Chamber Orchestra of Europe with András Schiff, conductor & pianist
»Programme with András Schiff«
Wolfgang Amadeus Mozart: Rondo for Piano and Orchestra in D major, K. 382 op. 61 Franz Schubert: Symphony No. 8 in B minor, D. 759 Witold Lutoslawski: Musique funèbre (Muzyka żałobna) (1958) Béla Bartók: Piano Concerto No. 3 in E major, Sz. 119, BB 127
B’Rock Orchestra with Andreas Küppers, artistic direction and keyboard instruments // B’Rock Vocal Consort
»Monteverdi in Flanders«
Claudio Monteverdi left Italy only twice in his long life. As member of the court of Vincenzo Gonzaga, the Duke of Mantua, he embarked 1599 on a travel into the region from which many of his most important musical influences originated: Flanders. B’Rock follows Monteverdi on his trip to Flanders in a program that brings together his most important Flemish influencers and the music, which mirrors these and develops them further and into a new age.
Works by C. Monteverdi, J. Desprez, A. Willaert, O. di Lasso, G. de Wert, among others.
Chamber Orchestra of Europe with András Schiff, conductor & pianist
»Programme with András Schiff«
Wolfgang Amadeus Mozart: Rondo for Piano and Orchestra in D major, K. 382 op. 61 Franz Schubert: Symphony No. 8 in B minor, D. 759 Witold Lutoslawski: Musique funèbre (Muzyka żałobna) (1958) Béla Bartók: Piano Concerto No. 3 in E major, Sz. 119, BB 127
B’Rock Orchestra with Alexander Melkinov, fortepiano, artistic direction and concept
»Beethoven – The listeners academy«
Beethoven’s Piano Concertos as you have never experienced them before: Just as Leonard Bernstein shared insights into masterpieces of music history with a broad audience (in concert and as a TV format) in “Bernstein on…”, Alexander Melkinov and B’Rock will provide their vision and interpretation of Beethoven’s piano concertos in a well-conceived (and entertaining!) semi-staged format, then perform the full concerto for an audience of activated listeners.
Different formats possible: – compact 1h concert, focus on one Beethoven Concerto (which can then be presented twice or even three times in a day) – double formats, featuring both Concertos no. 1 and 2 (full evening length) – mix formats: “Listeners Academy” with focus on one concerto in the first half, 2nd – half presenting Beethoven Symphony no. 1 and Beethoven Chamber Music with Fortepiano tbc
Vox Luminis Choir and Orchestra with Lionel Meunier, bass & direction
»Stabat Mater«
D. Scarlatti: Stabat Mater A. Lotti: Cruxifixus C. Monteverdi: Adoramus te D. Mazzocchi: Piangete occhi, piangete A. della Ciaia: Lamentatio Virginis in dispositione filii de cruce
Chaarts Chamber Artists with Regula Mühlemann, soprano
»Fairy Tales«
In the world of fairies, their enchanting sounds, and beguiling songs – surrounded by the mysticism of the North and its dazzling world of legends – the Swiss soprano Regula Mühlemann and the international chamber ensemble CHAARTS are literally on the ‘wings of song’. Here, grand opera, filigree singspiel and fulminant orchestral suites are fused into gripping immediacy by the congenial instrumental art of Wolfgang Renz for eleven instruments, and in the dialogue between the singer and the eleven musicians, oases of the finest musicality as well as sound spaces of remarkable fullness open up.
Edvard Grieg: Suite from Peer Gynt Nr. 1 op. 46 Vier Lieder: Solveigs Wiegenlied (Peer Gynt), Frühling (Lieder op. 33), Ein Schwan (6 Lieder op. 25), Solveigs Lied (Peer Gynt) Giuseppe Verdi: Ninfe! Elfi! Silfi! … Sul fil d’un soffio eteseo (Aria of Nannetta from Falstaff) Felix Mendelssohn Bartholdy: In dem Mondenschein im Walde op. 19 Nr. 4, Ouverture, Bunte Schlangen zweigezüngt, Scherzo, Bei des Feuers mattem Flimmern (Ein Sommernachtstraum) Antonín Dvořák: Lied an den Mond (Rusalka) Charles Gounod: Je veux vivre dans le rêve (Aria of Juliette from Roméo et Juliette)
And other works by Jules Massenet, Benjamin Britten, Henry Purcell and others.
