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Classical concerts featuring
Iveta Apkalna

Overview

Quick overview of musician Iveta Apkalna by associated keywords

CitiesFrequently performs in

Hamburg
Germany
Hamburg
5
Köln
Germany
Köln
4
Berlin
Germany
Berlin
2
Essen
Germany
Essen
2

ProgramFrequently performs

Camille Saint-Saëns
Works by
Camille Saint-Saëns
5
César Franck
Works by
César Franck
3
Francis Poulenc
Works by
Francis Poulenc
3
Franz Liszt
Works by
Franz Liszt
3
Johann Sebastian Bach
Works by
Johann Sebastian Bach
3
Works by
Ottorino Respighi
3
Works by
Aivars Kalējs
2
György Ligeti
Works by
György Ligeti
2
Works by
Helmut Lachenmann
2
Works by
Jean Langlais
2

MusiciansFrequently collaborate with

Musician
Alexis Descharmes
2
Musician
Andrea Sanguineti
2
Musician
Essener Philharmoniker
2
Musician
Florian Groß
2
Musician
Franck Chevalier
2

New Arrivals

These concerts featuring Iveta Apkalna became visible lately at ConcertPulse.

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Upcoming Concerts

Concerts featuring Iveta Apkalna in season 2024/25 or later

February 20, 2025
Artistic depiction of the event

Orgel­klänge

Thu, Feb 20, 2025, 19:30
Theater und Philharmonie Essen, Alfried Krupp Saal (Essen)
Iveta Apkalna (Organ), Essener Philharmoniker, Andrea Sanguineti (Conductor)
Camille Saint-Saëns considered his Symphony No. 3, also known as the "Organ Symphony", his most significant work. While the organ doesn't solely feature as a virtuoso instrument, it complements the orchestra, adding a unique sonic dimension. Similarly, Poulenc's colourful concerto blends sacred and lively fairground sounds. Hindemith's "Symphonic Metamorphoses" also combine contrasting elements, with his lighthearted approach to Carl Maria von Weber's romanticism meeting modern American musical influences.
Info & Ticket (www.theater-essen.de)
February 21, 2025
Artistic depiction of the event

Orgel­klänge

Fri, Feb 21, 2025, 19:30
Theater und Philharmonie Essen, Alfried Krupp Saal (Essen)
Iveta Apkalna (Organ), Essener Philharmoniker, Andrea Sanguineti (Conductor)
Camille Saint-Saëns considered his Symphony No. 3, also known as the "Organ Symphony", his most significant work. While the organ doesn't solely feature as a virtuoso instrument, it complements the orchestra, adding a unique sonic dimension. Similarly, Poulenc's colourful concerto blends sacred and lively fairground sounds. Hindemith's "Symphonic Metamorphoses" also combine contrasting elements, with his lighthearted approach to Carl Maria von Weber's romanticism meeting modern American musical influences.
Info & Ticket (www.theater-essen.de)
March 26, 2025
Artistic depiction of the event

Iveta Apkalna / Herbert Schuch

Wed, Mar 26, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Iveta Apkalna (Organ), Herbert Schuch (Piano)
They both have keyboards – but that is just about where the common ground between the organ and piano ends. One needs wind to produce its sound, while the other has hammers that strike its strings. The former is often associated with the sacred interior of a church, where its monumental form, known as the prospect, often looms high above, while the latter has been a staple item of furniture in many a private living room ever since the 19th century. So there is little overlap between the two, which is why compositions for both instruments together are so extremely rare. Iveta Apkalna, organist-in-residence at the Elbphilharmonie, and pianist Herbert Schuch have now curated a programme that presents the two instruments both separately and together in all their glory. Two works form the focus of this concert, both by Julius Reubke who died young: he composed a large piano sonata and an organ sonata. The latter is an absolute highlight of the repertoire for organ romanticism, transferring the newly created genre of symphonic poetry to the organ with a powerful sound by setting the 94th Psalm of the bible to music. As famous as the organ sonata is, the sister work for piano is rarely performed – although the virtuoso passages and colourful symphonies can certainly stand up alongside Franz Liszt. Set around these two solo works, where Iveta Apkalna and Herbert Schuch have the spotlight to themselves, there are works that prove the organ and piano can complement each other to wonderful effect: the mysterious »Choral’s Dream« by French organ master Thierry Escaich is performed at the beginning. A generation before him, his colleague and fellow countryman Jean Langlais also composed works for organ and piano. And the Latvian composer Andris Dzenītis even stages a world premiere this evening.
Info & Ticket (www.elbphilharmonie.de)
June 3, 2025
Artistic depiction of the event

