Keywords: Guest Concert, Vocal Music
| Branford Marsalis | Saxophon |
| Joey Calderazzo | Piano |
| Eric Revis | Bass guitar |
| Justin Faulkner | Percussion |
| Sára Tímár | Vocals |
| Miklós King | Violin |
| Gergely Hegedűs | Violin, Viola |
| Mihály Borbély | Tárogató |
| Soma Salamon | Accordion, Flute |
| Balázs Szokolay Dongó | Bagpipes, Flute |
| Kornél Varga | Guitar |
Information not provided |
These events are similar in terms of concept, place, musicians or the program.
Saxophonist and composer Branford Marsalis has been a fixture in jazz for decades. He is also a sought-after classical soloist with acclaimed orchestras around the world and his legendary guest performances with the Grateful Dead and collaborations with Sting have made him a fan favorite in the pop arena. The Branford Marsalis Quartet, formed in 1986, has established a rare breadth of stylistic range and is revered for its uncompromising interpretation of both original compositions and jazz and popular classics. The Quartet is now joined by 7 excellent Hungarian musicians to perform songs based on Hungarian Folk Music. Marsalis knew he was not interested in simply adding »jazz« chords to folk songs noting that »the chords, the harmonies are perfect as they are. They have just the right emotional impact.« The project was commissioned by Müpa and first premiered in Budapest, where it was immediately praised as a success.
The Rat Pack is back! The hit show »Sinatra & Friends« is back! The three Brits Stephen Triffitt, Mark Adams and George Daniel Long alias Frank Sinatra, Dean Martin and Sammy Davis Jr. allow the audience to experience the greatest show legends of all time – also known as the infamous »Rat Pack« – on stage.
For the finale to Khatia Buniatishvili’s Barbican residency, the pianist invites friends from the performing world to join her for an intimate evening of music and words
It goes without saying that The Concertgebouw and jazz & pop music make a perfect combination. The stages of both the Main Hall and the Recital Hall have borne witness to nearly the whole of jazz history. Sarah Vaughan and Ella Fitzgerald have both performed here, as have Miles Davis and Louis Armstrong. Famous pop stars and bands that have graced the stage of the Main Hall include Frank Zappa, the Doors and the Eagles, to name but a few. Legendary concerts, in the present as well as the past.
Rachmaninoff's second piano concerto, known for its emotional depth and technical demands, is tackled by the award-winning 20-year-old pianist Yunchan Lim. Following this, jazz star Wynton Marsalis demonstrates his creative power as a composer within a classical music setting.
A demonstration against the CDU, CSU, and FDP's alliance with fascists is scheduled for Saturday, February 1st, with an expected 3,000 participants. Significant traffic disruptions are anticipated, especially near the Cologne Philharmonic. Concertgoers are advised to plan alternate routes or transportation. The demonstration starts at Heumarkt at 4 pm and ends with a rally at Deutzer Werft around 9 pm. Yunchan Lim will be performing Rachmaninov's challenging second piano concerto, followed by a performance of a classical composition by jazz composer Wynton Marsalis.
“From the heart, may it again go to the heart.” Thus Beethoven wrote at the head of the Kyrie in his Missa solemnis. Shortly before completing the work he called it the greatest he had ever written. This monumental yet enigmatic masterpiece of sacred music is less a strictly liturgical composition than a vehicle for kindling authentic religious feelings in the listeners. His Mass thus bespeaks a thoroughly Enlightenment view of religion; it also reveals a sense of drama, as when the final plea for peace, “Dona nobis pacem”, is preceded by vivid scenes of war. In John Eliot Gardiner a conductor steps up to the BRSO rostrum who has often plunged into the gigantic cosmos of the Missa solemnis in concerts and recordings, probing the field of tension between faith and emotionalism that goes directly to the heart.
“From the heart, may it again go to the heart.” Thus Beethoven wrote at the head of the Kyrie in his Missa solemnis. Shortly before completing the work he called it the greatest he had ever written. This monumental yet enigmatic masterpiece of sacred music is less a strictly liturgical composition than a vehicle for kindling authentic religious feelings in the listeners. His Mass thus bespeaks a thoroughly Enlightenment view of religion; it also reveals a sense of drama, as when the final plea for peace, “Dona nobis pacem”, is preceded by vivid scenes of war. In John Eliot Gardiner a conductor steps up to the BRSO rostrum who has often plunged into the gigantic cosmos of the Missa solemnis in concerts and recordings, probing the field of tension between faith and emotionalism that goes directly to the heart.
“From the heart, may it again go to the heart.” Thus Beethoven wrote at the head of the Kyrie in his Missa solemnis. Shortly before completing the work he called it the greatest he had ever written. This monumental yet enigmatic masterpiece of sacred music is less a strictly liturgical composition than a vehicle for kindling authentic religious feelings in the listeners. His Mass thus bespeaks a thoroughly Enlightenment view of religion; it also reveals a sense of drama, as when the final plea for peace, “Dona nobis pacem”, is preceded by vivid scenes of war. In John Eliot Gardiner a conductor steps up to the BRSO rostrum who has often plunged into the gigantic cosmos of the Missa solemnis in concerts and recordings, probing the field of tension between faith and emotionalism that goes directly to the heart.
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