New Music Concert Listings - Germany
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New Music Concert Listings - Germany

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30 Aug 
 
31 Aug 
 
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4 Sep 
 
5 Sep



Germany
 Friday, September 05, 2014 at 20:00 
Sächsische Staatskapelle Dresden
Philharmonie Hall, Berlin

Germany

GIDON KREMER violin

SÄCHSISCHE STAATSKAPELLE DRESDEN
CHRISTIAN THIELEMANN conductor

Composer Sofia Gubaidulina, who was born in 1931, once wrote that “as an ideal, I regard a kind of relationship to tradition and to new compositional means in which the artist masters all the means – both the new ones and the traditional ones – but in such a way as if he were not paying attention to either. There are composers who construct their works very consciously, but I am one of those who instead tend to ‘cultivate’ their works. And this is why the entire world as I perceive it forms more or less the roots of a tree, and the work which grows out of it represents the branches and the leaves. One can call them new, but they are nonetheless leaves, and from this point of view they are always traditional, old.”

This Sächsische Staatskapelle Berlin concert under Christian Thielemann will present Gubaidulina’s Second Violin Concert, which was composed in 2007 and is titled “In Tempus prasens”; the soloist is Gidon Kremer. Also on the programme is the Ninth Symphony by Anton Bruckner, a composer who also “cultivated” his works – even if for entirely different reasons than Gubaidulina. The lack of understanding that Bruckner’s symphonies were met with – Eduard Hanslick once chastised them as “gigantic snakes” – led to the composer revising many of his works multiple times. Unfinished at the time of Bruckner’s death in 1896, the Ninth was time and again interrupted by work on new versions of the composer’s First, Third and Eighth Symphonies.


Sofia Gubaidulina : In Tempus praesens Concerto for violin and orchestra
Anton Bruckner : Symphony No. 9

6 Sep 
 
7 Sep



Germany
 Sunday, September 07, 2014 at 17:00 
Musikfest Berlin
Philharmonie Hall, Berlin

Germany

Nicolas Hodges

In “Serynade”, the piano piece Helmut Lachenmann composed between 1997 and 2000, he traces new sounds the instrument can produce, how they might emerge through differentiated touch techniques or a new way of using the pedals. The wordplay in the title of the approximately 30-minute composition alludes to the first letter of the first name of Lachenmann’s wife, Japanese pianist Yukiko Sugawara. This title, however, also places the composition in a series of piano works by other composers, who took up the tradition of the serenade as a form of sophisticated 18th century entertainment music and sublimated it into subtle musical character portraits. English pianist Nicolas Hodges’ repertoire has included Lachenmann’s “Serynade” for over a decade now, and his interpretation has received high praise, not least from the composer himself. In the first part of his piano evening, Hodges presents “Zwei Linien”, a piece that Wolfgang Rihm spent 13 years on as a kind of “work in progress”. The title of the composition reflects Rihm’s focus on the two-part piano works of Johann Sebastian Bach such as the Inventions or Duetti. Rihm used Bach’s music as a starting point for his own creative work, and Hodges highlights this by opening the recital with Bach’s 4 Duetti BWV 802-805.

J.S. Bach : Four Duets from Clavier-Übung III BWV 802-805
Wolfgang Rihm : Zwei Linien
Franz Schubert : Plaintes d’un troubadour in A flat major from Six Moments musicaux D 780
Helmut Lachenmann : Serynade for piano

8 Sep



Germany
 Monday, September 08, 2014 at 20:00 
Bamberger Symphoniker
Philharmonie Hall, Berlin

Germany

CHRISTINE SCHÄFER soprano
PIERRE-LAURENT AIMARD piano
CHRISTIAN SCHMITT organ

BAMBERGER SYMPHONIKER
JONATHAN NOTT conductor

“In ‘The Man Without Qualities’ Musil commented on the zeitgeist of the early 20th century to the effect that: “some spotted new ideas, and others, knowing they would have to move out, really ‘lived’ in the old building one last time. Strauss does it with a huge orchestral apparatus.” (Helmut Lachenmann)

The composer Helmut Lachenmann, who like no other moulded the instrumental language of our time, reveals in this comment his deep admiration for Richard Strauss, man of the fin de siècle, and the link between the two composers also becomes apparent. Richard Strauss features on this evening’s concert programme with his “Four Final Songs” for soprano and orchestra, which was composed a year before his death in 1948 – yet another of his works that explore the possibilities of the late Romantic orchestral apparatus with great expertise and artistry in orchestration. 36 years later, Helmut Lachenmann devoted himself to a musical form that was certainly called into question after 1945 and developed a contemporary redefinition of the genre – the piano concerto. Fragments of material are subjected to a permanent metamorphosis in “Ausklang”, his work piano and orchestra. Max Reger, too, showed in particular in his organ compositions how one could redefine “old forms and genres” – such as choral preludes, fantasies and fugues – that had already been confined to the annals of history.

