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Laeiszhalle, Kleiner Saal (Hamburg)
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Jan Lisiecki präsentiert in dieser Saison gemeinsam mit der Academy of St Martin in the Fields sämtliche Klavierkonzerte Beethovens – und als Sahnehäubchen auch noch das nicht allzu häufig aufgeführte Tripelkonzert. Jan Lisiecki geht (mal wieder) aufs Ganze. Der sympathische Kanadier mit dem »profilscharfen Individualstil« (Der Spiegel) spielt in dieser Saison sämtliche Klavierkonzerte Beethovens – und als Sahnehäubchen auch noch das nicht allzu häufig aufgeführte Tripelkonzert. Zur Seite steht ihm dabei die Academy of St Martin in the Fields, mit der er bereits 2018 – als Einspringer für Murray Perahia – alle fünf Konzerte aufführte.
Don't miss it – because in this concert in our popular organ series, a phenomenal artist unleashes a musical firework: our guest is the American Nathan Laube, who holds a professorship at the Eastman School of Music in New York and is also a consultant for organ studies at the Royal Birmingham Conservatoire. As a famous organist, he performs internationally in renowned concert halls and loves to engage his audiences and inspire them for the organ world. The programme is very romantic with outstanding works: His varied recital begins with a vibrant play of colours – in the concert overture written around 1885 by the blind composer Alfred Hollins. César Franck wrote an epic tone poem with orchestral effect with his Fantasie aus den drei Stücken für große Orgel in 1878 for the official opening of the first concert hall organ in France. Nathan Laube then also demonstrates his outstanding virtuosity with two arrangements of significant piano works. Mendelssohn wrote his glowing »Variations sérieuses« in 1841 with »true passion«: In the course of the work, a highly original theme is increasingly harmonically veiled and the expressive range is constantly widened. Liszt pointed far into the future with his »Harmonies Poétiques et Religieuses« – and the piece »Funérailles« from this monumental cycle is also one of his most tragic compositions. The programme concludes with a highlight from the oeuvre of French composer Maurice Duruflé: with his three-movement organ suite, he created a milestone of the 20th century – and the finale toccata is still one of the most technically demanding pieces ever written for this instrument.
The Sunday Morning Concert brings you wonderful and much-loved compositions, performed by top musicians from the Netherlands and abroad. Enjoy the most beautiful music in the morning! You can make your Sunday complete by enjoying a delicious post-concert lunch in restaurant LIER.The Royal Concertgebouw is one of the best concert halls in the world, famous for its exceptional acoustics and varied programme. Attend a concert and have an experience you will never forget. Come and enjoy inspiring music in the beautiful surroundings of the Main Hall or the intimate Recital Hall.
"A trickle of youth": Schumann's phrase about Mendelssohn's A Midsummer Night's Dream has not aged a day. And then we have the Elgar's Concerto, entrusted to the bow of Frank Peter Zimmermann, where magic is met by mystery…
"A trickle of youth": Schumann's phrase about Mendelssohn's A Midsummer Night's Dream has not aged a day. And then we have the Elgar's Concerto, entrusted to the bow of Frank Peter Zimmermann, where magic is met by mystery…
»Man is only completely a man when he plays.« Friedrich Schiller already understood it, and Ensemble Resonanz and Leila Josefowicz provide the proof: they light-footedly dismantle their world, reassemble it and take their audience on a boundless adventure of discovery. The Elbphilharmonie Grand Hall turns into a playground of creativity: from Leoš Janáček to Pauline Oliveros, they arrange a diverse musical collage, unhinge Bach, pile up the building blocks of life with Felix Mendelssohn and awaken the homo ludens in the audience. A new work by the playful Dai Fujikura lets the soloists soar like birds in spirals over the musical playing field, while the orchestra also picks up momentum. A concert becomes a thrilling carousel ride!
Entrance is free, donations are welcome.
