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Musik in Zeiten des Krieges
The Bremen Philharmonic Orchestra performs their historical program from March 29, 1945.
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The Bremen Philharmonic Orchestra performs their historical program from March 29, 1945.
Carl Maria von Weber's friendship with Munich court clarinetist Joseph Bärmann inspired three works, including Clarinet Concerto No. 2, which will be performed by Sharon Kam. Erich Wolfgang Korngold's only symphony also features the clarinet prominently. This F-sharp major symphony blends Hollywood sounds with Austrian nostalgia, reflecting Korngold's exile experience. The world premiere of a piece by Florian Kovacic, conducted by Yoel Gamzou, further explores stylistic fusion.
Carl Maria von Weber's friendship with Munich court clarinetist Joseph Bärmann inspired three works, including Clarinet Concerto No. 2, which will be performed by Sharon Kam. Erich Wolfgang Korngold's only symphony also features the clarinet prominently. This F-sharp major symphony blends Hollywood sounds with Austrian nostalgia, reflecting Korngold's exile experience. The world premiere of a piece by Florian Kovacic, conducted by Yoel Gamzou, further explores stylistic fusion.
The London Philharmonic Orchestra perform at the National Centre for the Performing Arts in Beijing.Conductor Paavo Järvi presents a powerful programme featuring works by Weber, Haydn and Tchaikovsky. Julia Hagen takes centre stage for a dazzling performance of Haydn’s First Cello Concerto.
The London Philharmonic Orchestra perform at the Shanghai Grand Theatre.Conductor Paavo Järvi presents a powerful programme featuring works by Weber, Haydn and Tchaikovsky. Julia Hagen takes centre stage for a dazzling performance of Haydn’s First Cello Concerto.
The London Philharmonic Orchestra perform at the Shenzhen Concert Hall.Conductor Paavo Järvi presents a powerful programme featuring works by Weber, Haydn and Tchaikovsky. Julia Hagen takes centre stage for a dazzling performance of Haydn’s First Cello Concerto.
The London Philharmonic Orchestra perform at the Guangzhou Opera House.Conductor Paavo Järvi presents a powerful programme featuring works by Weber, Haydn and Tchaikovsky. Julia Hagen takes centre stage for a dazzling performance of Haydn’s First Cello Concerto.
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
Thinking of forests in the finale of Mendelssohn’s immortally beautiful Violin Concerto in E minor is a real recommendation inasmuch as the fairies, will-o’-the-wisps and kind-hearted gnomes romping about in it are comparatively harmless creatures. Composed between 1838 and 1844 for his friend Ferdinand David, concertmaster of Leipzig’s Gewandhausorchester, it was intended to be a brilliant piece (»stilo moltissimo concertantissimo«). Mendelssohn joked back that the soloist’s entire first movement would consist of a single high E. In the end, the two Hamburg natives were extremely happy with the result.
Perhaps the world’s most enduringly popular classical ballet, Swan Lake is a classic fairytale of a lovelorn Prince, an evil sorcerer and a spell that can only be broken by true love.It inspired some of Tchaikovsky’s most sumptuous music, impassioned, delicate and brilliantly coloured.The Variations on a Rococo Theme (on a mock-baroque theme by the composer himself) pay homage to suave eighteenth-century style in a charming, lyrical slice of eighteenth century elegance. More myth and legend shape our curtain-raiser, as the magic of Oberon, King of the Fairies, and his enchanted forest kingdom is perfectly captured by the overture to Weber’s opera.
Herbert Fritsch, a renowned actor and director with a penchant for the absurd, is venturing into the concert realm. Following his turbulent and absurd Don Giovanni, he now presents György Ligeti's groundbreaking Poème symphonique for 100 Metronomes, alongside General Music Director James Gaffigan. He'll also guide us through his personal musical world, from Carl Maria von Weber to Iannis Xenakis.
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
Swan Lake might be a ballet about black magic and doomed love, but the real sorcery comes from Tchaikovsky’s ravishing score. A handsome prince, a wicked wizard and a swan princess: Swan Lake might be a ballet about black magic and doomed love, but the real sorcery comes from Tchaikovsky’s ravishing score. That’s the climax of this concert – but make no mistake, tonight there’s wonder from first note to last. Weber’s fairytale overture opens the portals of enchantment, and the award-winning young American cellist Zlatomir Fung sprinkles his own brand of stardust on the delightful Rococo Variations. Tchaikovsky meets Mozart, with a twinkle in his eye.*Please note that Tianyi Lu replaces Sir Andrew Davis after the sad news of his death.
Forever Young – as a concert title, that could mean all sorts of things. It might refer to music which, even in the distant future, remains fresh and lively, music that never ceases to captivate and inspire people. Or it could refer to those mysteriously talented prodigies who were able to exhilarate our planet with the most incredible sounds, even though their star faded away much too early. Is it seriously possible to compose a matured late work in your early thirties? In Wolfgang Amadeus Mozart’s case, as always, anything is possible. Over the course of just a few weeks, in the summer of 1788, he put to paper his three last symphonic strokes of genius. Among them: his Symphony No. 39 in E-Flat Major, a piece that is flooded with light and filled to the brim with compositional artistry and magical melodies. Prepare to take home catchy tunes from the fast and furious finale. Mozart’s Piano Concerto No. 20 is more than just one of the many ingenious pieces he produced in series, effortlessly, as it seems. In fact, this piece takes accompanied keyboard music to the next level. What unfolds is a veritable contest between the solo and tutti parts, at an eye level which is quite unprecedented. At the premiere, Mozart himself took to the piano. Today, we are almost equally lucky to welcome Alexander Melnikov on stage, one of the most fascinating pianists of our time. »Utterly consistent, and with spark and intelligence«. These were the words of a contemporary, describing Carl Maria von Weber’s first symphony. And they ring true: The piece shows joie de vivre and youthful exuberance, written by a young adult of just 20 years.