With this programme and the renowned soloists Christine Schäfer (soprano), Pierre-Laurent Aimard (piano) and Christian Schmitt (organ), the Bamberger Symphoniker under Jonathan Nott are once again guests at Musikfest Berlin.



Max Reger : Fantasy and Fugue for organ in D minor op. 135b
Richard Strauss : Four Last Songs
Helmut Lachenmann : Ausklang

9 Sep



Germany
 Tuesday, September 09, 2014 at 20:00 
REINFORCEMENT FROM RUSSIA
La Redoute
Bonn
Germany

Borodin Quartet - Quartet in Residence 2012-2014
Ruben Aharonian (Violin)
Sergey Lomovsky (Violin)
Igor Naidin (Viola)
Vladimir Balshin (Cello)

With German Galynin and Igor Raykhelson, the Borodin Quartet are presenting two Russian composers of the 20th and 21st century and thus continuing the development of this cycle. Galynin, who was taught at the Moscow Conservatory by Dmitri Shostakovich and Nikolai Miaskovski, left two string quartets, both of which were first performed and recorded by the Borodin Quartet. In his works, Igor Raykhelson, who was born in St Petersburg in 1961, combines Romantic references with jazz elements to create what he himself describes as ‘lyrical and melodious music’. The programme concludes with Beethoven’s final completed work.



Ludwig Van Beethoven : Quartet for two violins, viola and cello No. 11 in F minor op. 95 ("Quartetto serioso")
Igor Raykhelson : Quartet for two violins, viola and cello No. 1 in F minor
German Galynin : Quartet for two violins, viola and cello No. 2 in F minor
Ludwig Van Beethoven : Quartet for two violins, viola and cello No. 16 in F major op. 135

10 Sep 
 
11 Sep 
 
12 Sep



Germany
 Friday, September 12, 2014 at 20:00 
IN HONOUR OF PETER EÖTVÖS
Philharmonie Hall, Berlin

Germany

PATRICIA KOPATCHINSKAJA violin

BERLINER PHILHARMONIKER
PETER EÖTVÖS conductor

When conductor Otto Klemperer suggested to Arnold Schönberg in 1937 he compose an orchestral version of Johannes Brahms’ Piano Concerto in G Minor Op. 25, he didn’t need to make the suggestion twice. As Schönberg later stated in telegram style: “1. I like the work. 2. It is only rarely played. 3. It is always badly played, because the better the pianist is the louder he plays, which means the strings can’t be heard.” Following the successful first performance of his orchestration of Brahms’ Piano Quartet Op. 25, Schönberg joked that he had made his contribution serving as a birth assistant for the “Fifth Symphony” by the composer he admired. He countered critical remarks from purists by stating: “My intentions: to strictly adhere to Brahms’ style and not to go further than he himself would have gone were he still alive.” Schönberg’s Brahms’ adaptation comes at the end of this concert with which Musikfest Berlin and the Berliner Philharmoniker congratulate composer and conductor Peter Eötvös on the occasion of his 70th birthday. The international music world is indebted to the Hungarian composer, conductor and tirelessly helpful mentor of young composers and interpreters for excellent works, concerts and initiatives. The programme kicks off with Wolfgang Rihm’s “In-Schrift II”, which he composed for the 50-year celebration of the Berliner Philharmonie and which reflects on the exceptional acoustics of Hans Scharoun’s concert hall from a compositional point of view. At the centre of the concert is Eötvös’ violin concert, “DoReMi”, conducted by the guest of honour himself. The composer personally selected Patricia Kopatchinskaja to interpret the solo part.

