as a homage, which gives Ribot a lot of scope to experiment with styles and genres. In Europe, you can only experience Los Cubanos Postizos extremely rarely – all the more amazing that they perform as part of Marc Ribot’s Reflektor Festival at the Elbphilharmonie! At the heart of the two Cubanos Postizos albums are the compositions by the Cuban Arsenio Rodríguez, whose music was ground-breaking in the development of the musical styles of son, salsa and mambo. For the concert at the Elbphilharmonie, Ribot will be accompanied by his long-time companions Anthony Coleman and Brad Jones on piano and bass. The group is completed by Horacio Hernandez on the drums and EJ Rodriguez on percussion, who set the rhythm and the distinctive Cuban grooves. The mainstay of the songs is Marc Ribot’s guitar playing. His solos remain unpredictable and range from the most delicate to razor-sharp, electric sounds – muy Divertido (lots of fun)!
The catchy and heartwarming melodies of Jewish Klezmer music are the perfect start to the new year. Mahler's musical language, rooted in Bohemian folk music tradition, resonates with Klezmer. Uri Caine and his band, along with the Komische Oper Berlin orchestra, will evoke both tears and foot-tapping. Embrace these emotions and step confidently into 2025. Happy New Year!
Viola da gamba player Hille Perl and her ensemble Los Otros explore the connections between music and dance at the court of Louis XIV. Joined by her longtime associates Lee Santana and Steve Player, Perl performs works by Baroque masters Louis Couperin, Monsieur de Sainte-Colombe, Robert de Visée, Antoine Forqueray, and Marin Marais, including the latter’s famed set of variations known as Les Folies d’Espagne.
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Chamber of Lights is a chamber orchestra based in Berlin. From Romantic duo recitals to a 24-strong Baroque orchestra, the ensemble is extremely flexible – so too at the Laeiszhalle. For Vivaldi’s »Four Seasons«, violinist Igor Budinstein supports Chamber of Lights.
In everyday life, the city is more than just a background, a collective experiment in the social laboratory, a place for life and stories, for memories and longing: Ensemble Resonanz accompanies Copland to nighttime New York, and Tchaikovsky to an Italian summer; it lets Vito Zuraij serve up a surprise or two, then travels on to Rome and joins forces with Vivier to look behind the scenes at ourselves and at a foreign environment. A melancholy trumpet tune rises from the nocturnal solitude, gently underscored by shimmering strings, and fantasises about people’s nighttime thoughts in a city that never sleeps. This concert opens with Aaron Copland’s ode to New York »Quiet Cities«, which captures the feeling of space and the American spirit even in this huge metropolis. By way of contrast, Claude Vivier immerses himself in the sphere of mystery and longing with a work at once accessible and yet enigmatic, full of free-floating melodies that bring to life recollections of foreign places, people and musical traditions. In his »Souvenir de Florence«, Tchaikovsky blends his personal memories of an Italian summer with Russian folk music, while Ensemble Resonanz combines Tchaikovsky with Andrew Norman’s »Companion Guide to Rome«, each part of which consists of a study of Roman buildings. Can floor decoration be audible? Can music be turned into wallpaper?
In everyday life, the city is more than just a background, a collective experiment in the social laboratory, a place for life and stories, for memories and longing: Ensemble Resonanz accompanies Copland to nighttime New York, and Tchaikovsky to an Italian summer; it lets Vito Zuraij serve up a surprise or two, then travels on to Rome and joins forces with Vivier to look behind the scenes at ourselves and at a foreign environment. A melancholy trumpet tune rises from the nocturnal solitude, gently underscored by shimmering strings, and fantasises about people’s nighttime thoughts in a city that never sleeps. This concert opens with Aaron Copland’s ode to New York »Quiet Cities«, which captures the feeling of space and the American spirit even in this huge metropolis. By way of contrast, Claude Vivier immerses himself in the sphere of mystery and longing with a work at once accessible and yet enigmatic, full of free-floating melodies that bring to life recollections of foreign places, people and musical traditions. In his »Souvenir de Florence«, Tchaikovsky blends his personal memories of an Italian summer with Russian folk music, while Ensemble Resonanz combines Tchaikovsky with Andrew Norman’s »Companion Guide to Rome«, each part of which consists of a study of Roman buildings. Can floor decoration be audible? Can music be turned into wallpaper?
Violinist Angelika Bachmann from Salut Salon and pianist Professor Jacques Ammon invite you to the annual children’s concert in the Grand Hall of Hamburg’s Laeiszhalle. The outstanding young prizewinners of the Hamburg Instrumental Competition will perform. The virtuoso skills of the children and young people, the varied programme, the grand joint finale and the loving concert atmosphere make the children’s concert unique every year. Prof Walter Gehlert first invited prizewinners of the Hamburg Instrumental Competition to play on the big stage in 1983. Since then, a good 3,000 young instrumentalists have been able to gain memorable performance experience.
In his late work, Luigi Nono always also transformed the music into moving ambient sound. To achieve that, he regularly worked with the legendary SWR Experimentalstudio. One example is his vocal and instrumental work »Diario polacco No. 2«, in which electronic sounds permeate the hall. His work »›Hay que caminar‹ sognando«, in contrast, features two violinists wandering from one music desk to the next. Under conductor Léo Warynski, the Les Métaboles vocal ensemble and the SWR Experimentalstudio remember Nono the political man. When martial law was introduced in Poland in 1981 he wrote »Quando stanno morendo / Diario polacco No. 2« and dedicated it to persecuted Polish friends and comrades. Nono composed »›Hay que caminar‹ sognando« in 1989, one year before his death. With its »choreographic« arrangement, it epitomises an inscription, seen on a monastery wall, that had fascinated Nono: »Wanderer, there is no path. All that matters is the walking.«
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