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Classical concerts featuring
Frederik Virsik

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Upcoming Concerts

Concerts featuring Frederik Virsik in season 2024/25 or later

March 6, 2025
Artistic depiction of the event

Symphoniker Hamburg / Chamber Concert

Thu, Mar 6, 2025, 19:30
Laeiszhalle, Kleiner Saal (Hamburg)
Satoko Koike (Violin), Yiju Seo (Violin), Daniela Frank-Muntean (Viola), Theresia Rosendorfer (Cello), João Vargas (Double bass), Susanne Barner (Flute), Mareile Haberland (Flute), Elmar Hönig (Clarinet), Frederik Virsik (Clarinet), Marc Renner (Oboe), Christian Specht (Oboe), Christian Ganzhorn (Bassoon), Péter Gulyka (French horn), Patricia Ramírez-Gastón (Piano)
Francis Poulenc, the true joker of the French artistic association »Groupe des Six«, created a precious treasure of five works for the woodwinds – the sextet, a trio and a sonata each for flute, clarinet and bassoon. With the sparkling Sextuor for piano and winds, a showpiece for the »musical prose« sought by the »Six«, he thrusts the audience right into the pulsating life of his home city of Paris. The three-movement piece was completed in 1932, but thoroughly revised in 1939 for the performance with Poulenc himself at the piano. At the beginning, it sounds like the Grands Boulevards, everything is noisy, running, honking, shouting and whirling, and the woodwinds are immediately allowed to bring their entire arsenal of modern acrobatics into play. The middle movement is more idyllic, before the fast section suddenly seems to be a fairground hustle and bustle. The work concludes with a hymn-like declaration of love to the metropolis on the Seine.
July 3, 2025
Artistic depiction of the event

Symphoniker Hamburg / Chamber Concert

Thu, Jul 3, 2025, 19:30
Laeiszhalle, Kleiner Saal (Hamburg)
Wiebke Bohnsack (Flute), Frederik Virsik (Clarinet), Fabian Ludwig (Clarinet), Christian Elsner (Bassoon), Lucie Krysatis (French horn), Olivia Rose Francis (Violin), Fabian Lindner (Viola), Theresia Rosendorfer (Cello), Rafael da Cunha (Double bass), Gracie Francis (Piano)
While in Lichtental, a suburb of Baden-Baden, Brahms got the inspiration for the first movement of his Horn Trio during a morning walk. He later showed a friend where the nature sounds sparked this inspiration. Brahms learned to play the horn as a child, and it features prominently in his music, particularly his symphonies, and his mother loved his horn playing. The Horn Trio's Adagio movement, written shortly after his mother's death, is thought to reflect this event. Brahms composed Serenades Op. 11 and 16 while working as a piano teacher in Detmold, during which he also studied Haydn and Mozart. He had initially intended to write a lighter piece, but his evolving symphonic ideas led to richer instrumentation and broader development, as detailed by Max Kalbeck.