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Tango Suite for 2 Guitars (1984) by Astor Piazzolla (1921-1992) consists of three movements: Allegro, libero; Andante rubato, melancolico; and Allegro.
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Tango Suite for 2 Guitars (1984) by Astor Piazzolla (1921-1992) consists of three movements: Allegro, libero; Andante rubato, melancolico; and Allegro.
Experience the most exciting young personalities of the classical music world for a whole week – the Rising Stars Festival makes this possible. Chosen from the most famous concert halls in Europe, six excellent young musicians use the Elbphilharmonie Recital Hall to give the Hamburg audience sonic samples of their star potential. The festival kicks off with the Franco-Dutch violist Sào Soulez Larivière, whom the Elbphilharmonie itself nominated as its personal Rising Star for the 2024/25 season and who was already a guest in the »Teatime Classics« series. Larivière builds his programme around an equally rare and fascinating combination: the sonorous sound of the viola impacts on the kaleidoscope of sound of the percussion. The violist gets support from drummer and former Rising Star Christoph Sietzen – and this extraordinary line-up naturally does not offer standard repertoire, but a programme selection full of surprises and discoveries, which Larivière presents as a young artist with an open mind and mature personality.
BRSO solo oboist Stefan Schilli has been a Friend of the Academy for many years and is wholeheartedly committed to the Academy’s up-and-coming professional musicians. With his program for this Watch-This-Space concert, he not only wants to support the scholarship recipients, but also specifically challenge them – for instance with Mozart’s great serenade for winds, the Gran Partita, whose Adagio is also one of the most beautiful that Mozart ever wrote. Ligeti himself considered the Ten Pieces for Wind Quintet to be “miniature concertos” in which the individual instrumentalists are showcased in particularly striking ways. This is also the case with Bach, where there is an equal juxtaposition of musical lines with different timbres and characteristics.
After the piano trio of the previous day, a string trio takes the spotlight with Mozart’s Divertimento K 563, in counterpoint to which the musicians, Isabelle Faust, Tabea Zimmermann and Jean-Guihen Queyras, offer a selection of solo pieces.
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!
For more than six decades, the chamber concerts by musicians from the Staatskapelle have been a constant feature of the Staatsoper programme. This season, ensembles have come together to select music from different periods, styles and cultures under the theme of ‘playing together’. On eleven dates in the Apollosaal, which with its special atmosphere is an ideal venue for chamber music and communicative interaction between players and listeners, works from the Baroque to the present day will be performed in constellations that are both exciting and harmonious, in which tangible contrasts play just as important a role as a common resonance and the balancing of opposites.
Artist in Residence Seong-Jin Cho and members of the Berliner Philharmoniker unfold a panorama of Hungarian musical styles in this concert. Johannes Brahms was often inspired by Hungarian music in his works, for instance in the finale of his clarinet trio, which oscillates between deep emotion and serenity. The trio for violin, horn and piano, which the Hungarian György Ligeti wrote in homage to Brahms, is characterised by folk rhythms. The piano quintet by the young Béla Bartók, who would go on to revolutionise Hungarian music, is still very much rooted in the Romantic period. But even here – according to Seong-Jin Cho – you can sense “Bartók's musical future”.
In the popular chamber music series “Workshop.Dialogue.Music”, musicians of the Berliner Philharmoniker introducing themselves and their instruments, and talking in a relaxed atmosphere about the works presented, their interpretation and their approach. Questions and a dialogue with the audience are very welcome! A new feature is that visitors can enjoy a French breakfast from 11:00 onwards, before the concert begins at 11:30. Breakfast is included in the ticket price.
