Mittendrin

Date & Time

Thu, Jan 9, 2025, 18:30

Venue

Konzerthaus Berlin, Großer Saal (Berlin)

Right in the middle – pick your favourite spot in the midst of the orchestra! The musicians of the Konzerthausorchester Berlin will rearrange themselves for you. Experience music where it is created and feel the special atmosphere that arises between the orchestral members and our conductor while making music. You’ll also have the opportunity to ask Iván Fischer questions. In the end, you will definitely be able to say: I was right in the thick of things, not just on the sidelines.

Keywords: Recital, Symphony Concert

Info & Ticket (www.konzerthaus.de)

Musicians

Konzerthausorchester Berlin
Iván Fischer	Conductor

Program

Darius Milhaud	„Le boeuf sur le toit“ - Ballettmusik op. 58
Erik Satie	„Gymnopédie“ Nr. 1, für Orchester bearbeitet von Claude Debussy
Erik Satie	„Gnossienne“ Nr. 3, für Orchester bearbeitet von Francis Poulenc
Maurice Ravel	„La Valse“ - Poème choréographique für Orchester

Give feedback

Last update: Sat, Dec 7, 2024, 13:48

Similar events

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

Finished

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Sep 20, 2024, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Lucas & Arthur Jussen (Piano)

What does the faun do in the afternoon? He plays the flute! And in such a dreamy and colourful way that you would never have expected the shaggy hybrid of human and billy goat. He owes this image correction to Claude Debussy - and the flautists one of their most beautiful orchestral solos. The pianistic brilliance and perfect interplay of our former Artists in Residence Lucas and Arthur Jussen impressed Joey Roukens so much that he began to write a double concerto for the brothers, ‘in which the two soloists sound not so much as two separate soloists, but as one super pianist on one super grand piano, so to speak. This means that there are many unison passages: Both pianos play exactly the same notes. In any case, the unison is an element that appears frequently in my work, perhaps a legacy of the ‘Dutch musical tradition’.’ According to the Amsterdam-based composer, he was also influenced by Italian baroque toccatas. The brilliantly orchestrated Concerto for Orchestra from 1943, in whose five movements Bela Bartók combines Western musical tradition with Hungarian folk music, completes a varied concert evening as the main work, which takes the Konzerthausorchester under the direction of Joana Mallwitz from Impressionism through classical modernism to the 21st century.

Info (www.konzerthaus.de)

Finished

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Sep 21, 2024, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Lucas & Arthur Jussen (Piano)

What does the faun do in the afternoon? He plays the flute! And in such a dreamy and colourful way that you would never have expected the shaggy hybrid of human and billy goat. He owes this image correction to Claude Debussy - and the flautists one of their most beautiful orchestral solos. The pianistic brilliance and perfect interplay of our former Artists in Residence Lucas and Arthur Jussen impressed Joey Roukens so much that he began to write a double concerto for the brothers, ‘in which the two soloists sound not so much as two separate soloists, but as one super pianist on one super grand piano, so to speak. This means that there are many unison passages: Both pianos play exactly the same notes. In any case, the unison is an element that appears frequently in my work, perhaps a legacy of the ‘Dutch musical tradition’.’ According to the Amsterdam-based composer, he was also influenced by Italian baroque toccatas. The brilliantly orchestrated Concerto for Orchestra from 1943, in whose five movements Bela Bartók combines Western musical tradition with Hungarian folk music, completes a varied concert evening as the main work, which takes the Konzerthausorchester under the direction of Joana Mallwitz from Impressionism through classical modernism to the 21st century.

Info (www.konzerthaus.de)

This season

In Berlin

Konzerthausorchester Berlin, Anja Bihlmaier

Sat, May 3, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Anja Bihlmaier (Conductor), Alexander Melnikov (Piano)

„The 'Concert Românesc' reflects my deep love for Romanian folk music and Romanian-speaking culture as such. The piece was immediately banned and only performed many decades later,“ says Ligeti about his 1951 work, which was banned at the time due to some dissonances that were considered undesirable. The Russian pianist Alexander Melnikov then takes his place among the Konzerthausorchester. In the Piano Concerto in G major from 1784, Mozart leaves old formal principles behind, including the fact that the winds are already frequently entrusted with solo tasks. The concert, conducted by Anja Bihlmaier, ends with Antonín Dvořák's Symphony No. 8, which beautifully showcases the orchestral instruments in a lyrical and melodic manner - from the waltz-loving strings to the virtuoso flute dancing along in the last movement.

Info & Ticket (www.konzerthaus.de)

This season

In Berlin

Konzerthausorchester Berlin, Anja Bihlmaier

Sun, May 4, 2025, 16:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Anja Bihlmaier (Conductor), Alexander Melnikov (Piano)

„The 'Concert Românesc' reflects my deep love for Romanian folk music and Romanian-speaking culture as such. The piece was immediately banned and only performed many decades later,“ says Ligeti about his 1951 work, which was banned at the time due to some dissonances that were considered undesirable. The Russian pianist Alexander Melnikov then takes his place amog the Konzerthausorchester. In the Piano Concerto in G major from 1784, Mozart leaves old formal principles behind, including the fact that the winds are already frequently entrusted with solo tasks. The concert, conducted by Anja Bihlmaier, ends with Antonín Dvořák's Symphony No. 8, which beautifully showcases the orchestral instruments in a lyrical and melodic manner - from the waltz-loving strings to the virtuoso flute dancing along in the last movement.