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day. Musikalische Leitung: Yoel Gamzou Production: Andreas Kriegenburg Stage: Harald B. Thor Costumes: Andrea Schraad Lighting: Andreas Grüter Dramaturgy: Angela Beuerle Choreography: Volker Michl
GEISTREICH Der Name trügt: Die Geister dieser Ouvertüre sind nicht beherrschbar. Mit der Wucht des ganzen Orchesters braust der mächtige Teamgeist auf, Feuergeister entflammen Streicherfuror, aus der Flöte säuseln Feingeister, ein Schöngeist betört mit Oboentönen, dem Fagott entweichen Flattergeister, ein Waldgeist wohnt im Horn, der Berggeist droht mit Blech, und ein paar Kleingeister verführen mit Klarinetten-Charme. Carl Maria von Weber, der den Mächten des Orchesters gebietet wie kaum ein Zeitgenosse, animiert selbst in der Pauke einen schlummernden Poltergeist zum aufmüpfigen Solo. Er weiß, dass die 1811 als Relikt eines Rübezahl-Opernplans freigelassenen Geistwesen nicht wieder einzufangen sind, und preist sein Orchesterstück das kraftvollste und klarste was ich geschrieben habe. Wen diese Musik begeistert, den lässt ihr Melodienspuk tage- und nächtelang nicht mehr los. GEISTERGEGENWART 14 Jahre alt ist Felix Mendelssohn Bartholdy, als er 1823 in Berlin das Konzert für Klavier und Violine aus dem Ärmel schüttelt. Es gehört zu einer Fünfergruppe früher Geniestreiche, die Mendelssohn für sich, seine ebenso talentierte Schwester und enge Freunde wie den sieben Jahre älteren Geigenlehrer Eduard Rietz aufs Papier wirft. Mit ihm bestreitet Mendelssohn die erste Aufführung am 25. Mai 1823 im Rahmen einer privaten Sonntagsmusik und die öffentliche Premiere im Königlichen Schauspielhaus zu Berlin kurz darauf. Felix’ gespenstisch virtuoses Klavierspiel beschwört alle guten Geister des Barock und der Klassik herauf.
A concert themed "Forever Young" can have many meanings, from timeless music to prodigies whose lives ended too soon. Mozart, in his early 30s, composed his last three symphonies in the summer of 1788, including the radiant Symphony No. 39. His 20th Piano Concerto, a masterpiece of orchestral and solo interplay, will be performed by Alexander Melnikov. Carl Maria von Weber's Symphony No. 1, full of youthful exuberance, completes the program.
A concert themed "Forever Young" can have many meanings, from timeless music to prodigies whose lives ended too soon. Mozart, in his early 30s, composed his last three symphonies in the summer of 1788, including the radiant Symphony No. 39. His 20th Piano Concerto, a masterpiece of orchestral and solo interplay, will be performed by Alexander Melnikov. Carl Maria von Weber's Symphony No. 1, full of youthful exuberance, completes the program.
A concert themed "Forever Young" can have many meanings, from timeless music to prodigies whose lives ended too soon. Mozart, in his early 30s, composed his last three symphonies in the summer of 1788, including the radiant Symphony No. 39. His 20th Piano Concerto, a masterpiece of orchestral and solo interplay, will be performed by Alexander Melnikov. Carl Maria von Weber's Symphony No. 1, full of youthful exuberance, completes the program.
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
The concert will be broadcast on Deutschlandfunk Kultur on 14 July 2024 at 8.03 pm.María Dueñas played Chant De La ‘Veslemoy’ by Johan Halvorsen as an encore.With a very heavy heart, Ms. Kopatchinskaja had to withdraw for personal reasons from this engagement. We are delighted that we have been able to win the exceptional violinist María Dueñas for this concert, who will be playing Max Bruch’s Violin Concerto No. 1 in G minor op. 26.
»Music of human breath, it creates a world of its own, conjured up by the sorcerous forces of sounds which, summoned by an imagination rich in visions, enter and pass through our earthly bodies all the way to the soul.« (Henri Sauguet) Our chamber concert offers delightful pieces for flute and bassoon: Vivaldi‘s trio sonata in A minor is a magnificent composition full of intricate sound cascades, but also of introspective moments with expansive cantilenas. The chamber trio in F major, also baroque, was composed by Friedrich Wilhelm Zachow, who lived from 1663 to 1712 and came from a Leipzig family of town pipers: the melodic roles of flute and bassoon interact intensively on the harmonic foundation of the continuo – with expressive upswings and dynamic outbursts of virtuosity. Beethoven‘s trio is a precious early work from his Bonn days – where he confided to the Kurfürst about his early preoccupation with composing, that his muse whispered: »Just try it and jot down some of your soul‘s harmonies!« The piece was probably written around 1786 as chamber music for private use – and the passionate love for the daughter of a count‘s family might have been the impetus for the lush sounds that are interspersed throughout the otherwise very concerto-like progress of the work. Finally, Weber‘s enchanting G minor trio from 1819, when the composer was ill and obviously dealt with his mental suffering with music: the highly romantic composition is thus characterised in parts by deep melancholy, in particular in the pivotal Andante, which bears the title »Shepherd's Lament« – yet it captivates the listener with a very playful character in the framing movements.