B’Rock Orchestra with Andreas Küppers, artistic direction and keyboard instruments // Julian Prégardien, tenor
»The way of love and life«
The love of life and the art of dying: two mutually dependent poles of human existence which have inspired countless poets, painters, and composers to take up the underlying sadness about the finiteness of all life and transform it into beauty. Julian Prégardien, known and unanimously beloved for his wonderful voice and his creative concert programs alike, invites the audience to join him and B’Rock in an immersive journey through the centuries, listening to the infinite ways of love and death sounding different and yet eternally the same.
Stefano Landi (1586 – 1639): Passacaglia della Vita John Dowland (1563 – 1626): Lacrimae, or Seven Teares (excerpts) Claudio Monteverdi (1567-1643): Combattimento di Tancredi e Clorinda (from Madrigali guerrieri et amorosi) Johann Sebastian Bach (1685-1750): Mein Verlangen ist, den Heiland zu umfangen (from the cantate BWV 161, Komm, du süße Todesstunde) Franz Schubert (1797-1828): Streichquartett Nr. 14 d-moll, D 810 “Der Tod und das Mädchen”, second movement in the string orchestra version by G. Mahler (1894) Gustav Mahler (1860-1911): Zu Strassburg auf der Schantz & Nicht wiedersehen! (from Des Knaben Wunderhorn) Douglas Gordon Lilburn (1915-2001): Cornet Rilke – Incidental music (excerpts) Lisa Bielawa (*1968): The Lay of the Love (excerpts)
Freiburger Barockorchester with Gottfried von der Goltz, direction / Alexander Melnikov, piano / Daniela Lieb, flute / Ann-Kathrin Brüggemann, oboe / Lorenzo Coppolaand Chalumeau Javier Zafra, bassoon / Bart Aerbeydt and Gijs Laceulle, horn / Dane Roberts and James Munro, double bass
Concerti all’arrabbiata
A. Corelli: Concerto grosso in B major op. 6, No. 11 G. B. Platti: Concerto for oboe in G minor A. Vivaldi: Concerto grosso in G major op. 6, No. 11 Fr. Gemiani: Concerto grosso in D minor “La Follia” G. Ph. Telemann: Sinfonia TWV 50:1 in G major “Grillen-Sinfonie” G. Ph. Telemann: Concerto in E flat major TWV 54:Es1 G. Fr. Händel: Concerto grosso in B major op. 6, No. 7 HWV 325
4 – 10 March / 11 – 17 December 2023 / 22 – 28 January 2024
Chaarts Chamber Artists with Felix Klieser, horn
»Seelenlust«
Art has the power to produce the extraordinary precisely at the edge of impossibility. Felix Klieser operates the valves on his horn with the toes of his left foot, because the horn player was born without arms. He sees this handicap above all as a challenge, which he has always met with diligence and inventiveness. This has made Felix Klieser one of the best horn players around. In August 2020, Klieser recorded his latest CD with CHAARTS. “Beyond Words” became the top seller of spring 2021 and stormed to number 1 in the classical music charts. Some arias from this production can be heard alongside classical masterpieces and an orchestral adaptation of Haydn’s so-called Quintenquartett.
