Founded in 1983 by members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble is one of Germany’s leading chamber-music organizations. With its wide repertoire, ranging from composers of the Baroque period by way of Classical and Romantic chamber music to contemporary works, the Scharoun Ensemble has been inspiring audiences in Europe and overseas for more than a quarter of a century. Innovative programming, a refined tonal culture and spirited interpretations are hallmarks of the ensemble, which performs in a variety of instrumental combinations.
The permanent core of the Scharoun Ensemble is a classical octet (clarinet, bassoon, horn, two violins, viola, cello and double bass), made up of members of the Berlin Philharmonic except from Wolfram Brandl, who is first concertmaster of the Staatskapelle Berlin and Claudio Bohorquez, internationally performing solo- and chamber music-cellist.
Dates upon request VOCAL PROGRAMM Christiane Karg, soprano
Alban Berg: “Seven Early Songs” for soprano and small orchestra (arrang. by R. de Leeuw) Brett Dean: “Ich lausche und ich höre” for soprano and octet Sofia Gubaidulina: Hommage à T.S. Elliot for soprano and octet Gustav Mahler: “Lieder eines fahrenden Gesellen” for chamber orchestra (arrang. by A. Schoenberg)
Freigeist Ensemble is a courageous collective of supersonic soloists from German symphony orchestras that repackages super symphonic music for new audiences.
Often commissioning world premiere arrangements for innovative late-night projects, its mission is to revolutionise the style, sound and setting of classical concerts. This began in 2010 with “mini-Mahler” at Berlin’s Philharmonie Kammermusiksaal, followed by “Strauss 150: New Perspectives” at STATTBAD Berlin, “From Russia with Soul” at Griessmühle Berlin and “Bartók Beyond Borders” at Musikbrauerei Berlin.
Joolz Gale founded Freigeist Ensemble to build upon his vision to reach new audiences though new concert formats and alternative locations. Projects often include newly commissioned arrangements for ensemble by Joolz Gale himself (incl. Strauss’ Ein Heldenleben, Suite from Der Rosenkavalier, Bartók’s Dance Suite, Debussy’s La Mer, Bruckner’s 9th, Prokofiev’s 5th and Shostakovich’s 9th & 10th Symphonies), for which he is represented and published by Schott, Sikorski and Boosey & Hawkes.
Availability upon request BRUCKNER 6, 7, 8, 9 – 2024 200th anniversary of Anton Bruckner with Joolz Gale, direction
A. Bruckner: Symphony No. 6 in A major WAB 106, arr. Gale *Premiere* Symphony No. 7 E major WAB 107, arr. Gale *premiere* Synphony No. 8 C minor WAB 108, arr. Gale Symphony No. 9 in D minor WAB 109, arr. Gale
Without notes – without conductor – without chairs: Stegreif shows new ways of what a contemporary orchestra can look like today. In radical recompositions, the international musicians combine symphonic music with improvisation and influences from other genres and involve the audience in original spatial concepts. With these innovative concert formats, the young ensemble inspires a growing audience of different target groups.
Since the orchestra was founded in 2015, at least one new concert programme has been developed every year: #freebeethoven, #freeschubert, #freebrahms, #free∃roica, #bfree, #freemahler, #explore_mozart, #explorefreischütz, #bechange. In addition, co-productions have been realised with the Deutsches Symphonie-Orchester Berlin and the young North German Philharmonic Orchestra (TRIKESTRA), among others. Stegreif has performed concerts renowned stages such as the Berlin Philharmonic, the Konzerthaus Berlin, the Elbphilharmonie the Elbphilharmonie Hamburg, the Alte Oper Frankfurt, the Brucknerhaus Linz, the Radialsystem Berlin, the Beethovenfest Bonn or the Prinzregententheater Munich as well as at alternative alternative festivals such as FUSION, Detect Classic, PODIUM Esslingen, the Düsseldorf Festival or the Oranjewoud Festival (NL).
