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Similar events

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

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Finished

Mozart (1)

Fri, Feb 14, 2025, 20:00
Cité de la musique, Salle des concerts (Paris)
Orchestre de chambre de Paris, Maxim Emelyanychev (Pianoforte), Maxim Emelyanychev (Conductor), Florent Pujuila (Clarinet), Ilyes Boufadden-Adloff (Oboe), Fany Maselli (Bassoon), Félix Roth (Horn)
Mozart gifted the clarinet with a magnificent concerto, brimming with elegance, tenderness and sensuality. His rich Quintet for Piano and Winds and the 'Prague' Symphony, where the woodwinds take centre stage, are two more of his resounding triumphs.
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This month
In Frankfurt am Main

Brandenburgische Konzerte 1–6

Thu, Mar 27, 2025, 19:00
Maurice Steger (Conductor), Maurice Steger (Blockflöte)
Bach's "Six Concerts with Several Instruments," better known as the Brandenburg Concertos, are neither solo concertos nor concerti grossi. Instead, they showcase the diverse ways instruments can interact. Maurice Steger, a recorder virtuoso, demonstrates the recorder's refined role in these pieces. The concert lasts approximately 125 minutes including intermission.
Artistic depiction of the event
This month
In Frankfurt am Main

Brandenburgische Konzerte 1–6

Fri, Mar 28, 2025, 20:00
Maurice Steger (Conductor), Maurice Steger (Blockflöte)
Bach's "Six Concerts with Several Instruments," better known as the Brandenburg Concertos, are neither solo concertos nor concerti grossi. Instead, they showcase the diverse ways instruments can interact. Maurice Steger, a recorder virtuoso, demonstrates the recorder's refined role in these pieces. The concert lasts approximately 125 minutes including intermission.
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Next week
In Paris

Partition inconnue n° 1

Sat, Mar 22, 2025, 20:00
Nach (Danse contemporaine), Solistes de l'Ensemble intercontemporain, Martin Adámek (Clarinet), Eric-Maria Couturier (Cello), Cyril Mulon (Création lumières)
With her piece dedicated to krumping—the intense dance style that emerged in the 2000s—choreographer Nach is joined by surprising guests, both soloists from the Ensemble Intercontemporain: clarinettist Martin Adámek and cellist Éric-Maria Couturier.
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Finished

JAZZIK #1

Fri, Nov 15, 2024, 19:30
Duncan Ward (Conductor), Makoto Ozone (Piano), Rundfunk-Sinfonieorchester Berlin
Where does jazz begin and classical music end? With the new “Jazzik” series, the RSB fuses jazz, classical and minimal music.After the concert, the jazz duo of Markus Ehrlich (saxophone) and Attila Muehl (guitar) will bring the evening to an atmospheric close in the foyer.The concert will be broadcast on Deutschlandfunk Kultur on December 4 at 8:03 pm.
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This season
In Essen

Park Sounds 1

Mon, Jun 9, 2025, 20:00
Essen's Stadtgarten will be filled with electronic sounds during the five evenings of "Park Sounds," hosted by the Philharmonie Essen. The Institute for Computer Music and Electronic Media (ICEM) of the Folkwang University of the Arts, along with their students, will curate and present the music. Visitors can enjoy the multi-channel surround sound experience for free. The program details will be available on the Philharmonie Essen website.
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Finished

Beethovens 1. Sinfonie

Sun, Nov 3, 2024, 16:00
Hans Christian Aavik (Violin), Andreas Lend (Cello), Maila Laidna (Piano), Estonian Sinfonietta Tallinn, Maria Seletskaja (Conductor)
Estonia, especially its capital Tallinn, is renowned for its diverse music scene. The Estonian Sinfonietta, led by Maria Seletskaja, performs Mozart's Violin Concerto KV 216 and Beethoven's 1st Symphony alongside contemporary Estonian composer Arvo Pärt's poignant "Spiegel im Spiegel." This concert promises a captivating blend of classical and modern Estonian music.
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This season
In Leipzig

