The pairing of Mozart’s Requiem with his penultimate symphony, No. 40, by one of the foremost Baroque ensembles in the world, Bach Collegium Japan, with its principal conductor Masato Suzuki at the podium.
We have often heard from you how vividly our artists in residence and their concerts are remembered - and that we should definitely invite this or that artist again! We have taken this to heart and are launching a new subscription series in the Great Hall. Countertenor Philippe Jaroussky is one of the first to confirm his participation. The 2015/16 artist in residence and his pianist Jérôme Ducros will perform songs from the Viennese classical period and French fin de siècle music. Reynaldo Hahn (1874 - 1947), whose glamorous Parisian bohemian life included a love affair (and subsequent close friendship) with Marcel Proust, is likely to be a discovery among the well-known names.
Hear the transcendent Mozart Requiem, completed by Robert Levin and featuring four outstanding Guildhall singers as soloists.
Attention: Change of programme and line-up
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.
With this year’s concert in the Grand Hall of Hamburg’s Laeiszhalle, the Eppendorf Sinfonieorchester joins in slightly belatedly with the celebrations to mark Anton Bruckner’s 200th birthday. The programme features his Third Symphony in D minor under the baton of Hamburg conductor Thilo Jaques. The matinée will begin with the Piano Concerto No. 27 in B flat major by Wolfgang Amadeus Mozart. The Eppendorf Symphony Orchestra is delighted to be working with the fantastic pianist Emiliano Ramniceanu again after the great success of Edvard Grieg’s piano concerto.
Scholar and amateur flutist Ferdinand Dejean commissioned "3 small, light and short concertln and a pair of quartettos for flute" from Wolfgang Amadeus Mozart when they met in Mannheim in the 1770s. Mozart, who allegedly couldn't stand the flute, needed the money. Among other works, he composed the two-movement Flute Quartet in C major, which shares similarities with his "Gran Partita." The concert also features works by Mozart's contemporary, François Devienne, a renowned flutist and composer, including his Flute Quartet in A minor, alongside pieces by Joseph Haydn and Ferdinand Ries.
»Music should touch the heart!« Giovanni Antonini is a phenomenal artist who succeeds in realising this credo of 18th century composers. The Italian conductor likes to indulge in the emotional worlds that the works tell us about, immersing himself in the effects and emotions. A musician who has his own language in the midst of all the performers, whose signature is unmistakable and who breathes a lot of fresh air. His energy is truly infectious – and when asked where he gets it from, he once replied in an interview: »I get it from the music. Even after a concert, which was exhausting and tiring, I’m always tired in a positive sense, that’s the difference. And so on the day after, I’m ready for a new musical adventure. And of course there is also my great love for music!« However, he is not only a fiery spirit, but also a sharp-witted analyst. He is particularly well-known for his innovative and sophisticated approaches to the baroque and classical repertoire – and we love to regularly and intensively explore this historical approach with him. This time he takes us into Mozart's adventure world: his last two symphonies are on the programme. In between, there is another »musical adventure«, which Giovanni Antonini has rarely done recently, but which he is happy to do with us: as an accomplished recorder player, he himself takes on the solo part in Telemann’s original instrumental concerto. Our audience is in for a wonderful musical stroll through the colours and temperaments of the 18th century – where the point was always to »delight the connoisseurs and lovers of music«.
At aged 15, Vadym Kholodenko first attracted attention when he decided upon the Maria Callas piano competition in Athens. By winning the gold medal at the Van Cliburn International Piano Competition in the USA, the career of the Ukrainian pianist finally gained momentum. Concerts took him throughout Europe, Asia and North America and always garnered rave reviews. As a result, Kholodenko is still one of the rather quiet stars on the scene, who instead of media noise prefers musical quality. Now, it is best to convince yourself of this at his Elbphilharmonie debut as part of »Pianomania«. Kholodenko is consequently the perfect candidate for the current theme of »Transcriptions« because he has also made several arrangements of well-known works for the piano himself. In Hamburg, however, he now presents two unfamiliar arrangements: firstly, the piano version of Mozart’s Requiem, made by the German composer and pupil of Liszt, Karl Klindworth. Then, Franz Liszt’s appropriation of Hector Berlioz’s famous »Symphonie fantastique« – a wild musical ride, which Berlioz’s vast score congenially captures using 88 keys.