Wolfgang Amadeus Mozart: Horn Quintet in E Flat, K. 407 Johann Sebastian Bach: Violin Concerto No. 1 in A minor, BWV 1041 Georg Friedrich Händel: Stille Amare, HWV 25 Antonio Vivaldi: Sileant zephyri, RV 638 Johann Sebastian Bach: Erbarme dich, mein Gott, BWV 244 Joseph Haydn: Divertimento for strings after the string quartet in D minor Op. 76/2, Horn Concerto No. 2 D major
Chaarts Chamber Artists with Regula Mühlemann, soprano
»Fairy Tales«
In the world of fairies, their enchanting sounds, and beguiling songs – surrounded by the mysticism of the North and its dazzling world of legends – the Swiss soprano Regula Mühlemann and the international chamber ensemble CHAARTS are literally on the ‘wings of song’. Here, grand opera, filigree singspiel and fulminant orchestral suites are fused into gripping immediacy by the congenial instrumental art of Wolfgang Renz for eleven instruments, and in the dialogue between the singer and the eleven musicians, oases of the finest musicality as well as sound spaces of remarkable fullness open up.
Edvard Grieg: Suite from Peer Gynt Nr. 1 op. 46 Vier Lieder: Solveigs Wiegenlied (Peer Gynt), Frühling (Lieder op. 33), Ein Schwan (6 Lieder op. 25), Solveigs Lied (Peer Gynt) Giuseppe Verdi: Ninfe! Elfi! Silfi! … Sul fil d’un soffio eteseo (Aria of Nannetta from Falstaff) Felix Mendelssohn Bartholdy: In dem Mondenschein im Walde op. 19 Nr. 4, Ouverture, Bunte Schlangen zweigezüngt, Scherzo, Bei des Feuers mattem Flimmern (Ein Sommernachtstraum) Antonín Dvořák: Lied an den Mond (Rusalka) Charles Gounod: Je veux vivre dans le rêve (Aria of Juliette from Roméo et Juliette)
And other works by Jules Massenet, Benjamin Britten, Henry Purcell and others.
B’Rock Orchestra with Andreas Küppers, artistic direction and keyboard instruments // Julian Prégardien, tenor
»The way of love and life«
The love of life and the art of dying: two mutually dependent poles of human existence which have inspired countless poets, painters, and composers to take up the underlying sadness about the finiteness of all life and transform it into beauty. Julian Prégardien, known and unanimously beloved for his wonderful voice and his creative concert programs alike, invites the audience to join him and B’Rock in an immersive journey through the centuries, listening to the infinite ways of love and death sounding different and yet eternally the same.
Stefano Landi (1586 – 1639): Passacaglia della Vita John Dowland (1563 – 1626): Lacrimae, or Seven Teares (excerpts) Claudio Monteverdi (1567-1643): Combattimento di Tancredi e Clorinda (from Madrigali guerrieri et amorosi) Johann Sebastian Bach (1685-1750): Mein Verlangen ist, den Heiland zu umfangen (from the cantate BWV 161, Komm, du süße Todesstunde) Franz Schubert (1797-1828): Streichquartett Nr. 14 d-moll, D 810 “Der Tod und das Mädchen”, second movement in the string orchestra version by G. Mahler (1894) Gustav Mahler (1860-1911): Zu Strassburg auf der Schantz & Nicht wiedersehen! (from Des Knaben Wunderhorn) Douglas Gordon Lilburn (1915-2001): Cornet Rilke – Incidental music (excerpts) Lisa Bielawa (*1968): The Lay of the Love (excerpts)
B’Rock Orchestra with Andreas Küppers, artistic direction and keyboard instruments // B’Rock Vocal Consort
»Monteverdi in Flanders«
Claudio Monteverdi left Italy only twice in his long life. As member of the court of Vincenzo Gonzaga, the Duke of Mantua, he embarked 1599 on a travel into the region from which many of his most important musical influences originated: Flanders. B’Rock follows Monteverdi on his trip to Flanders in a program that brings together his most important Flemish influencers and the music, which mirrors these and develops them further and into a new age.
Works by C. Monteverdi, J. Desprez, A. Willaert, O. di Lasso, G. de Wert, among others.