‘A Bruckner symphony in an interactive format: it’s one of the most goosebump-inducing moments of the evening and pure magic. Rarely do you experience the urgency and exceptional character of this music first-hand as was the case here.’
Urs Mattenberger in der Luzerner Zeitung, 12.09.2024
‘There was thunderous applause and standing ovations for this magnificent performance by an ensemble that had ‘delivered’.’
Reinhard Frank on shz.de, 24.07.2022
‘It’s a success! Bravo!’
Angelika Silberbach in Mainpost, 19.07.2022
‘The passion for music and the virtuosity of the individual pieces can rarely be experienced so closely.’
Dates available upon request #IMPROPHONIE A symphony from the moment
How can music emerge in the moment and in contact with the audience? Where do improvisation and composition meet? Can even an entire symphony be improvised? Groove – movement – eye contact. The aim of #improphonie is to capture the magic of collective, free improvisation in its spontaneity and to give it a space as an independent work. space as an independent work. The individual strengths of the musicians become the driving energy and communication the actual composer. communication becomes the actual composer.
Artistic direction: Juri de Marco, Lorenz Blaumer Concept, composition, musical direction: Bertram Burkert Direction, choreography and conception: Lea Hladka Costume and stage: Anja Kreher
Duration: approx 70 min
“The most striking overall impression was the atmosphere: away from the spectacular, theatral, merely entertaining, towards mindfulness, humility and appreciation.”
FAZ, 27 September 2022
Dates available upon request symphony of change – Final production of the project #bechange – 17 sounds of sustainability
In the symphony of change, Stegreif asks what this change sounds like. The musical arc is spanned from Hildegard von Bingen (1098-1179), Wilhelmine von Bayreuth (1709- 1785), Emilie Mayer (1812-1883) to Clara Schumann (1819-1896). Music history is revealed and rewritten when selected works by these historical composers are recomposed by five young and female ensemble members of the Stegreif Orchester and placed in a new context.
Premiere: planned for August 2023 Cast: 24 musicians Artistic direction: Juri de Marco / Lorenz Blaumer Recomposition/Arrangement: Nina Kazourian, Tabea Schrenk, Julia Bilat, Helena Weinstock-Montag, Franziska Aller Co-Artistic Direction Composition: Alistair Duncan Direction, Choreography: David Fernandez
The Molyvos International Music Festival is celebrating its 10th birthday! The chamber music festival founded by the two pianists Danae and Kiveli Dörken on the Greek island of Lesbos has managed to establish itself as one of the most beautiful and inspired festivals in Southern Europe, despite all the non-musical challenges of the last ten years. With passion, creative ideas and equally committed allies, the two sisters have succeeded in bringing together top stars such as Lars Vogt, Christian Tetzlaff and Marlis Petersen as well as Europe’s young musical talent for chamber concerts, Musical Moments in the old town and various educational projects in Molyvos. The birthday edition presents artists such as Simon Bode, Antje Weithaus and Noé Inui as well as a world premiere by Lucas Thanos.
09, 10, 11 & 12 August 2024, opening acts 16 – 19 August 2024, Molyvor International Music Festival, Lesbos PHILIA – ΦΙΛΙΑ – FRIENDSHIP Danae & Kiveli Dörken, piano & artistic director / Simon Bode, tenor / Sebastian Manz, clarinet / Antje Weithaas, violin / Eugène Ysaÿe, violin and many more. Works by J. S. Bach, F. Kreisler, N. Pagannini, J. Brahms, E. Chausson, M. Bruch, F. Schubert, F. Mendelssohn-Bartholdy and many others.
Aga Khan Music Programme was established by Karim Aga Khan with the aim of supporting outstanding musicians and music teachers in preserving and communicating their musical heritage, developing it in contemporary forms and disseminating it worldwide through concerts and recordings. The programme initiates and implements country-specific action programmes to support the revitalisation and preservation of cultural heritage. Under this premise, special programme series in which outstanding renowned artists present new compositions, improvisations and arrangements of a repertoire strongly inspired by the respective tradition are developed, among other things. The programmes always represent artistic encounters between time-honoured traditions and contemporary forms, as a new generation of top-class musicians further develops and varies old musical traditions. The encounter of different cultures thus gives rise to a unique musical creativity.
