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Concerts at Rolf-Liebermann-Studio in season 2024/25 or later
The composer Johannes Brahms is on holiday at Lake Starnberg. He takes a room in an inn, hires the rickety piano so that no one else will disturb him with their tinkling, and plays a melody that he can’t get out of his head. He plays it again and again, changes it – and then he’s right in the middle of composing. And there they are: the variations on the beautiful »Chorale St Antoni« – a real catchy tune.
Where is the waltz at home? Exactly, in Vienna. It was there that the North German composer Johannes Brahms was inspired and became an enthusiastic waltz pianist. But wouldn’t »singing waltzes« be even more beautiful, he thought. Of course, and so he composed the entertaining »Liebeslieder-Walzer«. Singing and dancing along is definitely encouraged!
»I don’t want to be a normal singer«, says Leïla Martial, »my goal is freedom on stage.« There, she becomes a fascinating, multifaceted being: virtuosic and playful, strong and fragile, tragic and comic. Among her influences, the »uncrowned queen of French vocal jazz« (JazzZeitung) includes singers like Sarah Vaughan, Nina Simone, or Björk, and instrumentalists like Lee Konitz, Emile Parisien, and Eric Dolphy. She is also fascinated by the songs of the Pygmies and the Inuit, »who approach music differently – to accompany their daily lives, not as a show«. By her side is Valentin Ceccaldi, one of the most original cellists in European jazz. Whether in chanson, art song, or free dialogue: Ceccaldi can transform into an orchestra – multifaceted, with gripping intensity. When Sebastian Studnitzky, Pascal Schumacher, and Edward Perraud, known as Singülar, come together, it’s time to buckle up, lean back, and keep all antennas up. Because something truly new is being created right before your eyes and ears. Genres like jazz, classical, or electronic music are just the starting points, and instruments like piano, trumpet, vibraphone, and drums are the tools for an intense, sensual journey. Dreamily, motifs sail through the room. They are caught in free flight and transform into melodic sculptures; rhythmic sketches develop from delicate grooves to trance.
»I don’t want to be a normal singer«, says Leïla Martial, »my goal is freedom on stage.« There, she becomes a fascinating, multifaceted being: virtuosic and playful, strong and fragile, tragic and comic. Among her influences, the »uncrowned queen of French vocal jazz« (JazzZeitung) includes singers like Sarah Vaughan, Nina Simone, or Björk, and instrumentalists like Lee Konitz, Emile Parisien, and Eric Dolphy. She is also fascinated by the songs of the Pygmies and the Inuit, »who approach music differently – to accompany their daily lives, not as a show«. By her side is Valentin Ceccaldi, one of the most original cellists in European jazz. Whether in chanson, art song, or free dialogue: Ceccaldi can transform into an orchestra – multifaceted, with gripping intensity. When Sebastian Studnitzky, Pascal Schumacher, and Edward Perraud, known as Singülar, come together, it’s time to buckle up, lean back, and keep all antennas up. Because something truly new is being created right before your eyes and ears. Genres like jazz, classical, or electronic music are just the starting points, and instruments like piano, trumpet, vibraphone, and drums are the tools for an intense, sensual journey. Dreamily, motifs sail through the room. They are caught in free flight and transform into melodic sculptures; rhythmic sketches develop from delicate grooves to trance.
It is appealing to juxtapose two of the central pieces of Dvořák’s chamber music, of which the Piano Quintet op. 81 is probably the best known, in a concert – this was the idea behind the composition of the programme. Composed during Dvořák’s »Slavic period« in the 1870s, the quartet impressively combines suggestions from the stricter compositional style of Brahms – Dvořák’s declared role model – with the typical Czech folk style and deliberately simple, folk-like music-making. There is an obvious tendency to sing the melodies out widely, especially in the night piece of the second movement.
»Portable Infinity« is the name of the Scandinavian-American project. The all-star quartet carries with it not only the history of jazz but also personal encounters with greats like Pat Metheny, Herbie Hancock, John Scofield, and Esbjörn Svensson. Many elements come together here: extensive experience, openness to new ideas, and the sheer joy of playing. David Helbock is one of those musicians who brim with ideas. Almost every year, he surprises with a new band. The »storyteller at the piano« (3Sat) still considers his long-standing group »Random/Control« to be his most significant project. A hallmark of the trio is the multitude of instruments. Often, far more than three can be heard simultaneously: piano, percussion, clarinets, saxophones, flutes, didgeridoo, and all sorts of brass transform the stage into a madcap playground.
»Portable Infinity« is the name of the Scandinavian-American project. The all-star quartet carries with it not only the history of jazz but also personal encounters with greats like Pat Metheny, Herbie Hancock, John Scofield, and Esbjörn Svensson. Many elements come together here: extensive experience, openness to new ideas, and the sheer joy of playing. David Helbock is one of those musicians who brim with ideas. Almost every year, he surprises with a new band. The »storyteller at the piano« (3Sat) still considers his long-standing group »Random/Control« to be his most significant project. A hallmark of the trio is the multitude of instruments. Often, far more than three can be heard simultaneously: piano, percussion, clarinets, saxophones, flutes, didgeridoo, and all sorts of brass transform the stage into a madcap playground.