Freiburger Barockorchester with Gottfried von der Goltz, direction / Alexander Melnikov, piano / Daniela Lieb, flute / Ann-Kathrin Brüggemann, oboe / Lorenzo Coppolaand Chalumeau Javier Zafra, bassoon / Bart Aerbeydt and Gijs Laceulle, horn / Dane Roberts and James Munro, double bass
Concerti all’arrabbiata
A. Corelli: Concerto grosso in B major op. 6, No. 11 G. B. Platti: Concerto for oboe in G minor A. Vivaldi: Concerto grosso in G major op. 6, No. 11 Fr. Gemiani: Concerto grosso in D minor “La Follia” G. Ph. Telemann: Sinfonia TWV 50:1 in G major “Grillen-Sinfonie” G. Ph. Telemann: Concerto in E flat major TWV 54:Es1 G. Fr. Händel: Concerto grosso in B major op. 6, No. 7 HWV 325
Chaarts Chamber Artists with Regula Mühlemann, soprano
»Fairy Tales«
In the world of fairies, their enchanting sounds, and beguiling songs – surrounded by the mysticism of the North and its dazzling world of legends – the Swiss soprano Regula Mühlemann and the international chamber ensemble CHAARTS are literally on the ‘wings of song’. Here, grand opera, filigree singspiel and fulminant orchestral suites are fused into gripping immediacy by the congenial instrumental art of Wolfgang Renz for eleven instruments, and in the dialogue between the singer and the eleven musicians, oases of the finest musicality as well as sound spaces of remarkable fullness open up.
Edvard Grieg: Suite from Peer Gynt Nr. 1 op. 46 Vier Lieder: Solveigs Wiegenlied (Peer Gynt), Frühling (Lieder op. 33), Ein Schwan (6 Lieder op. 25), Solveigs Lied (Peer Gynt) Giuseppe Verdi: Ninfe! Elfi! Silfi! … Sul fil d’un soffio eteseo (Aria of Nannetta from Falstaff) Felix Mendelssohn Bartholdy: In dem Mondenschein im Walde op. 19 Nr. 4, Ouverture, Bunte Schlangen zweigezüngt, Scherzo, Bei des Feuers mattem Flimmern (Ein Sommernachtstraum) Antonín Dvořák: Lied an den Mond (Rusalka) Charles Gounod: Je veux vivre dans le rêve (Aria of Juliette from Roméo et Juliette)
And other works by Jules Massenet, Benjamin Britten, Henry Purcell and others.
Chaarts Chamber Artists with Regula Mühlemann, soprano
»Fairy Tales«
In the world of fairies, their enchanting sounds, and beguiling songs – surrounded by the mysticism of the North and its dazzling world of legends – the Swiss soprano Regula Mühlemann and the international chamber ensemble CHAARTS are literally on the ‘wings of song’. Here, grand opera, filigree singspiel and fulminant orchestral suites are fused into gripping immediacy by the congenial instrumental art of Wolfgang Renz for eleven instruments, and in the dialogue between the singer and the eleven musicians, oases of the finest musicality as well as sound spaces of remarkable fullness open up.
Edvard Grieg: Suite from Peer Gynt Nr. 1 op. 46 Vier Lieder: Solveigs Wiegenlied (Peer Gynt), Frühling (Lieder op. 33), Ein Schwan (6 Lieder op. 25), Solveigs Lied (Peer Gynt) Giuseppe Verdi: Ninfe! Elfi! Silfi! … Sul fil d’un soffio eteseo (Aria of Nannetta from Falstaff) Felix Mendelssohn Bartholdy: In dem Mondenschein im Walde op. 19 Nr. 4, Ouverture, Bunte Schlangen zweigezüngt, Scherzo, Bei des Feuers mattem Flimmern (Ein Sommernachtstraum) Antonín Dvořák: Lied an den Mond (Rusalka) Charles Gounod: Je veux vivre dans le rêve (Aria of Juliette from Roméo et Juliette)
And other works by Jules Massenet, Benjamin Britten, Henry Purcell and others.
22 – 28 January / 11- 17 December 2023 / 4 – 10 March 2024
Chaarts Chamber Artists with Felix Klieser, horn
»Seelenlust«
Art has the power to produce the extraordinary precisely at the edge of impossibility. Felix Klieser operates the valves on his horn with the toes of his left foot, because the horn player was born without arms. He sees this handicap above all as a challenge, which he has always met with diligence and inventiveness. This has made Felix Klieser one of the best horn players around. In August 2020, Klieser recorded his latest CD with CHAARTS. “Beyond Words” became the top seller of spring 2021 and stormed to number 1 in the classical music charts. Some arias from this production can be heard alongside classical masterpieces and an orchestral adaptation of Haydn’s so-called Quintenquartett.