Our chief conductor was inspired to put together an unusual programme for this concert evening by a major concern: ‘I always want to open the audience's ears. We are playing John Cage's ‘4'33’, i.e. four and a half minutes of composed silence, attacca with Ligeti's ‘Atmosphères’ and a large Bach arrangement. I want to get away from our expectations of this music, which probably have nothing at all to do with how people heard it in Bach's time or how we could be moved by it if we leave out all the filters. I want to make it possible to experience the silence, to hear the vibrations of the universe in Ligeti, and then suddenly order comes into the universe with Bach and the C minor Fantasy.’ Ludwig van Beethoven's 5th Symphony from 1807/08 begins with four notes that are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
Our chief conductor was inspired to put together an unusual programme for this concert evening by a major concern: ‘I always want to open the audience's ears. We are playing John Cage's ‘4'33’, i.e. four and a half minutes of composed silence, attacca with Ligeti's ‘Atmosphères’ and a large Bach arrangement. I want to get away from our expectations of this music, which probably have nothing at all to do with how people heard it in Bach's time or how we could be moved by it if we leave out all the filters. I want to make it possible to experience the silence, to hear the vibrations of the universe in Ligeti, and then suddenly order comes into the universe with Bach and the C minor Fantasy.’ Ludwig van Beethoven's 5th Symphony from 1807/08 begins with four notes that are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
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 one-hour short concerts ‘8Zehn30’ on Thursdays from 18:30 at the Konzerthaus Berlin are always short and sweet: let go of everyday life and simply immerse yourself in 60 minutes of music without a break - regardless of whether the end of the working day is already in sight or another evening shift has to be put in. The orchestra musicians of the Konzerthausorchester Berlin accompany their audience through a short(er) concert evening - from the personal introduction to the after-concert drinks at the bar in the Beethoven Hall.Ludwig van Beethoven's 5th Symphony from 1807/08 begins with four notes that are among the most famous beginnings of works in music history. Its universe, according to a popular interpretation, is the individual and his fate. This is why it unofficially bears the German nickname ‘Fate Symphony’, which was not given to it by Beethoven. The composer struggled with his early onset of deafness. He found the strength not to despair in composing and also wanted to uplift his fellow human beings in distress: ‘Anyone who knows my music cannot become completely despondent.’
The Klangforum at the Musikwerkstatt will be open before and after the concert.
This programme is unusually diverse even for the musicians of the Bavarian Radio Symphony Orchestra. Yet the musical worlds of Ligeti, Wagner, and Webern, which merge more or less seamlessly in this concert, are not as far apart as one might think. And in the second half there is Bruckner’s auratic Ninth Symphony, a true monolith. “It seems that the Ninth is a limit. If one wishes to go beyond it, one must leave this world. Those who wrote a Ninth were already too close to the hereafter” – this was Schönberg’s prophetic statement regarding Mahler, who died without ever having heard his Ninth Symphony. Bruckner is also said to have been afraid of this fatal number: “I don’t want to start on my Ninth at all, I don’t dare.” He died while working on the fourth movement.
This programme is unusually diverse even for the musicians of the Bavarian Radio Symphony Orchestra. Yet the musical worlds of Ligeti, Wagner, and Webern, which merge more or less seamlessly in this concert, are not as far apart as one might think. And in the second half there is Bruckner’s auratic Ninth Symphony, a true monolith. “It seems that the Ninth is a limit. If one wishes to go beyond it, one must leave this world. Those who wrote a Ninth were already too close to the hereafter” – this was Schönberg’s prophetic statement regarding Mahler, who died without ever having heard his Ninth Symphony. Bruckner is also said to have been afraid of this fatal number: “I don’t want to start on my Ninth at all, I don’t dare.” He died while working on the fourth movement.
The composer–conductor Matthias Pintscher conducts a programme that puts the cello centre stage. In his extremely subtle un despertar (‘an awakening’, its title taken from the poem by Octavio Paz), cellist Alisa Weilerstein performs as soloist. Nicolas Altstaedt is the soloist in Liza Lim’s brand-new A Sutured World. Henri Dutilleux gave pride of place to the cello section, and the beautifully submerged orchestral sound is reminiscent of Vincent van Gogh’s Starry Night. The final work on the programme is a twentieth-century gem. In Ligeti’s San Francisco Polyphony, the fog slowly lifts, gradually allowing instrumental colours and melodies to stand out.The Concertgebouw Orchestra is performing this unique programme not only at the Concertgebouw, but also for the first time at two major Dutch music festivals – the Cello Biënnale Amsterdam and November Music in ’s-Hertogenbosch.