Info & Ticket (www.konzerthaus.de)

This season

In Berlin

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Jun 27, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Igor Levit (Piano)

The chicken that seems to cluck through the first movement of Haydn's Paris Symphony No. 83 in the second theme was not sighted there by the composer himself but, as is so often the case, by posterity. But with Haydn's numerous symphonies, epithets are certainly helpful. With ‘La Poule’ from 1785, Joana Mallwitz continues her Haydn focus at the Konzerthausorchester, which spans several seasons. This is followed by a leap into the 20th century: Béla Bartók's Third Piano Concerto, interpreted by Igor Levit, touchingly demonstrates that shortly before his death in exile in the US in 1945, the seriously ill composer managed to free himself from the gloom of his final years and write a cheerful, luminous work for his wife, the pianist Ditta Pásztory. He was only unable to orchestrate the last 17 bars himself. The suite from Stravinsky's ballet ‘Petrushka’, which takes place at an early 19th century Russian fair among Punch and Judy puppets, forms the furious conclusion to the evening.

Info & Ticket (www.konzerthaus.de)

This season

In Berlin

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Jun 28, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Igor Levit (Piano)

The chicken that seems to cluck through the first movement of Haydn's Paris Symphony No. 83 in the second theme was not sighted there by the composer himself but, as is so often the case, by posterity. But with Haydn's numerous symphonies, epithets are certainly helpful. With ‘La Poule’ from 1785, Joana Mallwitz continues her Haydn focus at the Konzerthausorchester, which spans several seasons. This is followed by a leap into the 20th century: Béla Bartók's Third Piano Concerto, interpreted by Igor Levit, touchingly demonstrates that shortly before his death in exile in the US in 1945, the seriously ill composer managed to free himself from the gloom of his final years and write a cheerful, luminous work for his wife, the pianist Ditta Pásztory. He was only unable to orchestrate the last 17 bars himself. The suite from Stravinsky's ballet ‘Petrushka’, which takes place at an early 19th century Russian fair among Punch and Judy puppets, forms the furious conclusion to the evening.

Info & Ticket (www.konzerthaus.de)

Finished

Igor Levit

Sat, Feb 1, 2025, 19:00

Theater und Philharmonie Essen, Alfried Krupp Saal (Essen)

Igor Levit (Piano)

Every pianist and soloist takes a risk with Franz Liszt's transcription of Beethoven's Symphony No. 7. Few have dared to tackle this pianistic chunk, which demands everything at once: power, virtuosity, a sense of the piece's architecture, and a keen ear for detail. Igor Levit takes on this task. Liszt has long been a favorite in his repertoire. For a TV documentary, he already traced the composer's footsteps around 15 years ago. Levit's program for the Essen Philharmonic is brilliant: First, he takes us back to the starting point of all romantic piano virtuosity, Bach's "Chromatic Fantasy and Fugue".

Info (www.theater-essen.de)

Finished

Hamburg Stage Ensemble

Sat, Jun 15, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Hamburg Stage Ensemble

The intercultural Hamburg Stage Ensemble, which is characterised by its energetic and precise ensemble playing and has already performed in renowned venues such as the Berlin Philharmonie and the Gewandhaus in Leipzig, invites the audience to another concert in the Elbphilharmonie’s Recital Hall. Often played and yet always reinterpreted – the Hamburg Stage Ensemble’s joy of playing Antonio Vivaldi’s »Four Seasons« with the outstanding soloist and artistic director Arsen Zorayan is captivating. In the second part of the concert, the Hamburg Stage Ensemble takes the audience on a journey through European classical music. The programme includes works by Mozart, Hasse and Mendelssohn.

Info (www.elbphilharmonie.de)

Finished

Igor Levit / Piano Recital

Mon, Feb 10, 2025, 19:30

Laeiszhalle, Großer Saal (Hamburg)

Igor Levit (Piano)

When listening to Igor Levit play Beethoven, you feel that you are being taken by the hand, that you are being led in a determined and yet extremely friendly manner on an exploration of a densely built-up terrain. An unexpected attraction captivates at every bend in the road, everything is there in its intimacy, grandeur, in its deep, ethical seriousness. And yet it seems close, accessible, completely present. This also applies when Levit takes on a work that was not actually intended for piano, such as Beethoven’s expansive »Eroica« Symphony: Beethoven is as direct, spontaneous and physical as life itself. But also as existential and uncomfortable as the things that determine our happiness and our worries. Igor Levit achieves that magical balance between the telling details and the meaningfulness of the big picture that characterises the classic Beethoven.

Info (www.elbphilharmonie.de)

Finished

Carl Philipp Emanuel Bach Festival

Mon, Apr 29, 2024, 19:30

Elbphilharmonie, Kleiner Saal (Hamburg)

Mitglieder des Philharmonischen Staatsorchesters Hamburg, Elise van Es (Soprano), Hansjörg Albrecht (Harpsichord), Hansjörg Albrecht (Piano)

»I feel air from other planets« – so begins a poem by Stefan George, the poet who once stood for such an admired departure into modernity that a composer like Arnold Schönberg set some of his poems to music early on. Schönberg and Carl Philipp Emanuel Bach were both avant-gardists in the best sense of the word. Both shared an emotional, technical, but also idealistic connection to the traditions from which they came. And both sought the development of art and artistic expression as a reflection of their time, developing a new musical language in the process. Schönberg (born in 1874) turned towards expressionism and later towards atonality, Carl Philipp Emanuel Bach (born in 1714) towards an enlightened understanding of music and as a pioneer and trailblazer for the music of Viennese Classicism. And as Arnold Schönberg and Carl Philipp Emanuel Bach are both celebrating milestone birthdays this year, the Carl-Philipp-Emanuel-Bach-Choir Hamburg congratulates them with this concert.

Info (www.elbphilharmonie.de)