Wolfgang Amadeus Mozart: Horn Quintet in E Flat, K. 407 Johann Sebastian Bach: Violin Concerto No. 1 in A minor, BWV 1041 Georg Friedrich Händel: Stille Amare, HWV 25 Antonio Vivaldi: Sileant zephyri, RV 638 Johann Sebastian Bach: Erbarme dich, mein Gott, BWV 244 Joseph Haydn: Divertimento for strings after the string quartet in D minor Op. 76/2, Horn Concerto No. 2 D major
Orchestra of the eighteenth century with Nicolas Altstaedt, cello & direction
»Haydn and Mozart programme«
Joseph Haydn: Cello Concerto No. 1 in C major, Hob. VIIb/1 Joseph Haydn: Symphony No. 97 in C major, Hob. I/97 Wolfgang Amadeus Mozart: Jupiter Symphony No. 41 in C major, K. 551
11 – 17 December / 22 – 28 January / 4 – 10 March 2024
Chaarts Chamber Artists with Felix Klieser, horn
»Seelenlust«
Art has the power to produce the extraordinary precisely at the edge of impossibility. Felix Klieser operates the valves on his horn with the toes of his left foot, because the horn player was born without arms. He sees this handicap above all as a challenge, which he has always met with diligence and inventiveness. This has made Felix Klieser one of the best horn players around. In August 2020, Klieser recorded his latest CD with CHAARTS. “Beyond Words” became the top seller of spring 2021 and stormed to number 1 in the classical music charts. Some arias from this production can be heard alongside classical masterpieces and an orchestral adaptation of Haydn’s so-called Quintenquartett.
Wolfgang Amadeus Mozart: Horn Quintet in E Flat, K. 407 Johann Sebastian Bach: Violin Concerto No. 1 in A minor, BWV 1041 Georg Friedrich Händel: Stille Amare, HWV 25 Antonio Vivaldi: Sileant zephyri, RV 638 Johann Sebastian Bach: Erbarme dich, mein Gott, BWV 244 Joseph Haydn: Divertimento for strings after the string quartet in D minor Op. 76/2, Horn Concerto No. 2 D major
Il Giardino Armonico with Giovanni Antonini, direction & recorder // Avi Avital, mandolin
»Programme with Avi Avital«
Joseph Haydn: Ouvertue, Allegro con Espressione from Philemon und Baucis Hob. XXIXa:1 Christoph Willibald Gluck: Dance of the Blessed Spirits from Orfeo ed Euridice Johann Sebastian Bach: Concerto for two harpsichords in C minor BWV 1060 (transcription for recorder, mandolin and orchestra: Avi Avital) Johann Sebastian Bach: Harpsichord concerto No. 1 in D minor, BWV 1052 (transcription for recorder, mandolin and orchestra: Avi Avital) Johann Nepomuk Hummel: Mandolin Concerto in G-major S28 Joseph Haydn: Symphony No. 43 E flat major Hob. I:43 „Merkur“
Chaarts Chamber Artists with Jonian Ilias Kadesha, violin
»Fortuna«
Antonio Vivaldi: Violin Concerto in D major, RV 208 Giovanni Sollima: Moghul for violin, Flauto Dolce, b.c. and strings Fortuna (world premiere 2023) Igor Stravinsky: „Suite italienne“ for violin and strings
Freiburger Barockorchester with ensemble recherche
Love songs united II
A. Zagaykevych: Blicke der Verliebten Fr. Tregian: Balla d’amore J. Dowland: Lachrimae amnatis A. Holborne: The Fruit of Love T. Hume: Love’s farewell J. Dowland: Essex-Galliard C. Bauckholt: Liebeslied H. Parra: Love to recherche R. Lazkano: Lied ohne Worte E. Mendoza: Liebeslied H. Purcell: The Married Beau J. Widmann: Liebeslied J. Bow: Venus and Adonis
Orchestra of the eighteenth century with Nicolas Altstaedt, cello & direction
»Haydn and Mozart programme«
