Set your preferred locations for a better search. You can sign up here.

SOLD OUT: Kent Nagano conducts Hosokawa and Bruckner

Date & Time
Sun, Feb 25, 2024, 17:00
»The flute so gracefully captures the ears that it brings calm and peace to all emotions, right into the soul«. This quote from Plutarch builds a wonderful bridge to the opening of our concert – the spiritual flute concerto by the prominent Japanese composer Toshio Hosokawa. Premiered in 2022, the piece is about a fascinating ceremony. According to Hosokawa, the solo part represents »a shamanic person« who invokes the orchestra as »the world, the universe, nature« using breathing sounds to... Read full text

Keywords: Symphony Concert

Artistic depiction of the event

Musicians

Nagano KentConductor
Daniela KochFlute

Program

Toshio Hosokawa»Ceremony« für Flöte und Orchester (Deutsche Erstaufführung)
Anton BrucknerSymphonie Nr. 3 d-Moll
Give feedback
Last update: Fri, Nov 22, 2024, 12:39

Similar events

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

Artistic depiction of the event
Finished

Kent Nagano conducts Hosokawa and Bruckner

Sat, Feb 24, 2024, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Nagano Kent (Conductor), Daniela Koch (Flute)
»The flute so gracefully captures the ears that it brings calm and peace to all emotions, right into the soul«. This quote from Plutarch builds a wonderful bridge to the opening of our concert – the spiritual flute concerto by the prominent Japanese composer Toshio Hosokawa. Premiered in 2022, the piece is about a fascinating ceremony. According to Hosokawa, the solo part represents »a shamanic person« who invokes the orchestra as »the world, the universe, nature« using breathing sounds to summon supernatural forces: »The breathing sounds echo through the flute just like the wind in nature and become the song that awakens the spirit.« Our solo flutist Daniela Koch assumes the role of the shaman in this ritualistic piece, about which Hosokawa noted that it was »also prayer music for the end of the pandemic, as it was composed during the Corona catastrophe.« This fits with something Bruckner said in 1874 shortly after completing the first version of his third symphony: »Because the present state of the world, spiritually speaking, is weakness, I resort to strength and compose powerful music.« Many of Bruckner's movements are symphonic canticles in a sublime style, moving through the struggles and trials of a soul seeking its way to salvation through pain and suffering. Since the premiere of his third symphony was a dreadful disaster for him, he revised it multiple times, feeling deeply depressed – and finally scored a success with the 1889 version. Bruckner said about the fluctuating moods of this symphonic cosmos: »That‘s just the way it is in life. The polka stands for the humour and cheerfulness of the world – the chorale for the sadness and pain in it.«
Artistic depiction of the event
Finished

Sold out: Giuseppe Mengoli conducts Beethoven and Mozart

Sun, Nov 26, 2023, 17:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Giuseppe Mengoli (Conductor), Francesco Piemontesi (Piano)
Unfortunately, our Honorary Conductor Herbert Blomstedt is not able to conduct this concert as planned, as well as pianist Maria João Pires cannot come to Bamberg, both due to health reasons. Gladly Giuseppe Mengoli and Francesco Piemontesi will both step in on short notice. The concert programme remains unchanged.
Artistic depiction of the event
Finished

