Reverie and Rapture

What do the alpine horn and the organ have in common? / Torlontano / Di Lernia

Although the organ is traditionally associated with sacred music and grand concerts, it can also be a fascinating complement to less typical chamber settings. The untypical combinations in this year’s organ concert series provide unique sounds and new, unexpected combinations. The result? We become more open to new interpretational possibilities and free experimenting. True to its "geographical" name, the alpine horn was often used in the Alps as a shepherd's instrument, its sound echoing through mountain valleys, serving both as a means of communication and in folk music. Hence the presence of such pieces as the traditional melody In den Alpen in the programme. This will be completed by the pastoral compositions by Leopold Mozart and Anton Zimmermann, Arcangelo Corelli’s baroque concerto arranged by Francesco Di Lernia, and contemporary compositions by Arvo Pärt and Giovanni D’Aquila. This diverse repertoire will take listeners on a journey across eras and musical styles, towards discoveries of new, surprising sounds. Alexandra KozowiczConcert duration: approximately 80 minutes

Soup with winds and percussion

Two wind players and a percussionist from the Royal Stockholm Philharmonic Orchestra, together with a guesting wind player and percussionist, present music ranging from Monteverdi to Joakim Agnas, who is the orchestra's principal trumpeter and also a composer.In between, there’s a wide variety of pieces, including Swedish Lisa Streich’s Apelsin (Streich was the focus of Konserthuset’s Composer Weekend Festival this spring), a trio by Poulenc, as well as a special arrangement of Mozart’s famous variations on Twinkle, Twinkle, Little Star. A great American composers also feature: the inventive Charles Ives, with From the Steeples and the Mountains.In addition to Joakim Agnas, the concert features Karl Frisendahl, principal trombonist, the Royal Stockholm Philharmonic Orchestra's timpanist Anders Haag, and guest trumpeter Jonas Lindeborg and percussionist Ulf Ewasson Liliansdotter.***Menu: Creamy tomato soup with basil. The soup is served with sourdough bread, crispbread, butter, mineral water/light beer, coffee/tea, and a piece of chocolate. Wine and beer available for purchase for those who wish.All soups are lactose- and gluten-free. Please inform us of any dietary requirements when booking.

Max Volbers "Dance and Firework"

Max Volbers, a recorder virtuoso, studied under Dorothee Oberlinger. He plays a variety of recorders, calling them the "Flauto Dolce" family. His colorful programs, often with his own arrangements, are performed with harpsichordist Alexander von Heißen. A post-concert artist talk with Daniel Finkernagel is included. Registration is required for the "Sunday Matinee Plus" for seniors.

Orpheus’ Treasure Trove – Fretted and Catchy

Orfeus Baroque, since its formation in 2015, has evolved into an indispensable part of the capital's music scene and a meeting place for both musicians of the Royal Stockholm Philharmonic Orchestra and some of Sweden's leading freelance baroque musicians. This time, we hear the ensemble in its more chamber music-oriented setting under the banner of Orpheus’s Treasure Trove. The focus is on music for the viola da gamba, a string instrument that was common during the 15th to 17th centuries and comes in several sizes. The sound of the viola da gamba is soft yet intense, and with the movie Tous les matins du monde (1991), both the instrument and the gamba composer Marin Marais gained great attention. Other Renaissance and Baroque masters who composed for the viola da gamba, such as John Dowland, François Couperin, and Johann Sebastian Bach, are also featured.Here, the music is interspersed with readings of contemporary texts by celebrities such as John Locke, Shakespeare, David Hume, and Molière. The reader is the actor Stina Ekblad, who has participated in countless theater productions, films, and TV productions. Since 1988, she has been a member of the permanent ensemble at the Royal Dramatic Theatre and in recent years has appeared in productions such as The Tempest, The Ghost Sonata, Peer Gynt, The City of Women, and Electra.

Orpheus Baroque – Queen Christina here and there

Queen Christina made a strong mark on the cultural life of both 17th-century Stockholm and her new home city of Rome – after abdicating the throne and converting to Catholicism. Orpheus Baroque follows in her footsteps with music by Gustav Düben the elder, who was the court kapellmeister in Stockholm and a significant figure in the city's musical life, as well as French and Italian greats such as Lully, Carissimi, Stradella, and Corelli.Orpheus Baroque Stockholm primarily consists of members of the Royal Stockholm Philharmonic Orchestra. In just under ten years, the ensemble has become a dynamic and creative meeting place not only for philharmonic musicians with expertise in early music but also for many other leading baroque musicians in Sweden. The artistic directors are Johannes Rostamo, solo cellist of the Royal Stockholm Philharmonic Orchestra, and the lutenist Jonas Nordberg.Orpheus Baroque's highly popular concerts feature thematic programs and collaborations with invited top musicians from the international baroque music scene. This concert is led by the French-Italian baroque violinist Emmanuel Resche-Caserta.

Anna Prohaska and Julius Drake: Paradise Lost

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!

Guest performance Renowned Concertos for Horn, Trumpet and Orchestra

Klaus Mäkelä and Janine Jansen with the Concertgebouw Orchestra

Conductor Klaus Mäkelä says that a concert is like a journey through time. The composers featured on this programme were clearly inspired by older music. Robert Schumann had just suffered a nervous breakdown when he wrote his Second Symphony, a work in which he documents his recovery and overtly draws on the music of Bach, Haydn and Beethoven.Benjamin Britten’s music, in which the influence of older English masters is always palpable, is also in dialogue with the past. His Violin Concerto juxtaposes tradition with present-day circumstances: the year was 1939, and the threat of war imminent. With her extraordinary aptitude for capturing mood and atmosphere, violinist Janine Jansen is the perfect interpreter.Klaus Mäkelä says, ‘In Schumann’s music I always feel an aspect of the past, tradition, history. Britten too admired tradition. We make a combination with works from the 17th century by Purcell and Dowland, to prepare the atmosphere of the later works by Britten and Schumann, which contain the past. I think the music benefits from it. The cathedral-like, almost sacred atmosphere of Dowland and Purcell enhances those aspects in Schumann and Britten, putting their works in a different light.’

Klaus Mäkelä and Janine Jansen with the Concertgebouw Orchestra

Conductor Klaus Mäkelä says that a concert is like a journey through time. The composers featured on this programme were clearly inspired by older music. Robert Schumann had just suffered a nervous breakdown when he wrote his Second Symphony, a work in which he documents his recovery and overtly draws on the music of Bach, Haydn and Beethoven.Benjamin Britten’s music, in which the influence of older English masters is always palpable, is also in dialogue with the past. His Violin Concerto juxtaposes tradition with present-day circumstances: the year was 1939, and the threat of war imminent. With her extraordinary aptitude for capturing mood and atmosphere, violinist Janine Jansen is the perfect interpreter.Klaus Mäkelä says, ‘In Schumann’s music I always feel an aspect of the past, tradition, history. Britten too admired tradition. We make a combination with works from the 17th century by Purcell and Dowland, to prepare the atmosphere of the later works by Britten and Schumann, which contain the past. I think the music benefits from it. The cathedral-like, almost sacred atmosphere of Dowland and Purcell enhances those aspects in Schumann and Britten, putting their works in a different light.’

Works by Jacob, Purcell, Britten, Vaughan Willams, Bridge and Bax