The Aga Khan Music Programme strives with top-class musicians from the Near and Far East, Africa and the countries of the former Soviet Union to preserve the rich and varied heritage of classical music traditions from around the world and introduce them in Europe. From 15th to 17th February 2019, the Aga Khan Music Programme visited Germany for the first time, presenting the multi-faceted classical music of the Silk Road in four concerts at the Konzerthaus Dortmund, including a school concert. Renowned musicians, such as the Chinese pipa player Wu Ma, the Syrian composer and musician Basel Rajoub or Dutar and tanbur player Sirojiddin Juraev, combined music traditions of their countries with improvisation and borrowings from the Western jazz tradition in their performances. The multimedia concert Qyrq Qyz – Forty Girls reflected both musically and figuratively a centuries-old saga of Central Asia that could possibly change the Western view of women’s images of the East.
„Es ist nachhaltig beeindruckend zu sehen, welch schwindelerregend intellektuelle Leistungen klassischen Musikern in der Türkei, in Thailand und Java abverlangt werden.”
Michael Church, Old and New Music from the Ends of the Silk Route, 2016, 2
„Ein musikalisch hoch eindrucksvoller Abend, nicht zuletzt, um sich über das Fremde im Anderen und im eigenen Wesen klarzuwerden”
La Folia – this term of the baroque era focusses on wildness, fury, jollity and generally on an artistic attitude of liberality and excessive creativity.
Since their foundation in 2007 the La Folia Barockorchester vitalises on period instruments the international music scene. Whether in a chamber music instrumentation or with baroque opulence, whether with instrumental music or together with vocal soloist – the aspiring young orchestra under the direction of the violinist Robin Peter Müller stands for energetic and overwhelming interpretations of the music from the 17th and 18th century. Historically informed the musicians are looking for opportunities to transfer the emotions and contents of the past centuries into contemporary interpretations which have thrilled both audience and critics alike.
The ensemble cooperates regularly with renowned instrumentalists and singers like Hille Perl, the Vienna Boys’ Choir, Regula Mühlemann, Mahan Esfahani and Jan Vogler, Dorothee Oberlinger, Dorothee Mields, Anna Prohaska, Maurice Steger and Stefan Temmingh.
Founder and director Robin Peter Müller, born in Dresden, is one of the most sought-after musicians of his generation performing on period as well as on modern violin.Within a short period he led La Folia Barockorchestra to international reputation.
„Standing Ovations für einen überragenden Countertenor mit einem erlesenen Orchester und für ein spannendes, die interpretatorischen Grenzen durchaus tangierendes Programm.“
28 September – 11 October 2026 CELEBRATION OF LIFE IN DEATH – Dances of Death and Love (Not Only) in Times of Plague
Pandemics have accompanied humanity throughout history. Across different cultures, they have always been artistically reflected upon, and in music—spanning the last 500 years — we find a rich variety of laments, dances, folk songs, arias, and cantatas. Yet all these works share one thing in common: they are a powerful affirmation of life, which Anna Prohaska, Robin Peter Müller, and the La Folia Baroque Orchestra come together to celebrate.
Anna Prohaska, soprano
Works by O. v. Wolkenstein, R. Kaiser, J.h. Schmelzer, B. Strozzi, S. Rossi, div. Volkslieder and others
LA FINTA GIARDINIERA 01 – 22 December 2023, Theater an der Wien
Paul Schweinester, Don Anchise / Carina Schmieger, Violante / Adrian Autard, Contino Belfiore / Michaella Cipriani, Arminda / Valerie Eickhoff, Cavaliere Ramiro / Elisabeth Freyhoff, Serpetta / Anton Beliaev, Roberto / Clemens Flick, conductor / Anika Rutkofsky, stage direction / Adrian Stapf, stage and costumes / Franz Tscheck, light design / Bettina Bartz, dramaturge
W.-A. Mozart: La Finta Giardiniera
In his opera LA FINTA GIARDINIERA, the then 18-year-old Mozart was already exploring one of his central themes – the tension between faithful partnership and erotic temptation, as well as emotional turmoil. Under the musical direction of Clemens Flick, the La Folia Baroque Orchestra followed Mozart’s intricate paths through the labyrinth of feelings and passions at the Wiener Kammeroper.