Sold out: Giuseppe Mengoli conducts Beethoven and Mozart

Sat, Nov 25, 2023, 20:00
Konzerthalle Bamberg, Joseph-Keilberth-Saal (Bamberg)
Giuseppe Mengoli (Conductor), Francesco Piemontesi (Piano)
Unfortunately, our Honorary Conductor Herbert Blomstedt is not able to conduct this concert as planned, as well as pianist Maria João Pires cannot come to Bamberg, both due to health reasons. Gladly Giuseppe Mengoli and Francesco Piemontesi will both step in on short notice. The concert programme remains unchanged.The two pieces of this concert evening are perfectly suited as spiritual mourishment: Mozart‘s triumphant »Jupiter Symphony« from 1788 is seen as the artistic pinnacle of his creative work. As was often the case in his life, he was struggling with the hardships of everyday life at that time, and so the Andante in particular encapsulates a whole range of musical feelings – from intense inwardness to passion and aching sadness to the grandiose. Otherwise, however, the symphony is an optimistically shining piece in luminous C major – its later added title emphasising the power of the heavenly father and light-bringer Jupiter, the supreme deity in Roman mythology. Beethoven's Fourth Piano Concerto was also composed in 1806 during a worrisome time: the agonies of deafness and the loneliness associated with it increasingly troubled the composer – and he once said: »Music is the climate of my soul.« When composing this grandiose work, Beethoven is believed to have been thinking of the Greek myth of the legendary poet-musician Orpheus, who subdued the dark demons of the underworld with his beguiling sounds.
Artistic depiction of the event
Finished

SOLD OUT: MOZARTFEST WÜRZBURG

Sat, Jun 24, 2023, 20:00
Fabio Biondi (Conductor), Barbara Bode (Oboe)
“In the rising of a symphony there is something divine, something similar to creation itself." (Leonard Bernstein) Life is in constant transformation and the world in constant change – and so, too, is the history of music! When eight-year-old Mozart composed his first symphonic work in 1764, the late baroque was transitioning to the classical era. The symphony was in the process of emancipating itself from its origins in the overture to Neapolitan opera. In this concert, our orchestra will perform two early symphonies by Mozart, who once said, "Creation emerges as in a pleasant and lively dream." Conductor Fabio Biondi specialises in bringing rare works to the stage, and thus this programme will feature works seldom heard from his native Italy. The Milanese composer Carlo Monza was highly regarded during his lifetime, but only a few of his pieces have been rediscovered to date. One of these is the striking Sinfonia "La tempesta di mare" of 1784, where the music condenses into a veritable storm. Giuseppe Sammartini was likewise born in Milan and later worked in London, where he was considered one of the greatest oboists of his day. His popular instrumental concertos were said to be "full of science, originality and fire". The talented Niccoló Jommelli came from Naples, but was successful beyond Italy’s borders. His opera symphonies in particular were considered exemplary and were widely disseminated as independent works from 1750 onwards. Our programme will end with a composition by another famous Wunderkind: in 1824, at the age of just 15, Mendelssohn wrote his extravagantly romantic C minor Symphony – an astonishing creation of which it was said: "New, beautiful, original. Spirit, flow, calm, melodiousness, wholeness, drama."
Artistic depiction of the event
Finished

SOLD OUT: MOZARTFEST WÜRZBURG

Sun, Jun 25, 2023, 20:00
Fabio Biondi (Conductor), Barbara Bode (Oboe)
“In the rising of a symphony there is something divine, something similar to creation itself." (Leonard Bernstein) Life is in constant transformation and the world in constant change – and so, too, is the history of music! When eight-year-old Mozart composed his first symphonic work in 1764, the late baroque was transitioning to the classical era. The symphony was in the process of emancipating itself from its origins in the overture to Neapolitan opera. In this concert, our orchestra will perform two early symphonies by Mozart, who once said, "Creation emerges as in a pleasant and lively dream." Conductor Fabio Biondi specialises in bringing rare works to the stage, and thus this programme will feature works seldom heard from his native Italy. The Milanese composer Carlo Monza was highly regarded during his lifetime, but only a few of his pieces have been rediscovered to date. One of these is the striking Sinfonia "La tempesta di mare" of 1784, where the music condenses into a veritable storm. Giuseppe Sammartini was likewise born in Milan and later worked in London, where he was considered one of the greatest oboists of his day. His popular instrumental concertos were said to be "full of science, originality and fire". The talented Niccoló Jommelli came from Naples, but was successful beyond Italy’s borders. His opera symphonies in particular were considered exemplary and were widely disseminated as independent works from 1750 onwards. Our programme will end with a composition by another famous Wunderkind: in 1824, at the age of just 15, Mendelssohn wrote his extravagantly romantic C minor Symphony – an astonishing creation of which it was said: "New, beautiful, original. Spirit, flow, calm, melodiousness, wholeness, drama."
Artistic depiction of the event
Finished

