ONE PIECE Music Symphony

ONE PIECE Music Symphony (Zusatztermin)

Celebrate One Piece's 25th anniversary with the ONE PIECE Music Symphony orchestra concert. A full orchestra performs music from One Piece alongside anime footage. Relive the Straw Hat Crew's adventures with this special anniversary program. The worldwide 25th-anniversary tour will showcase memorable moments.

One and only

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

One and only

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

One and only

Many people, connoisseurs and amateurs alike, have an illustrious list of one-and-only musical works that they have grown to love forever. This concert features two of the top candidates that would rank high in the charts of all-time-favorite-classical-pieces. The Gürzenich Orchestra builds a bridge from Robert Schumann to Gustav Mahler, from dramatic, boasting virtuosity all the way to the abysmal depths of the soul. Barely half a century lies between Schumann’s only piano concerto and Mahler’s fifth enormous symphonic endeavor. But how different were the artistic worlds they each thrived in, and how turbulent were the political, technological and cultural changes that took place over the course of these few decades! Still, the works are each considered to be exemplary of a deeply romantic approach to the world. The soloist in the very first performance of Robert Schumann’s concerto for piano and orchestra was Clara Schumann, arguably the most famous keyboard virtuoso of the 19th century, and also the love of Robert’s life, his soulmate and eventually his wife. Clara herself had written a piano concerto – also in A Minor – about ten years before, with a little help regarding orchestration from a certain admirer of hers, by the way: Schumann. His piano concerto, which almost sounds like a fantasy with its longing melodies, is deemed by many to be somewhat of a soundtrack to their legendary artistic and emotional partnership. Our soloist is Mao Fujita, similarly young as Clara Schumann at the time, and similarly capable of musical marvels. Gustav Mahler on the other had composed some actual film music, albeit unknowingly, as the sound film had yet to be invented. The fourth and penultimate movement (Adagietto) of his fifth symphony was borrowed by director Luchino Visconti for the cinematic realization of Thomas Mann’s Death in Venice. In this creation, the composer takes us through different chapters of human life – some filled with light, some incredibly bleak. He seduces us with enchanting melodies, only to abruptly push us off the cliff and watch us being drawn into the abyss. The good news is: unlike the film, this piece has a radiant happy ending, in major.

London Symphony Orchestra: Family Concert – Just One More Story

We all want just one more story – whether it’s another picture book or another episode of our favourite TV show – but there’s more than one way to tell a tale!

One upon a time...

This family concert features Camille Saint-Saëns's "Carnival of the Animals," where the orchestra imitates various animals, and Maurice Ravel's enchanting journey through fairy tales. It's a musical adventure for all ages, celebrating the 25th anniversary of the Ohrenauf! series. Suitable for families with children aged 6 and above, lasting approximately 1 hour.

One upon a time...

This family concert features Camille Saint-Saëns's "Carnival of the Animals," where the orchestra imitates various animals, and Maurice Ravel's enchanting journey through fairy tales. It's a musical adventure for all ages, celebrating the 25th anniversary of the Ohrenauf! series. Suitable for families with children aged 6 and above, lasting approximately 1 hour.

SLAM SYMPHONY

The »Slam Symphony« is now in its ninth round in Bamberg and, as always, three award-winning poetry slammers will compete against each other to win the audience prize before the young Latvian conductor Aivis Greters performs the symphonic work. This time we will focus on Berlioz, a man about whom it was said that »despite all the eccentricity his compositions exude, he is a peculiar man, if only because he is driven by a burning, enthusiastic love for the arts, because he has blazed his own trail, and – because he is a character«. Bearing this year‘s motto in mind, his legendary »Symphonie fantastique« is a must: in 1830, the romantic fiery-head had a »fixed idea« that left its mark when it comes to setting states of the soul in music. At that time, the very young composer was in love with an actress unattainable to him. And so he composed these »Episodes from the Life of an Artist«, which of course was himself: the tale of a consuming passion, of hell, opium and madness. The almost obsessively adored one is both a wishful and distorted image in one and, in the »Idée fixe«, almost like a nightmare, always present – because this leitmotif constantly throws his soul into turmoil. It will be exciting to hear which lyrics and words will come to the slammers‘ minds!

Guildhall Symphony Orchestra: An Alpine Symphony

Join Guildhall Symphony Orchestra for an awe-inspiring evening of music in Barbican Hall, conducted by alumnus Roberto González-Monjas.

Klosters Music