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Werke von Schostakowitsch, Ligeti und Hartmann. Mit Patricia Kopatchinskaja (Violine) und dem SWR Symphonieorchester unter der Leitung von Ingo Metzmacher.Programm:Dmitrij Schostakowitsch | Violinkonzert Nr. 1 a-Moll op. 77György Ligeti | "Mysteries of the Macabre" & "Lontano"Karl Amadeus Hartmann | Sinfonie Nr. 3Mitwirkende:Patricia Kopatchinskaja, Violine SWR Symphonieorchester Ingo Metzmacher, DirigentKonzerteinführung | 19:00 Uhr
Since the Elbphilharmonie opened, Estonian star conductor Paavo Järvi has been one of its permanent guests, enchanting Hamburg audiences at several concerts a year. Now the conductor of the Deutsche Kammerphilharmonie Bremen again comes to the Grand Hall with his second top orchestra, the venerable Tonhalle-Orchester Zürich. They will be joined by Icelandic pianist Víkingur Ólafsson, who gave two brilliant renderings of Johann Sebastian Bach’s »Goldberg Variations« in Hamburg last season. On the programme is a new piano concerto by US composer John Adams, which was commissioned by the Elbphilharmonie among others. And the Tonhalle-Orchester Zürich tackles two of the most famous modern orchestral pieces by György Ligeti and Witold Lutosławski, who skilfully combined folk music from Hungary and Poland with a thrilling orchestral sound in the 1950s.
With the Tonhalle Orchestra Zurich, its musical director the Estonian conductor Paavo Järvi, and the music of John Adams—which he sometimes performs alongside the composer—Icelandic pianist Víkingur Ólafsson is on friendly turf.
Anna Vinnitskaya, acclaimed for her Schumann interpretations, performs his piano concerto with the Tonhalle Orchester Zürich under Paavo Järvi at the Philharmonie Essen. The program also features Schumann's "Rhenish" Symphony and Ligeti's "Concert Românesc." A special children's introduction is offered during the first half.
Quatuor Agate drew its name from Brahms’ Sextet No. 2, dedicated to the composer’s second love, Agathe von Siebold. For this programme, it pairs Ligeti’s quite Bartókian Quartet No. 1 and Dvořák’s Quartet No. 13, a triumph among his chamber music.
For lovers of chamber music the Recital Hall is the venue of choice. You can hear the musicians breathe and you can practically touch them. This hall is also cherished by musicians for its beautiful acoustics and direct contact with the audience. In the Recital Hall you can hear the best musicians of our time. Buy your tickets now and experience the magic of the Recital Hall for yourself!
Pianist Anna Vinnitskaya owes her world career to her talent, skill, and love for music. Her teacher advised her to "play as you are." Now a professor, she happily shares her knowledge with the next generation. Vinnitskaya is offering her promising Hamburg piano students the opportunity to perform for the public in Essen.
„The 'Concert Românesc' reflects my deep love for Romanian folk music and Romanian-speaking culture as such. The piece was immediately banned and only performed many decades later,“ says Ligeti about his 1951 work, which was banned at the time due to some dissonances that were considered undesirable. The Russian pianist Alexander Melnikov then takes his place among the Konzerthausorchester. In the Piano Concerto in G major from 1784, Mozart leaves old formal principles behind, including the fact that the winds are already frequently entrusted with solo tasks. The concert, conducted by Anja Bihlmaier, ends with Antonín Dvořák's Symphony No. 8, which beautifully showcases the orchestral instruments in a lyrical and melodic manner - from the waltz-loving strings to the virtuoso flute dancing along in the last movement.
„The 'Concert Românesc' reflects my deep love for Romanian folk music and Romanian-speaking culture as such. The piece was immediately banned and only performed many decades later,“ says Ligeti about his 1951 work, which was banned at the time due to some dissonances that were considered undesirable. The Russian pianist Alexander Melnikov then takes his place amog the Konzerthausorchester. In the Piano Concerto in G major from 1784, Mozart leaves old formal principles behind, including the fact that the winds are already frequently entrusted with solo tasks. The concert, conducted by Anja Bihlmaier, ends with Antonín Dvořák's Symphony No. 8, which beautifully showcases the orchestral instruments in a lyrical and melodic manner - from the waltz-loving strings to the virtuoso flute dancing along in the last movement.