SOLD OUT: Residence at the Elbphilharmonie

Wed, Jan 24, 2024, 20:00
Jakub Hrůša (Conductor)
After last season‘s two-concert guest performance at the river Elbe in Hamburg, our orchestra is looking forward to a veritable »residency« with three programmes in the great hall of the Elbphilharmonie – by the way, already our concerts nos. 6 to 8 in this iconic landmark. Ludwig van Beethoven‘s symphonies are the link between the three programmes, each of which aims to retrace the influence of his music on the composers of the Romantic and Modern eras. This is most apparent in Richard Strauss‘s tone poem »Ein Heldenleben«, whose relationship to Beethoven‘s »Eroica« is not only evident in the title, but can also be heard musically as one listens through the work. Strauss himself wrote to his father during the composing process, ironically referring to the »Eroica«, that he was now working on a larger tone poem entitled »Heldenleben« (»Heroic Life«) »to remedy an urgent need, without a funeral march, but still in E-flat major, with lots of horns, which for once are aimed towards heroism«. Beethoven‘s 7th Symphony was soon described as the »apotheosis of dance«, particularly for its wild, dance-like finale. Stravinsky spoke highly of the »constructive power of order« in Beethoven‘s works and once said that he should be revered only for his music: »In the supreme quality of his tone material, not in the nature of his ideas, lies his true greatness«. In »Sacre du Printemps«, Stravinsky elevates the idea of dance to the archaic, the monstrous, and the juxtaposition of the two compositions, tying ritual, dance and movement into symphonic frames, is particularly attractive. Finally, in Hamburg we combine Beethoven's 5th Symphony with his 5th Piano Concerto – two model works by the composer, which in their respective genres both exerted the greatest influence on many of his successors. Our soloist Lukas Sternath in 2022 created a sensation at the International ARD Music Competition – in addition to the 1st prize, he was awarded seven special prizes, including the audience prize and the award for the best interpretation of the commissioned composition.
Artistic depiction of the event
Finished

SOLD OUT: Residence at the Elbphilharmonie

Thu, Jan 25, 2024, 20:00
Jakub Hrůša (Conductor)
After last season‘s two-concert guest performance at the river Elbe in Hamburg, our orchestra is looking forward to a veritable »residency« with three programmes in the great hall of the Elbphilharmonie – by the way, already our concerts nos. 6 to 8 in this iconic landmark. Ludwig van Beethoven‘s symphonies are the link between the three programmes, each of which aims to retrace the influence of his music on the composers of the Romantic and Modern eras. This is most apparent in Richard Strauss‘s tone poem »Ein Heldenleben«, whose relationship to Beethoven‘s »Eroica« is not only evident in the title, but can also be heard musically as one listens through the work. Strauss himself wrote to his father during the composing process, ironically referring to the »Eroica«, that he was now working on a larger tone poem entitled »Heldenleben« (»Heroic Life«) »to remedy an urgent need, without a funeral march, but still in E-flat major, with lots of horns, which for once are aimed towards heroism«. Beethoven‘s 7th Symphony was soon described as the »apotheosis of dance«, particularly for its wild, dance-like finale. Stravinsky spoke highly of the »constructive power of order« in Beethoven‘s works and once said that he should be revered only for his music: »In the supreme quality of his tone material, not in the nature of his ideas, lies his true greatness«. In »Sacre du Printemps«, Stravinsky elevates the idea of dance to the archaic, the monstrous, and the juxtaposition of the two compositions, tying ritual, dance and movement into symphonic frames, is particularly attractive. Finally, in Hamburg we combine Beethoven's 5th Symphony with his 5th Piano Concerto – two model works by the composer, which in their respective genres both exerted the greatest influence on many of his successors. Our soloist Lukas Sternath in 2022 created a sensation at the International ARD Music Competition – in addition to the 1st prize, he was awarded seven special prizes, including the audience prize and the award for the best interpretation of the commissioned composition.
Artistic depiction of the event
Finished