Also performance on 13th Sept (19:00)


Wolfgang Rihm : IN-SCHRIFT 2 for orchestra
Peter Eotvos : DoReMi Concerto for violin and orchestra No. 2
Johannes Brahms : Piano Quartet No. 1 in G minor op. 25 [1861] Version for orchestra by Arnold Schönberg [1937]

13 Sep 
 
14 Sep



Germany
 Sunday, September 14, 2014 at 17:00 
Mahler Chamber Orchestra / RIAS Kammerchor
Philharmonie Hall, Berlin

Germany

JOSÉ VICENTE CASTELLÓ horn (Brahms)
SEBASTIAN POSCH horn (Brahms)
GAËL GANDINO harp
LADIES OF THE RIAS KAMMERCHOR
FLORIAN HELGATH conductor

STEFAN DOHR horn (Rihm)
MAHLER CHAMBER ORCHESTRA
DANIEL HARDING conductor

The horn, the quintessential Romantic instrument, features in this concert programme as both soloist and accompanist. Johannes Brahms composed “Four Songs” for women’s chorus at the beginning of 1860 for the Hamburg Ladies’ Choir he conducted. The instrumentation of two horns and a harp is highly Romantic: the horn as an allegory of the mysterious forest and the sound of the harp as a symbol of aeolian winds. Even the choice of the texts poses a small cross-section through the Romantic period and its literary sources in folk art. 20th century composers such as Arnold Schönberg, Paul Hindemith, Carl Nielsen, György Ligeti and Jean Françaix have explored special instrumental formation of the brass quintet with its unusual modes of expression. In 2003, Wolfgang Rihm made a further enrapturing contribution to this genre with his wind quintet. Rihm at the time dedicated it to Ensemble Wien-Berlin. The recently composed concert for Horn and Orchestra by Wolfgang Rihm is dedicated to Stefan Dohr, the horn player in this ensemble and solo horn player of the Berliner Philharmoniker. The performance at Musikfest Berlin by the Mahler Chamber Orchestra under Daniel Harding and featuring Stefan Dohr as soloist will be the German premiere.

Johannes Brahms : 4 Songs for women’s chorus, two horns and harp op. 17
Wolfgang Rihm : Wind Quintet
Wolfgang Rihm : Concerto for Horn and Orchestra

15 Sep



Germany
 Monday, September 15, 2014 at 20:00 
SWR Sinfonieorchester Baden-Baden und Freiburg
Philharmonie Hall, Berlin

Germany

HORNROH MODERN ALPHORN QUARTET

SWR SINFONIEORCHESTER BADEN-BADEN UND FREIBURG
FRANÇOIS-XAVIER ROTH conductor

In many regards, this concert evening begins in an unusual way with the “concerto grosso Nr. 1”, which Austrian composer Georg Friedrich Hass wrote for four alphorns and orchestra. The alphorn is an instrument that has no keys, slides or valves and only produces the pitches in its overtone series. It is known for outdoor use in alpine regions. In his composition “concerto grosso”, Haas has combined the instrument with a large orchestra. The work’s title captures the relationship between alphorn quartet and orchestra, namely the alternation between solo and tutti that leads to confusing and beautiful sound constellations and the term “concertare” refers to the musical enthusiasm and enormous instrumental skills required of the musicians. As Haas states, the virtuosity of the four alphorn players as well as that of the orchestra lies not in their ability to race through scales but to perform microtonal intonation and thereby build a fascinating sound world.

The hornroh modern alphorn quartet and SWR Sinfonieorchester Baden-Baden and Freiburg under François-Xavier Roth generate these sound worlds together, giving a whole new perspective on the sound architecture of Anton Bruckner’s Eighth Symphony.


Georg Friedrich Haas : concerto grosso Nr. 1 for four alphorns and large orchestra
Anton Bruckner : Symphony No. 8 in C minor

16 Sep 
 
17 Sep



Germany
 Wednesday, September 17, 2014 at 20:00 
WDR Sinfonieorchester Köln
Philharmonie Hall, Berlin

Germany

WDR SINFONIEORCHESTER KÖLN
JUKKA-PEKKA SARASTE conductor

“In art there is no beginning and no end, there is also nothing new and nothing old in an absolute sense. There is just the motion, the interchangeablity, both are nothing deliberate, violent, but natural occurrences of organic life that never stands still but constantly gives birth to new forms and proves its inner strength with precisely this perpetual drive.” (Paul Bekker 1924)

Wolfgang Rihm’s composition “Transitus” for orchestra already contains a reference to audibility in its title. “What matters, says Rihm, is which and how much energy is put into motion. Music is a transfer of energy. ” With “Transitus” he wanted to write a piece that materialized on its own, where one thing grew out of another, yet all events flow into an interminability that is the ambient noise of every music. “Transitus” as a passage or movement process is an image for human existence par excellence. In his most recent work, the Konzertstück für Klaviertrio und Orchester which will premiere on this evening, two different musical forms will be brought together: intimate chamber music and orchestral music. Both works, composed in 2012-2014, will be placed in context with the great C major symphony by Franz Schubert from 1825/26. This constellation is not only fed by the contrast between current and historical events. It is also not a nostalgic glance backwards, but rather an expression of a conception that regards the before and the after of historical construction as permeable and incomplete.