10 Sep 2021 Harbour Front Literaturfestival, Elbphilharmonie Hamburg Robin Peter Müller, direction & violin / Anna Prohaska, soprano / Carolin Emcke, text
Anna Prohaska and the La Folia Barockorchester provided musical answers to questions between love and loss from eight centuries. Together, the author and the musicians celebrated “Celebration of Life in Death” on that evening at HARBOUR FRONT SOUNDS and gave expression to hope and grief in times of pandemic.
Il Giardino Armonico, founded in 1985 and conducted by Giovanni Antonini, has long established itself as one of the world’s leading period instrument ensembles, bringing together musicians from some of the most important music institutions in Europe. The repertoire of the ensemble focuses mainly on works of the 17th and 18th centuries. Depending on the requirements of the program, the ensemble consists of three to 30 instrumentalists.
Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.
Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.
The most recent projects include the recording of Haydn’s The Creation in collaboration with the Bavarian Radio Chorus, published by Alpha Classic in October 2020.
„The clarity of the orchestration is made transparent and gleaming by the soloists of Il Giardino Armonico, who also make the most of every joke or surprise.“
18 – 21 February 2027 and summer 2027 upon request
IL VIAGGIO DEL PRINCIPE An extraordinary concert project presented by Il Giardino Armonico and the Bavarian Radio Chorus — as exceptional as the journey undertaken by Carlo Gesualdo da Venosa in 1593 to northern Italy to meet his future second wife. Equally important to him, however, was the opportunity to meet with his fellow composers Emilio de Cavalieri and Giovanni Gabrieli during the trip, to engage in discussions about compositional matters. This program is conceived as a journey into the mind and emotions of Gesualdo and his time.
Chor des Bayerischen Rundfunks / Il Giardino Armonico / Giovanni Antonini, conductor
C. Gesualdo: Tenebrae Responsoria / Works by Emilio de Cavalieri, Giovanni Gabrieli and other composers from that period
06 March 2023, Konzerthaus Berlin 07 March 2023, Elbphilharmonie Hamburg
Giovanni Antonini, conductor / Fatma Said, soprano
JA. Vivaldi: Concerto per archi in e minor RV 134 / Sinfonia in b minor “al Santo sepolcro” RV 169 C. Monteverdi: Lamento di Arianna D. Castello: Sonata decimasesta a quattro in Do A. Vivaldi: Gelido in ogni vena (10′), Gelosia P. A. Locatelli: Concerto grosso “Il Pianto di Arianna” J. Haydn: Arianna a Naxos
10 + 11 May 2019, Herkulessaal der Residenz, München 13 May 2019, Mozartfest Augsburg 14 May 2019, Konzerthaus Wien 23 June 2019, Soli Deo Gloria – Braunschweig Festival 28 June 2019, Rheingau Musik Festival Giovanni Antonini, conductor / Anna Lucia Richter, soprano / Maximilian Schmitt, tenor / Florian Boesch, bass baritone / Chor des Bayerischen Rundfunks
J. Haydn: The Creation Hob. XXI:2
14. November 2018, Konzerthaus Berlin Il Giardino ArmonicoGiovanni Antonini, conductor / Patricia Kopatchinskaja, violin
Works by A. Vivaldi, L. Francesconi, S. Movio, A. Cattaneo
26. + 7. August 2018 „Serpent & fire“ Giovanni Antonini, conductor / Anna Prohaska, soprano
The Freiburg Baroque Orchestra looks back on a success story lasting almost thirty years and is a popular guest at the most important concert halls and opera houses. A glance at the ensemble’s concert calendar shows a diverse repertoire played at a variety of venues, ranging from the Baroque to the musical present and from Freiburg to the Far East. The Freiburgers’ artistic credo, however, remains unchanged: the creative curiosity of each of them, with the intention of playing a composition in as lively and as expressive a manner as possible.
