Works by Maria Xaveria Perucona, Johann Adolf Hasse, Gustav Holst, and Arvo Pärt, as well as piano music by Sofia Gubaidulina, Lera Auerbach, and Arvo Pärt.A summary from original text in German | Read the original
| Liana Narubina | Piano |
| Berliner Frauen-Vokalensemble | Choir |
| Lothar Knappe | Conductor |
| Maria Xaveria Perucona | |
| Johann Adolf Hasse | |
| Gustav Holst | |
| Arvo Pärt | |
| Sofia Gubaidulina | |
| Lera Auerbach | |
| Arvo Pärt |
These events are similar in terms of concept, place, musicians or the program.
The hr-Sinfonieorchester has been associated with the Internationale Ferienkurse für Neue Musik in Darmstadt since its beginnings. At the 51st Darmstadt Summer Courses, it will present exceptional works to course participants from many countries as part of the final concert. Conducted by Pierre Bleuse, the program includes Morton Feldman's "String Quartet and Orchestra" with the Fabrik Quartett, and the world premiere of a new work for turntables and orchestra by Mariam Rezaei and Matthew Shlomowitz.
The Akademie für Alte Musik presents one of the most popular works of classical music in its original sound: Mozart's so-called ‘Great’ G minor Symphony, first performed in Vienna in 1788, is a work of passionate expression that does not shy away from harsh sounds and sombre minor tones. Ten years earlier, the composer had tried his luck in Paris in the hope of a permanent position. The French public's enthusiasm for virtuosity fuelled the establishment of the new ‘Sinfonie concertante’, which is characterised by several solo instruments - the ‘Wind Concertante’ features oboe, clarinet, horn and bassoon. The programme is rounded off with the E flat major Divertimento, written in Milan in 1771. The clarinets he used in this work for the first time opened up a new world of sound for Mozart.
In their first joint programme, Akamus and the up-and-coming star of the countertenor scene Carlo Vistoli dedicate themselves to key works of church music: Vivaldi set religious texts such as the psalm ‘Nisi Dominus’ to music with bittersweet sadness and operatic verve. The Venetian composer's ‘Stabat mater’, on the other hand, is one of the darkest baroque settings of the pain of Mary, the ‘Mater dolorosa’ and mother of Jesus. ‘I have had enough’ is also one of Bach's most moving cantatas.
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
In their first joint programme, Akamus and the award-winning Basel vocal ensemble Voces Suaves present musical highlights from the generation of German composers before Johann Sebastian Bach and thus the impressive musical world into which he was born. The programme includes works by the extended Bach family as well as by composers who are largely unknown today and who preceded the later Thomaskantor in his important positions in Mühlhausen, Weimar and Leipzig. From the oeuvre of Johann Sebastian Bach, the double-choir motet ‘Der Geist hilft unser Schwachheit auf’ will be performed..
This year's Christmas concert by AKAMUS features inspiring music for the Nativity. Highlights include Biber's "Annunciation" sonata and touching works by Italian composers like Albinoni and Marini.
Countertenor Christopher Ainslie—who made his debut with the Boulez Ensemble last season—and the Akademie für Alte Musik Berlin present a selection of arias from the operas of George Frideric Handel that celebrate the joys and sorrows of love. The musicians are joined by students of the Barenboim-Said Akademie who will work with the ensemble for first-hand training in historical performance practice. Instrumental pieces by Handel’s London contemporaries frame the operatic excerpts.
Really old and extremely lively: For many seasons now, the Akademie für Alte Musik Berlin has been demonstrating how thrilling music from the 17th to the early 19th century can sound in its own series at the Konzerthaus Berlin.Bach's „St Matthew Passion“ was premiered for the second time in 1829 - in the Singakademie building in Berlin, which is now home to the Maxim Gorki Theatre. The conductor was Felix Mendelssohn-Bartholdy, who was only twenty years old. He paved the way for a Bach renaissance with the version he arranged and shortened. In the era of Viennese Classicism, Bach's music had simply hardly ever been performed. The Passion, however, which was first presented to the congregation of St Thomas' Church in Leipzig in 1727, is one of the most haunting musical depictions of the story of the crucifixion.
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