Paul Goodwin, photo: Carmel Bach Festival There are various surprising types of silence and just as many intriguing attempts to ‘soundtrack’ it. One of the earliest examples of the concert overture – a work in its own right, not preceding a larger form – Felix Mendelssohn-Bartholdy's Calm Sea and Prosperous Voyage was inspired by the poetry of Johann Wolfgang von Goethe and begins (contrary to appearances) with the negative experience of powerlessness and stillness. After all, for sailors, silence at sea means a lack of wind and a break in the voyage. Fortunately, in this colourful symphonic tale, the ending of which is betrayed by the work’s title, everything ends with a safe return to port. Three decades ago, the opposite of silence – the experience of a storm – provided the impulse for Eric Whitacre to compose Cloudburst, a composition for choir, piano and percussion that is a celebration in sound of the energy released in nature. To mark the 400th anniversary of the invention of the printing press by Johannes Gutenberg, Felix Mendelssohn-Bartholdy composed a monumental cantata for three soloists, choir, organ and orchestra, posthumously referred to as his Symphony No. 2 ‘Lobgesang’ (‘Song of Praise’). An expansive three-movement sinfonia is followed by a series of vocal and instrumental segments to texts taken from the Bible, perhaps Gutenberg’s most famous publication.
Paul Goodwin, photo: Carmel Bach Festival There are various surprising types of silence and just as many intriguing attempts to ‘soundtrack’ it. One of the earliest examples of the concert overture – a work in its own right, not preceding a larger form – Felix Mendelssohn-Bartholdy's Calm Sea and Prosperous Voyage was inspired by the poetry of Johann Wolfgang von Goethe and begins (contrary to appearances) with the negative experience of powerlessness and stillness. After all, for sailors, silence at sea means a lack of wind and a break in the voyage. Fortunately, in this colourful symphonic tale, the ending of which is betrayed by the work’s title, everything ends with a safe return to port. Three decades ago, the opposite of silence – the experience of a storm – provided the impulse for Eric Whitacre to compose Cloudburst, a composition for choir, piano and percussion that is a celebration in sound of the energy released in nature. To mark the 400th anniversary of the invention of the printing press by Johannes Gutenberg, Felix Mendelssohn-Bartholdy composed a monumental cantata for three soloists, choir, organ and orchestra, posthumously referred to as his Symphony No. 2 ‘Lobgesang’ (‘Song of Praise’). An expansive three-movement sinfonia is followed by a series of vocal and instrumental segments to texts taken from the Bible, perhaps Gutenberg’s most famous publication.
Clear the stage for the U30 generation! Once again this season, musically talented »Jungs & Deerns« from northern Germany will have the opportunity to present themselves together with the Hamburg Camerata in the exquisite Recitall Hall of the Elbphilharmonie. Youthful energy, fresh motivation and a certain amount of positive excitement make these concerts a particularly intense musical experience.
Among the many wonderful concerts this season, there is one that Sir Simon Rattle would particularly like to attend himself: Stravinsky and Mendelssohn, conducted by Herbert Blomstedt. The BRSO Chief Conductor has long admired Blomstedt (who has reached the impressive age of 97): “He’s like a splendid wine that only gets better with age,” says Rattle. “The last time I heard Lobgesang I was in my teens and still a mediocre timpani player. And although I couldn’t grasp its quality back then, I am convinced that Mr. Blomstedt will reveal the magnificence of this work – as he always does.” Hardly anyone conducts with such understanding and such humility. “He is such an inspiration!”
Among the many wonderful concerts this season, there is one that Sir Simon Rattle would particularly like to attend himself: Stravinsky and Mendelssohn, conducted by Herbert Blomstedt. The BRSO Chief Conductor has long admired Blomstedt (who has reached the impressive age of 97): “He’s like a splendid wine that only gets better with age,” says Rattle. “The last time I heard Lobgesang I was in my teens and still a mediocre timpani player. And although I couldn’t grasp its quality back then, I am convinced that Mr. Blomstedt will reveal the magnificence of this work – as he always does.” Hardly anyone conducts with such understanding and such humility. “He is such an inspiration!”