Joseph Haydn: Cello Concerto No. 1 in C major, Hob. VIIb/1 Joseph Haydn: Symphony No. 97 in C major, Hob. I/97 Wolfgang Amadeus Mozart: Jupiter Symphony No. 41 in C major, K. 551
B’Rock Orchestra with René Jacobs, direction // Vilde Frang, violin
»Mendelssohn – a new journey«
With performances and recordings of Schubert’s complete symphonies, B’Rock and René Jacobs started a symphonic journey which they now take one step further in time: together they explore the world of Felix Mendelssohn. With his stormy First Symphony, with feet firmly planted in Viennese classicism but looking resolutely ahead, the young composer already showed himself to be a master who could effortlessly combine nuance, swagger and innovation. The same ingredients characterise his famous Fifth Symphony, which he wrote in honour of the 300th anniversary of the Confession of Augsburg, a key document of Protestantism. If the urge is really too great, you can (softly) hum along with Luther’s famous chorale Ein feste Burg ist unser Gott… The highlight of this Mendelssohn programme is undoubtedly the famous Violin Concerto. With its tenderness, roguish wit and grace, the concerto fits Vilde Frang like a glove.
Felix Mendelssohn: Symphonies no. 1 & 5 Violinconcerto in E minor
Chaarts Chamber Artists with Jonian Ilias Kadesha, violin
»Fortuna«
Antonio Vivaldi: Violin Concerto in D major, RV 208 Giovanni Sollima: Moghul for violin, Flauto Dolce, b.c. and strings Fortuna (world premiere 2023) Igor Stravinsky: „Suite italienne“ for violin and strings
Freiburger Barockorchester with Miriam Feuersinger, soprano / Georg Poplutz, tenor
WAR AND PIECE II
S. Scheidt: Galliard Battaglia XXI from Ludi Musici H. Albert: “O der rauhen Grausamkeit” S. Scheidt: Courante à4 from Ludi musici E. Kindermann: “Ach Herr, wie lange haben wir” J. H. Schein: Suite No. 6 in A minor from Banchetto Musicale E. Kindermann: “Ich hab einen guten Kampff gekämpfft” M. Franck: “Wenn euer Sünd” J. Schop: Lachrymae Pavane J. Vierdanck: Passamezzo A. Hammerschmidt: “Es danken dir, Gott, die Völker” H. Schütz: “Lobet den Herrn” from Symphonie Sacrae II S. Scheidt: Bergamasca from Ludi Musici H. Schütz: “Der Herr ist mein Licht” and “Es steh Gott auf” from SS II
B’Rock Orchestra with Dorothee Oberlinger, artistic director & recorders
»Repeat« (working titel)
Linear or circular, finite or eternal. Composers of all times and regions were also fascinated by the irresolvable dichotomy, the duality between the rectilinear or circular nature of time, and set to work with the contrast. Through ritornellos, themes, patterns and repetitions, they played with time in music, which is by definition temporary – and therefore linear? B’Rock focuses on the circular principle in music. In a swirling programme that spans eight centuries of music, the idea of repetition is paramount. B’Rock concludes with a typical passacaglia from the Baroque era, the repertoire that started it all for the orchestra. The circle is complete.
Hildegard von Bingen: Antiphon “O Ecclesia” Konstantia Gourzi: Messages between trees Philipp Glass: Company Dorothée Hahne: Commentari 3 (uit “O Ecclesia”) Arvo Pärt: Summa Luciano Berio: Gesti György Ligeti: Continuum Antonio Vivaldi: Concerto in G RV 101 Francesco Geminiani: Concerto Grosso „Follia” naar Corelli, opus 5 no. 12 Jean-Baptiste Lully: Uit „Armide“ LWV 71: Passacaille (Act V)