Under the artistic directorship of Gottfried von der Goltz and Kristian Bezuidenhout, and under the baton of selected conductors, the FBO presents it-self with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a self-administrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world.
Andreas Richter Cultural Consulting represents the Freiburg Baroque Orchestra in Asia, Great Britain, Germany and neighboring countries on request.
The Freiburg Baroque Orchestra has played a significant role in shaping European music history over the past 40 years, often by launching extraordinary concert and opera projects in collaboration with internationally renowned partners. Among them are Isabelle Faust and Sir Simon Rattle, with whom the FBO will delve into the romantic sound world of Robert Schumann in the summer of 2026.
Isabelle Faust, violin / Sir Simon Rattle, conductor
R. Schumann: Ouvertüre zu „Genoveva“ op. 81 / Violinkonzert in D minor WoO 1 / Symphony no. 2 in C major op. 61
“This music, with its bewitching beauty, is not of this world.“
Süddeutsche Zeitung, 21 November 2023
“All the colors of Baroque music can be heard from the orchestra pit this evening.“
taz, 21. November 2023
3 May 2023, Elbphilharmonie Hamburg / 6 May 2023, Staatstheater Wiesbaden / 30 June 2023 Philharmonie Berlin
A MIDSUMMER NIGHT’S DREAM Max Urlacher, actor / RIAS Kammerchor Berlin / Mi-Young Kim, soprano / Anna Schaumlöffel, mezzo-soprano / Pablo Heras-Casado, conductor F. Mendelssohn-Bartholdy: A Midsummer Night’s Dream op. 61 F. Schubert: Symphony no. 6 in C major D. 589(Hamburg, Wiesbaden) E. Grieg: „Aus Holbergs Zeit“ suite for string orchestra op. 40 Gottfried von der Goltz, musical direction / Barokkanerne / Concerto Copenhagen / Drotting- holms Barockensemble / Finnish Baroque Orchestra / Freiburger Barockorchester (Berlin, Nordic Lights Festival)
“It sounds like trembling and rustling in the forest, where the elves flit about.”
Hamburger Abendblatt, 5 May 2023
“When the violins, after the three magical opening chords crowned by glowing recorders, begin to whisper on gut strings, that’s when this enchantingly unreal atmosphere unfolds.”
Tagesspiegel Berlin, 1. July 2023
13 December 2022, deSingel, Antwerpen / 14 December 2022, Chiesa di San Pietro, Perugia 15 December 2022, Basilica di San Vittore, Varese / 16 December 2022, Franziskaner Konzerthaus, Villingen / 18 December 2022, Kölner Philharmonie / 19 December 2022, Kammermusiksaal der Philharmonie, Berlin / 21 December 2022, Kultur- und Kongresszentrum Liederhalle, Stuttgart / 22 December 2022, Konzerthaus Freiburg
MAGNIFICAT Freiburg Baroque Orchestra / Vox Luminis / Lionel Meunier, bass & leader J. S. Bach: Magnificat in E-flat major BWV 243A / J. Kuhnau: Uns ist ein Kind geboren BWV 142, Magnificat in C major
28 April 2022, Konzerthaus Freiburg / 30 April 2022, Staatstheater Wiesbaden / 03 May 2022, Kölner Philharmonie / 04 May 2022, Elbphilharmonie Hamburg
FREISCHÜTZ Polina Pasztircsák, soprano – Agathe / Kateryna Kasper, soprano – Ännchen / Maximilian Schmitt, tenor – Max / Dimitry Ivashchenko, bass – Kaspar / Christian Immler, bass – Eremit / Max Urlacher, speaker – Samiel / Zürcher Sing-Akademie / Freiburger Barockorchester / René Jacobs, conductor C. M. von Weber: Der Freischütz
“Great hit on the bull’s eye!“
Hamburger Abendblatt, 06 May 2022
“Concertante always also means theatrical with René Jacobs.”