Wolfgang Rihm : Transitus for orchestra
Wolfgang Rihm : Concert Piece for piano trio and orchestra
Franz Schubert : Symphony No. 8 in C major D 944

18 Sep 
 
19 Sep



Germany
 Friday, September 19, 2014 at 20:00 
FOUR MUSICIANS, THREE FOURTEENS
Beethoven-Haus
Bonn
Germany

Kuss Quartett
Bennewitz Quartet
Quatuor Zaïde

1814: Congress of Vienna. 1914: outbreak of the Great War. 2014: Reflexion? Retrospect? The periods which this concert covers in a great arc from Viennese Classicism to the present day take in a major slice of European cultural history: the re-drawing of the map of the continent and its political landscape in 1814, the awakening of the nations and the disaster of 1914, and the modern Europe of 2014. Musically, these changes are represented by Schubert’s mood of a new dawn, Suk’s nationalist Bohemian self-confidence, Arnold Schönberg’s fin-de-siècle sensibilities, and Oliver Schneller’s highly rarefied new musical language.



Franz Schubert : Allegro assai for string quartet in C minor D 703 ("Quartet Movement")
Josef Suk : Meditace na staročeský chorál "Svatý Václave" (Meditation on the Old Czech Chorale "St Wenceslas") for string quartet op. 35a
Oliver Schneller : "Introjections" for string quartet
Arnold Schonberg : "Verklärte Nacht" for two violins, two violas and two cellos

20 Sep



Germany
 Saturday, September 20, 2014 at 20:00 
OUTLINES OF EUROPEAN HISTORY
Beethoven-Haus
Bonn
Germany

Bennewitz Quartet
Heath Quartet
Quatuor Zaïde

Once again three dates: the first performance of Beethoven’s F minor quartet and the re-ordering of Europe in 1814, echoes of Czech nationalism in Antonín Dvořák’s op. 106, and the moving music of Slavomír Hořínka inspiredby the Lampedusa refugee drama in 2013. This musical journey sketches Europe’s history from the discovery of cultural identity across the awakening of nationalist emotions all the way to the migration issues of the present day.



Ludwig Van Beethoven : Quartet for two violins, viola and cello No. 11 in F minor op. 95 ("Quartetto serioso")
Antonin Dvorak : Quartet for two violins, viola and cello No. 13 in G major op. 106
Slavomír Hořínka : "Songs of Immigrants" for two violins, viola and cello

21 Sep 
 
22 Sep 
 
23 Sep



Germany
 Tuesday, September 23, 2014 at 20:00 
Rhythms, Blues and Bagatelles
Beethoven-Haus
Bonn
Germany

Herbert Schuch (Piano)


Three first prizes at international piano competitions in the space of a year laid the foundations for the 35-year-old Romanian-born Herbert Schuch’s rise to the pinnacle of global pianism. One of the competitions was the Vienna International Beethoven Competition, dedicated to a composer whom the artist includes in his sophisticated programmes time and again. In Bonn he is combining two late piano works by Beethoven with a highly virtuoso piece by the American composer Frederic Rzewski, along with eleven works by Ligeti, which were influenced by Bartók and Hungarian folk themes.



Ludwig Van Beethoven : Bagatelles for piano op. 119
Gyorgy Ligeti : "Musica ricercata" for piano
Frederic Rzewski : "Winnsboro cotton mill blues" for piano
Ludwig Van Beethoven : Sonata for piano No. 32 un C minor op. 110

24 Sep 
 
25 Sep 
 
26 Sep



Germany
 Friday, September 26, 2014 at 20:00 
BALTIC VOYAGE
BEETHOVENHALLE
Wachsbleiche 16 53111 Bonn
Germany
0228 / 7222-0
http://www.beethovenhalle.de

Jan Lisiecki (Piano)
Baltic Sea Youth Philharmonic
Kristjan Järvi (Conductor)



Modest Mussorgsky : "A Night on the Bare Mountain". Symphonic Poem
Edvard Grieg : Concerto for piano and orchestra in A minor op. 16
Jean Sibelius : "Karelia" Suite op. 11
Gediminas Gelgotas : "Never Ignore the Cosmic Ocean" for orchestra
Imants Kalniņš : First movement from the Symphony No. 4 ("Rock Symphony")

27 Sep 
 
28 Sep 
 
29 Sep 
 

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