The composers Georg Philipp Telemann, Antonio Vivaldi and Johann Sebastian Bach were true all-rounders and geniuses. In this concert, the audience is cordially invited to discover lively, varied and colourful flute concertos by these three Baroque masters, including Bach’s world-famous Badinerie.
Ding dong – the doorbell rings! Flat by flat, we trudge up the grand staircase and try to find the family who have lost their bunch of keys in the entrance hall. The doors may all look monotonous, but the doorbell signs give us an idea: the most colourful families live behind them. Whether traditional, small combo, large gang, solo or patchwork: they all tell us stories about being together, laughing and arguing with each other and the daily improvisation as part of a large »house community« called a big band. A concert about families in all their facets and a tribute to the diversity of jazz music.
Frank Zappa had a special position in the popular music of the 20th century because he was inspired and influenced by composers of the contemporary avant-garde. Colin Towns has arranged some of Zappa’s compositions for the NDR Bigband. Under the direction of chief conductor Geir Lysne, the big band presents a programme of these pieces. Musicians from Ensemble Modern, Zappa’s »last band«, will round off the evening under the direction of Jonathan Stockhammer with works that characterised Zappa: Iannis Xenakis’ »Anaktoria«, Anton Webern’s Symphony op. 21, »Octandre« by Edgard Varèse and Karlheinz Stockhausen’s »Gesang der Jünglinge«.
NDR has awarded three commissions for compositions: to the US composer and multi-instrumentalist Carla Kihlstedt, to the British trombonist and composer Alex Paxton and to the German composer and music producer Ali N. Askin. All three work across styles between art rock, jazz, contemporary music, improvisation and electronic avant-garde. In this evening’s three world premieres, the NDR Bigband and Ensemble Modern will explore the specific possibilities that arise from their collaboration. Jonathan Stockhammer conducts.
The idea of a joint festival between the NDR Bigband and Ensemble Modern was born during a meeting of seven big band and six Ensemble Modern musicians in autumn 2023. In improvisation phases, they explored similarities and differences. New working structures developed. Five new works and the idea of a cooperative festival crystallised in the improvisations. A programme of music that originated here and will be premiered jointly by musicians from both ensembles will conclude the »NDR Bigband meets Ensemble Modern« festival.
Liudmila Minnibaeva (violinist in the NDR Elbphilharmonie Orchestra) and Tinatin Gambashidze perform a colourful journey through music history for the »Dance into May«. Whether it’s a quadrille, waltz, polka, mazurka or minuet – there’s plenty of room for cheerful dancing on the stage in the Rolf Liebermann Studio.
Johannes Brahms, an early admirer of Bach and Beethoven, only discovered his love for Schubert relatively late. He felt it all the more intensely – and the more the Austrian composer eventually rose in his esteem. For many years, he was an unofficial contributor to the first major Schubert complete edition – and in this way became a profound connoisseur of Schubert’s works.
Bugge Wesseltoft is a brilliant researcher. In his lab, he mixes and stirs jazz, folk, and electronics. He once started alongside Jan Garbarek and became an important representative of so-called NuJazz with his own label. Izabella Effenberg is a multi-award-winning percussionist and runs her own festival, »Vibraphonissimo«, in Nuremberg. For their NDR concerts, the two join forces again for a special evening full of spontaneous improvisations. The programme includes lyrical and experimental pieces, as well as jazz classics – all pure, handmade, and without effects. In March 2024, Andreas Schaerer from Hildegard Lernt Fliegen received the »Prix du Musicien européen« from the French Académie du Jazz. A great honour for the singer born in 1976 in Emmental, Switzerland, who – by his own admission – has not closed his mouth since his first cry. A unique, charismatic vocal acrobat, he can growl, whisper, click, and beatbox as artfully as no one else. Of all his captivating projects, Schaerer’s sextet is perhaps the most unpredictable.
Bugge Wesseltoft is a brilliant researcher. In his lab, he mixes and stirs jazz, folk, and electronics. He once started alongside Jan Garbarek and became an important representative of so-called NuJazz with his own label. Izabella Effenberg is a multi-award-winning percussionist and runs her own festival, »Vibraphonissimo«, in Nuremberg. For their NDR concerts, the two join forces again for a special evening full of spontaneous improvisations. The programme includes lyrical and experimental pieces, as well as jazz classics – all pure, handmade, and without effects. In March 2024, Andreas Schaerer from Hildegard Lernt Fliegen received the »Prix du Musicien européen« from the French Académie du Jazz. A great honour for the singer born in 1976 in Emmental, Switzerland, who – by his own admission – has not closed his mouth since his first cry. A unique, charismatic vocal acrobat, he can growl, whisper, click, and beatbox as artfully as no one else. Of all his captivating projects, Schaerer’s sextet is perhaps the most unpredictable.
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