»Music should touch the heart!« Giovanni Antonini is a phenomenal artist who succeeds in realising this credo of 18th century composers. The Italian conductor likes to indulge in the emotional worlds that the works tell us about, immersing himself in the effects and emotions. A musician who has his own language in the midst of all the performers, whose signature is unmistakable and who breathes a lot of fresh air. His energy is truly infectious – and when asked where he gets it from, he once replied in an interview: »I get it from the music. Even after a concert, which was exhausting and tiring, I’m always tired in a positive sense, that’s the difference. And so on the day after, I’m ready for a new musical adventure. And of course there is also my great love for music!« However, he is not only a fiery spirit, but also a sharp-witted analyst. He is particularly well-known for his innovative and sophisticated approaches to the baroque and classical repertoire – and we love to regularly and intensively explore this historical approach with him. This time he takes us into Mozart's adventure world: his last two symphonies are on the programme. In between, there is another »musical adventure«, which Giovanni Antonini has rarely done recently, but which he is happy to do with us: as an accomplished recorder player, he himself takes on the solo part in Telemann’s original instrumental concerto. Our audience is in for a wonderful musical stroll through the colours and temperaments of the 18th century – where the point was always to »delight the connoisseurs and lovers of music«.
This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.
Lisa Batiashvili's expressive elegance is put to full use in one of the gems of the Mozartean repertoire, which precedes the orchestral odyssey of Mahler's Symphony No.5 beset with the themes of torment, struggle and ecstasy.
Lisa Batiashvili's expressive elegance is put to full use in one of the gems of the Mozartean repertoire, which precedes the orchestral odyssey of Mahler's Symphony No.5 beset with the themes of torment, struggle and ecstasy.
Although Wolfgang Amadeus Mozart would compose music in virtually all the genres popular in his lifetime, it was opera that he was most enthusiastic about. The concert will begin with Chaconne and Pas seul – ballet fragments from the opera seria (i.e. a serious one) Idomeneus, King of Crete, emanating pomp and circumstance, commissioned by the Munich opera theatre. Then, Ilse Eerens will perform three fragments from another one of Mozart’s works for theatre. The recitative Crudele! and the subsequent dramatic-lyrical aria Non mi dir belong to Donna Anna’s part in Don Giovanni, a work its composer curiously dubbed „a joyous drama”. Further, we are going to hear the good-humoured recitative Giuns’alfin il momento and the lyrical aria Deh vieni non tardar, which maintains its mood. Both come from the fourth act of the opera buffa The Marriage of Figaro, in which they are sung by Susanna during the night-time garden scene. The final link in Eerens’ performance will be the aria Fra l’oscure ombre funeste, from the Old Testament-inspired cantata Davide penitente – solemn in its mood, to the extent of seeming ceremonious. The concert will be crowned with a performance of a work that constitutes the embodiment of the classical style, namely the Symphony in D major, also known as the Haffner Symphony. The symphony’s subtitle is the surname of a Salzburg family the composer was friends with, the occasion for its commission being the ennoblement of Sigmund Haffner. In his letters, Mozart emphasised that the first movement is fiery, while the finale ought to be played “as fast as possible!”Oskar ŁapetaConcert duration: approximately 70 minutes
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.
Angela Hewitt, photo: Keith Saunders A perfectionist with an impressive memory, Angela Hewitt boasts a wide-ranging repertoire that includes works from various eras (from the Couperins to contemporary pieces specially composed for her), but her name is mainly associated with the works of Johann Sebastian Bach. That is due to her victory in the Bach Competition in Toronto, a series of highly acclaimed recordings of Bach’s keyboard music and the award, not so long ago, of the Bach Medal in Leipzig (as the first ever female recipient). In Warsaw, she will perform one of Wolfgang Amadeus Mozart’s most ‘symphonic’ piano concertos – the Concerto in C major, K. 503, completed one December day in 1786. The evening will begin with a piece by Louise Farrenc, an increasingly appreciated Romantic composer who from childhood received private tuition in playing and composition from the most important musicians in Paris, unable – because of her gender – to pursue regular studies in that field. Paradoxically, years later, she herself took over a piano class at the famous Paris Conservatoire. Her two striking concert overtures from 1834 showcase the dramatic and colouristic flair of a composer who unfortunately was not fated to realise her dream of writing an opera. About a century later, Sergei Rachmaninov composed his third, highly expressive Symphony, in A minor, which will bring our programme to a close. This is one of the composer’s last works and an important monument to Eastern European Romantic symphonism.
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