EISKÖNIGIN 1 & 2

Mon, Jan 12, 2026, 18:00
Gewandhaus Leipzig, Großer Saal (Leipzig)
Mit den Musik-Highlights aus EISKÖNIGIN 1&2 Die Musik-Show auf Eis mit großem Ensemble! „Die Eiskönigin 1&2 auf Eis“ verzaubert mit diesem eindrucksvollen Show-Spektakel auf Eis wie bereits das Musical und die Filmvorlage jede Altersklasse! Mit großem Ensemble! Und es gibt viel zu erleben: großartige Pop-Songs, ein begeisterndes Ensemble aus Musical-Solisten, Eistänzern und Akrobaten sowie ein eindrucksvolles LED-Bühnenbild! Die Schwestern Elsa und Anna und ihren Gefährten begehen eine abenteuerliche Musik-Reise mit den Stars der deutschsprachigen Musicalszene, dem großen Schlittschuh-Ensemble sowie internationalen Akrobaten der Extraklasse. Alle Songs live! Gänsehaut pur, wenn Elsa den absoluten Hit des Abends „Lass jetzt los!“ singt und dabei die Bühne und die riesige LED-Leinwand mit ihren magischen Kräften in ein Meer aus Eis und tiefblauen Kristallen verzaubert! Lustig, wenn Schneemann Olaf in „Im Sommer“ von Sonne und Strand träumt „mit einem Drink in der Hand und ganz knackig braun!“ Spektakulär, wenn sich Elsa und Anna mit den Trollen in „Willst du einen Schneemann bauen“ auf eine Schneeballschlacht einlassen oder Kristoff mit seinem geliebten Rentier Sven singt „Rentiere sind besser als Menschen!“ In dieser Show auf Eis folgen viele weitere Hits, darunter „Wo noch niemand war“, „Zeige dich“ und „Liebe öffnet Türen“. Freude pur für die Fans des Kino- und Musical-Hits! Die gefeierten Songs der weltweit erfolgreichsten Animationsfilme Eiskönigin 1 und Eiskönigin 2 (darunter der Oscar-Gewinner für den besten Filmsong) kommen auf die europäischen Bühnen. Und dies gleich in spektakulärer Form – auf Eis! Die Musik- Show „Eiskönigin 1&2 auf Eis“ entwickelt eine stimmliche, tänzerische akrobatische und märchenhafte Magie der Extraklasse. Zur vielfach ausgezeichneten Musik (darunter der begehrte Oscar für den besten Filmsong) zeigen Elsa, Anna sowie Olaf, Sven und Kristoff ein unterhaltsames Eis-Spektakel mit innovativer Bühnentechnik und großem Ensemble. Hinweis des Veranstalters: Die Musik-Show auf Eis findet auf einer künstlichen Eisfläche statt, genannt LIKE-ICE! Diese Technologie, die von einem deutschen Unternehmen entwickelt wurde, ist die ökologisch sinnvollste Lösung mit den geringsten Auswirkungen auf die Umwelt.
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This season
In Hamburg

1. Blaues Konzert

Wed, Oct 8, 2025, 19:30
Omer Meir Wellber, Musiker:innen des Philharmonischen Staatsorchesters Hamburg
Under the direction of Omer Meir Wellber, the Hamburg Philharmonic State Orchestra is adding a colorful accent to the season: THE BLUE WEEK. The new festival replaces the former Academy Concerts and combines unique works and programs on the one hand and showcases the special qualities of our orchestra musicians on the other. In the first edition, they make metamorphoses of all kinds audible - for example, in the first festival concert with Boulez's groundbreaking and enigmatic work Le Marteau sans maître, the instruments mutate into singing voices, while the singer repeatedly takes on a sound role without text. In a labyrinthine way, the work itself unfolds all its characteristics from a single small cell, as if from the sequence of our genetic information, from which first an embryo and then everything else emerges, without anyone arbitrarily intervening from outside. Sans maître - without a master - which means that although the composer has devised the laws of this act of creation, at a certain point the work generates itself like a living creative being, an autonomous morphogenesis. “There is no doubt that Le Marteau sans maître is not only one of the young Frenchman's most remarkable works, it also embodies a very specific ideal of form and sound that is typical of a part of today's avant-garde. It is the ideal of a feminine sensuality dipped in vibrato jelly, a feline hyper-refinement in which the velvety paws of the alto flute caress a deep female voice, which is, however, far more frequently scratched by the spread claws of xylorimba, maracas and claves. The sadistic aspect manifests itself with a strange level-headedness, as if clad in silk gloves: the corpses are hardly mauled, but dissected with very systematic and gentle cuts - a voluptuous exercise in aestheticizing cruelty, carried out by a truly aristocratic torturer with tweezers instead of a cleaver. René Char's melancholic-sadistic-surrealistic texts are sucked by the music into a labyrinth of high-pitched lamentations, into an ever more finely branching tracery of delicate sounds that only bites gently.” György Ligeti (1959)