The festival concert will take place exactly on the 100th anniversary of the German Association of Amateur Orchestras. In addition to the Federal Amateur Orchestra as the sonorous representative of German amateur orchestras, the Hamburg State Youth Orchestra will also be performing with The Norwegian Youth Symphony Orchestra, which is celebrating its 50th anniversary this year.
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.«
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.«
»›I can’t remember things before they happen,‹ remarked Alice. ›It’s a poor sort of memory that only works backwards,‹ the Queen remarked.« (Lewis Carroll, Through the Looking-Glass and What Alice Found There) Ligeti’s Cello Concerto rises out of nowhere, without a red carpet for the soloist’s performance, but rather as a journey through the interstices of silence and the barely audible, of sound and noise, to explore the extreme subtleties of timbre and emotion. An anti-concert with a hypnotic effect that challenges boundaries and laws. Anton Kraft was also fond of playing with what was possible, which had already impressed his contemporaries Haydn and Beethoven. The Monkey Mountains, also known as the Krkonoše Mountains, inspired the Czech composer Pavel Haas almost exactly a century ago. At a time of great political unrest and personal turmoil, he created an expressive work full of emotions and contrasts: peaks rise up like sleeping giants, dancing on tiptoe to mazurkas and polkas to catchy melodies, only to fall out of time and form with drums at the end. From delicate, lyrical passages to explosive, rhythmic outbursts, this piece offers a variety of impressions that resonate long after you leave the concert hall. Banned at the time, but not forgotten.
»›I can’t remember things before they happen,‹ remarked Alice. ›It’s a poor sort of memory that only works backwards,‹ the Queen remarked.« (Lewis Carroll, Through the Looking-Glass and What Alice Found There) Ligeti’s Cello Concerto rises out of nowhere, without a red carpet for the soloist’s performance, but rather as a journey through the interstices of silence and the barely audible, of sound and noise, to explore the extreme subtleties of timbre and emotion. An anti-concert with a hypnotic effect that challenges boundaries and laws. Anton Kraft was also fond of playing with what was possible, which had already impressed his contemporaries Haydn and Beethoven. The Monkey Mountains, also known as the Krkonoše Mountains, inspired the Czech composer Pavel Haas almost exactly a century ago. At a time of great political unrest and personal turmoil, he created an expressive work full of emotions and contrasts: peaks rise up like sleeping giants, dancing on tiptoe to mazurkas and polkas to catchy melodies, only to fall out of time and form with drums at the end. From delicate, lyrical passages to explosive, rhythmic outbursts, this piece offers a variety of impressions that resonate long after you leave the concert hall. Banned at the time, but not forgotten.
This concert was co-sponsored by the Romanian government: Departmentul Românii de Pretutindeni and Scena Musicala.The SummerConcerts powered by VriendenLoterij present two months of wonderful concerts, from classical to jazz and from pop music to film scores. Top musicians from the Netherlands and around the world bring you all your favourite classical pieces, as well as tributes to Leonard Cohen and The Beatles, and all your favourite film music.We also present a host of young talent in our summer concerts, including youth orchestras from South Africa and Turkey, and top young classical soloists. After many of the concerts, we offer a meet-and-greet with the artists in an informal setting, or an afterparty with DJ in the Entrance Hall. In one of the world’s finest concert halls, there’s something for everyone this summer at The Concertgebouw!
With this recital, Hamburg pianist Florian Heinisch returns to the Elbphilharmonie once again after acclaimed concerts in 2019 and 2023. The programme is a tribute to the enormous stylistic diversity that has made the musical city of Hamburg a unique force in the world of classical music to this day. »I may have been born in Liverpool, but I grew up in Hamburg« – this statement by John Lennon about his beginnings with the Beatles in the Hanseatic city also fits many biographies and careers in classical music.