SOLD OUT: Residence at the Elbphilharmonie

Fri, Jan 26, 2024, 20:00
Jakub Hrůša (Conductor), Lukas Sternath (Piano)
After last season‘s two-concert guest performance at the river Elbe in Hamburg, our orchestra is looking forward to a veritable »residency« with three programmes in the great hall of the Elbphilharmonie – by the way, already our concerts nos. 6 to 8 in this iconic landmark. Ludwig van Beethoven‘s symphonies are the link between the three programmes, each of which aims to retrace the influence of his music on the composers of the Romantic and Modern eras. This is most apparent in Richard Strauss‘s tone poem »Ein Heldenleben«, whose relationship to Beethoven‘s »Eroica« is not only evident in the title, but can also be heard musically as one listens through the work. Strauss himself wrote to his father during the composing process, ironically referring to the »Eroica«, that he was now working on a larger tone poem entitled »Heldenleben« (»Heroic Life«) »to remedy an urgent need, without a funeral march, but still in E-flat major, with lots of horns, which for once are aimed towards heroism«. Beethoven‘s 7th Symphony was soon described as the »apotheosis of dance«, particularly for its wild, dance-like finale. Stravinsky spoke highly of the »constructive power of order« in Beethoven‘s works and once said that he should be revered only for his music: »In the supreme quality of his tone material, not in the nature of his ideas, lies his true greatness«. In »Sacre du Printemps«, Stravinsky elevates the idea of dance to the archaic, the monstrous, and the juxtaposition of the two compositions, tying ritual, dance and movement into symphonic frames, is particularly attractive. Finally, in Hamburg we combine Beethoven's 5th Symphony with his 5th Piano Concerto – two model works by the composer, which in their respective genres both exerted the greatest influence on many of his successors. Our soloist Lukas Sternath in 2022 created a sensation at the International ARD Music Competition – in addition to the 1st prize, he was awarded seven special prizes, including the audience prize and the award for the best interpretation of the commissioned composition.
Artistic depiction of the event
Finished

Hamburg Philharmonic State Orchestra / Kent Nagano

Sun, Sep 29, 2024, 11:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, LauschWerk, Kent Nagano (Conductor)
The 2024/25 season of the Hamburg Philharmonic State Orchestra – the final season for General Music Director Kent Nagano – begins with the sound of infinity rather than with any instruments. In György Ligeti’s groundbreaking »Lux aeterna«, written in 1966, the LauschWerk choir sings with a polyphony at full power – with soprano, alto, tenor and bass dividing into no fewer than 16 voices to capture the »eternal light« in sound. »As a self-contained composition, ›Lux aeterna‹ naturally has a beginning and an end,« said the Hungarian composer, who later taught at the Hamburg University of Music and Drama for many years. »And although the entire habitus of the music is static, gradual shifts do occur. The idea of infinity is evoked; the impression is created that the music was already there even before we started hearing it, and that it will always continue, even when we no longer hear it.«
Artistic depiction of the event
Finished

Hamburg Philharmonic State Orchestra / Kent Nagano

Mon, Sep 30, 2024, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Philharmonisches Staatsorchester Hamburg, LauschWerk, Kent Nagano (Conductor)
The 2024/25 season of the Hamburg Philharmonic State Orchestra – the final season for General Music Director Kent Nagano – begins with the sound of infinity rather than with any instruments. In György Ligeti’s groundbreaking »Lux aeterna«, written in 1966, the LauschWerk choir sings with a polyphony at full power – with soprano, alto, tenor and bass dividing into no fewer than 16 voices to capture the »eternal light« in sound. »As a self-contained composition, ›Lux aeterna‹ naturally has a beginning and an end,« said the Hungarian composer, who later taught at the Hamburg University of Music and Drama for many years. »And although the entire habitus of the music is static, gradual shifts do occur. The idea of infinity is evoked; the impression is created that the music was already there even before we started hearing it, and that it will always continue, even when we no longer hear it.«