Iveta Apkalna, organ

Tue, Jun 3, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Iveta Apkalna (Organ)
Iveta Apkalna pursues two milestones in organ music: Johann Sebastian Bach’s enormous Chaconne and César Franck’s ground-breaking »Grande pièce symphonique«, whose title alludes to the symphonic sound possibilities of the organ and fully exploits them. The titular organist of the Elbphilharmonie complements her solo programme with three further pieces, which also showcase »her« instrument in full splendour. Johann Sebastian Bach’s Chaconne was originally composed for violin. The contrapuntal entanglements which Bach created within it have, however, inspired several composers to arrange this work for organ. Also, the »Danse Macabre« by Camille Saint-Saëns, originally composed for voice and piano, only became famous in its orchestral version and sounds just as very wonderfully eerie on the organ. César Franck dedicated his »Prélude, fugue et variation« to his friend and organ colleague Saint-Saëns; the three movements seem very different and yet hang together thematically. As one of the forefathers of organ symphony, Franck is at the inception of a development which had far-reaching consequences for organ building and organ music: to this day (and so also at the Elbphilharmonie), the thousand organ pipes of one instrument should ideally cover the full range of symphonic sound. Iveta Akpalna, who, as the titular organist, knows the Elbphilharmonie organ like hardly anyone else, can exploit the entire colourful richness of the instrument to perfectly set the scene for each piece of her programme.
Info & Ticket (www.elbphilharmonie.de)
June 15, 2025
Artistic depiction of the event

Kinderkonzert

Sun, Jun 15, 2025, 11:00
Kölner Philharmonie (Köln)
Iveta Apkalna (Organ), Harald Schmidt (Presentation)
Die Orgel der Kölner Philharmonie hat 5394 Pfeifen. Donnerwetter! Ausnahmeorganistin Iveta Apkalna und Moderator und Orgelliebhaber Harald Schmidt laden alle Musikdetektive ab sechs Jahren ein, dieses spannende Instrument mit seinen vielen Registern zu erforschen. Das wird ein echter Orgelkrimi!Sie wird die Königin der Instrumente genannt: die Orgel. Und Iveta Apkalna aus Lettland ist die Königin der Orgel, weil sie dieses Instrument so toll und virtuos spielen kann. Iveta kennt sich auch mit den Registern der Orgel aus, mit denen sich die Klangfarben der Orgel verändern lassen. Der bekannte Moderator Harald Schmidt ist selber ein großer Fan dieses Instruments und will es ganz genau wissen: Wie funktioniert das denn nun mit den Registern und warum haben die so ungewöhnliche Namen? Als Musikdetektive könnt ihr ihm vielleicht helfen, das herauszufinden. Eine Produktion der KölnMusikGefördert vom Kuratorium KölnMusik e.V.
Info & Ticket (www.koelner-philharmonie.de)
June 17, 2025
Artistic depiction of the event

Iveta Apkalna & Alinde Quartett

Tue, Jun 17, 2025, 20:00
Kölner Philharmonie (Köln)
Iveta Apkalna (Organ), Alinde Quartett (Ensemble)
Nahezu eine ganze Saison lang haben die Organistin Iveta Apkalna und das Alinde Quartett in ihren philharmonischen »Porträt«-Konzerten begeistert. Zum Abschluss präsentieren sich Organistin und Quartett nun zusammen. Quer durch die Musikgeschichte geht es dabei – bis hin zu einem neuen Werk, das der mit dem »Hindemith-Preis« ausgezeichnete Regensburger SJ Hanke für Orgel und Streichquartett geschrieben hat.Den Anfang machen die Fünf aber mit einer Kirchensonate von Mozart. Von da ab spielt man immer wieder auch seine individuelle Klasse aus. Iveta Apkalna feiert den atemberaubenden Klangstrom des Minimal-Music-Gurus Philip Glass. Das Alinde Quartett verzaubert dagegen mit dem mal kantablen, mal kunstvoll kontrapunktischen »Quartetto dorico«, das der Italiener Ottorino Respighi 1924 komponierte.
Info & Ticket (www.koelner-philharmonie.de)