Badische Zeitung, 30 April 2022
10 March 2020, Melbourne Recital Center Gottfried von der Goltz, leader & violin / Kris Bezuidenhout, piano L. v. Beethoven: Piano Concert no. 1 in C major op. 15 / Piano Concerto no. 2 in B flat major op. 19 / Piano Concerto no. 3 in C minor op. 37
11 March 2020, Melbourne Recital Center Gottfried von der Goltz, leader & violin / Kris Bezuidenhout, piano L. v. Beethoven: Ouverture Die Geschöpfe des Prometheus op.43 / Piano Concerto no. 4 in G major op. 58 / Ouverture Coriolan op. 62, Piano Concerto no. 5 in E flat major op. 73
Founded in 1989, the Finnish Baroque Orchestra (FiBO) has been a pioneer in many ways throughout its history. The orchestra is known in Finland and abroad for its skilful performances, its creative approach to concert programming and groundbreaking partnerships, such as the Nordic Baroque Scene. At the core FiBO is a Baroque orchestra, but they also venture into early Baroque and Romanticism as well as Sibelius’ works and new music for period instruments. In addition to its own FiBO Records series, FiBO has made recordings with several record labels. The latest record, Il labirinto armonico (BIS), featuring Locatelli’s violin concerts with soloist Ilya Gringolts, has received significant international recognition such as Gramophone Editor’s Choice (3/2021) and Diapason d’or (5/2021).
„From the opening track onwards, elegant playing launches a programme rich in charm from Ilya Gringolts and the Finnish Baroque Orchestra, all on sparkling form.“
Gramophone Magazin, 19.02.2021
„Sharp-edged playing from the Finnish Baroque Orchestra.”
Dates upon request THE DANCING FIDDLE The Finnish Baroque Orchestra, led by violinist Kreeta-Maria Kentala, combines the captivating melodies of fiddle music from Kaustinen, Finland—recently inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity—with timeless suites by J. D. Heinichen and J. S. Bach.
Kreeta-Maria Kentala, violin & leader
Works by J. D. Heinichen, J. S. Bach & fiddle music from Kaustinen
30 June 2023, Nordic Lights Festival, Philharmonie Berlin Gottfried von der Goltz, musical direction / Barokkanerne / Concerto Copenhagen / Drottingholms Barocksemble / Finnish Baroque Orchestra / Freiburger Barockorchester Edvard Grieg: „Aus Holbergs Zeit“ suite for string orchestra op. 40 (30 June 2023)
1 July 2023, Nordic Lights Festival, Säälichen auf dem Holzmarkt Barokkanerne & Ragnhild Hemsing, Hardangerfiedel / Concerto Copenhagen & Jakob Bloch Jespersen, Bassbariton / Drottningholm Baroque Orchestra & Torbjörn Näsbom, Nyckelharpa / Finnish Baroque Orchestra & Petri Kumela, Barock-Gitarre / Freiburger Barockorchester L. Boccherini Grave assai & Fandago from Quintett no. 4 in D major G. 448 / A. Auvinen Excerpts from „Andalusian Panzerwagen Jazz“ / J. Haydn Presto from Symphony no. 4 D-Dur Hob. I:4 / C. Baguer Sinfonia in G major no. 16
19 August 2022, Elbphilharmonie Hamburg „Water Music“ G. F. Händel: Suite no. 2 in D major HWV 349 »Water Music« G. F. Händel: Suite no. 1 in F major HWV 348 »Water Music« G. F. Händel: Suite no. 3 in G major HWV 350 »Water Music« G. F. Händel: Music for the Royal Fireworks HWV 351 As well as Finnish traditional works by Viljami Niittykoski