Quintessence, photo: Wojciech Grzędziński Before the Polish Composers Union commissioned Michał Spisak to write his Quintet for flute, oboe, clarinet, horn and bassoon, he had left his homeland to hone his talent under the tutelage of the famous Nadia Boulanger in Paris. Who knows to what extent the opportunity to become acquainted with French chamber music of the first decades of the twentieth century influenced the character of this piece, full of elegance, airiness and attractive – due in large part to the forces – colour? ‘No, young man, not at all like that. More rhythm. It’s a folk dance’ – that is how Edvard Grieg supposedly admonished the young Maurice Ravel as he played one of the ageing composer’s dances. Among Grieg’s numerous arrangements of native melodies, the Four Norwegian Dances, Op. 35, originally composed for two pianos and later reworked – not only by the composer – for various forces, gained great popularity. Paul Hindemith’s modernist Kammermusik cycle, the eight pieces of which are aptly described as ‘modern Brandenburg concertos’, was intended for various combinations of instruments. Drawing on the material of the first piece, Hindemith subsequently composed a smaller work for wind quintet, termed Kleine Kammermusik. György Ligeti’s cycle of six miniatures (bagatelles) for wind quintet was first performed without the last piece (dominated by the interval of a second) in Budapest in 1953 because, as the composer himself supposedly commented, ‘totalitarianism doesn’t like dissonance’.
Composer Christian Jost as presenter, one or more musicians, a generally unknown contemporary work – and you, the listening audience. Afterwards you will you learn more about the music. It’s surprising how much your ears will be opened when you hear the piece for a second time.
Join pianist Lukas Sternath for a mesmerising recital featuring an eclectic programme full of contrasts.
The Quatuor Agate pairs Ligeti's Bartók-inspired Métamorphoses Nocturnes with Ravel's masterful String Quartet.
Embark on a journey from the Baroque to the present day with Sào Soulez Larivière, as he brings electronics on board to explore a whole new side to the viola.
Listening to live music is a wonderful experience. In the »Klangzeit« (Sound Time) concerts, you can close your eyes and escape everyday life for a moment. In the entertaining, hour-long concerts featuring the string players of Ensemble Resonanz, you can listen in a relaxed atmosphere, express yourself, sing along to well-known songs and move freely. Here, everyone can be themselves. This makes the format particularly suitable for people with dementia and their relatives. All venues are accessible.
Listening to live music is a wonderful experience. In the »Klangzeit« (Sound Time) concerts, you can close your eyes and escape everyday life for a moment. In the entertaining, hour-long concerts featuring the string players of Ensemble Resonanz, you can listen in a relaxed atmosphere, express yourself, sing along to well-known songs and move freely. Here, everyone can be themselves. This makes the format particularly suitable for people with dementia and their relatives. All venues are accessible.
Listening to live music is a wonderful experience. In the »Klangzeit« (Sound Time) concerts, you can close your eyes and escape everyday life for a moment. In the entertaining, hour-long concerts featuring the string players of Ensemble Resonanz, you can listen in a relaxed atmosphere, express yourself, sing along to well-known songs and move freely. Here, everyone can be themselves. This makes the format particularly suitable for people with dementia and their relatives. All venues are accessible.
Listening to live music is a wonderful experience. In the »Klangzeit« (Sound Time) concerts, you can close your eyes and escape everyday life for a moment. In the entertaining, hour-long concerts featuring the string players of Ensemble Resonanz, you can listen in a relaxed atmosphere, express yourself, sing along to well-known songs and move freely. Here, everyone can be themselves. This makes the format particularly suitable for people with dementia and their relatives. All venues are accessible.
Listening to live music is a wonderful experience. In the »Klangzeit« (Sound Time) concerts, you can close your eyes and escape everyday life for a moment. In the entertaining, hour-long concerts featuring the string players of Ensemble Resonanz, you can listen in a relaxed atmosphere, express yourself, sing along to well-known songs and move freely. Here, everyone can be themselves. This makes the format particularly suitable for people with dementia and their relatives. All venues are accessible.