Clara Schumann's piano concerto is stunningly beautiful and a sparkling fireworks display. She was one of the most admired and influential pianists of the 19th century, performing in the same league as Frédéric Chopin and Franz Liszt. In the concerto, we also hear the inspiration from Chopin, whom she preferred over Liszt. Clara Schumann was only 16 years old when she premiered the virtuosic concerto herself in Leipzig in 1835.The soloist in Clara Schumann's piano concerto is the Romanian-British pianist Alexandra Dariescu, known for her expressive playing as well as her advocacy for female composers. Around the same time Clara performed her piano concerto, she met her future husband Robert, one of the great figures of Romantic music. His impassioned overture to the incidental music for Manfred is based on Lord Byron's dramatic poem.Felix Mendelssohn-Bartholdy was a friend of Clara and Robert Schumann – also a great Romantic with a particular sense for melodic beauty. This is evident in his Fifth Symphony, which is also a tribute to Johann Sebastian Bach. Swedish conductor Magnus Fryklund makes his debut with the Royal Philharmonic Orchestra with this concert. Educated in Denmark, he has made a name for himself particularly as a skilled opera conductor, including in France.
As the nights grow longer during the dark season, we find joy in cozying up and dedicating time to our dreams. Accompanied by Robin Poell, we embark on musical adventures exploring nocturnal figures encountered in our dreams. The music evokes vivid dreams, twinkling stars, or lulls us gently to sleep – various night music experiences.
The chamber orchestra »Kammersolisten Berlin« was founded in April 2015. The members of this ensemble have known each other for many years and have performed together in a wide variety of formations around the world. Individually, each member is either an outstanding soloist, chamber musician or orchestral musician from one of Berlin’s various major orchestras (Konzerthaus Berlin, Deutsche Oper Berlin, Rundfunk-Sinfonieorchester Berlin, etc.). The friends and musicians play freely, drive each other to peak performances and thus arouse enthusiasm and emotions in the audience. The international line-up provides an unrivalled diversity of ideas, with a repertoire that includes works from the baroque, classical, romantic and modern eras.
The chamber orchestra »Kammersolisten Berlin« was founded in April 2015. The members of this ensemble have known each other for many years and have performed together in a wide variety of formations around the world. Individually, each member is either an outstanding soloist, chamber musician or orchestral musician from one of Berlin’s various major orchestras (Konzerthaus Berlin, Deutsche Oper Berlin, Rundfunk-Sinfonieorchester Berlin, etc.). The friends and musicians play freely, drive each other to peak performances and thus arouse enthusiasm and emotions in the audience. The international line-up provides an unrivalled diversity of ideas, with a repertoire that includes works from the baroque, classical, romantic and modern eras.
Bonn-born, award-winning pianist Fabian Müller considers Beethoven his musical compass. This influence is evident in his chamber music evening, where he joins violinist Bomsori and cellist Julia Hagen. They'll play Beethoven's Violin Sonata Op. 12, Brahms' Cello Sonata No. 1 (inspired by Beethoven), culminating in Mendelssohn's Piano Trio No. 2.
In this family-friendly concert, Benjamin Flao's drawing and the orchestra harmonize to take us into the forest and introduce us to the wonderful world of trees and their sound poetry, in the spirit of Peter Wohlleben's bestseller.
»I have now found solace.« With these words, Johannes Brahms put the core of his monumental »German Requiem« in a nutshell: the deceased do not take centre stage as usual, but the bereaved. They are to find solace through the moving music and can cope with their grief. Brahms knew how to utilise choir and orchestra extremely effectively and created both deeply sad and devastating moments as well as comforting ones: in this way, life and death manifest in all their aspects. With French conductor Raphaël Pichon, a proficient expert and avowed fan of German repertoire now brings Brahms’ Requiem to the Elbphilharmonie. The ensemble Pygmalion, formed by him, assist him once more. This ensemble is well versed in period performance and its concerts are captivating due to their particular transparency and intimacy. Soprano Sabine Devieilhe and baritone Stéphane Degout also perform the solo parts. And Pichon also draws attention to Brahms’ musical roots: this way, we hear early baroque a-cappella music before the »German Requiem« – a tradition with which Brahms had also intensively grappled.
Raphaël Pichon and Ensemble Pygmalion in Brahms’ deeply moving A German Requiem, with their loyal collaborators Sabine Devieilhe and Stéphane Degout as solists.