The Polish conductor Marzena Diakun has moved her professional focus to France for several years. There, she came to a broader public’s attention when she led the Orchestre Philharmonique de Radio France in a series of concerts broadcast via radio and television. Since 2020 she has also been principal guest conductor of the Orchestre de Chambre de Paris. Born in Koszalin in 1981, Marzena Diakun began her music education in her hometown and then studied conducting at the Wroclaw Music Academy. In 2006 she moved on to the Vienna University of Music and Performing Arts. The Polish conductor has worked with renowned soloists including percussionist Martin Grubinger, pianists Peter Jablonski and Andreas Staier, cellists Truls Mørk and Daniel Müller-Schott, as well as vocalists Camilla Nylund, Catherine Wyn-Rogers, Nathalie Stutzmann and Sabine Devieilhe.
Originally from South Korea, the violinist Hyeyoon Park completed most of her studies in Berlin. At the age of only 14, she began studying with Antje Weithaas at the Hanns Eisler Academy of Music, before moving on to Christian Tetzlaff at the Kronberg Academy in 2010. As early as 2009, she won the renowned ARD Music Competition in Munich as the youngest winner ever; two years later she also received the Borletti-Buitoni Trust Award. Ever since, the violinist has appeared with all the major German radio orchestras, but also with many important orchestras abroad, from Montreal to Tokyo. A passionate chamber musician, Hyeyoon Park has participated in prestigious festivals and concert series such as London’s Wigmore Hall, the Schleswig-Holstein Music Festival, Rheingau Music Festival and Musical Olympus in St. Petersburg. She has performed chamber music with violinists Gidon Kremer and Daniel Hope, cellists Alban Gerhardt and Jan Vogler and pianists András Schiff and Lars Vogt.
Music to the Lyrical Tragedy “Dardanus” (1739) and Overture to the Ballet “Pygmalion” (1748)
Symphony in C-major Op. 4 No. 4 (ca. 1758)
Symphony in E-flat-minor W 179 (1757)
Reading from the correspondence between Voltaire and Frederick the Great
“With its own repertoire reflecting the feeling, conscience and ideas of the younger generation in a creative manner, the National Youth Ballet seems ideally poised to combine and amalgamate youth culture, high culture and the general public. It also has an important social aspect, which will radiate positively.” John Neumeier, Artistic Director
Since 1973 John Neumeier has been Director and Chief Choreographer of the Hamburg Ballet; in 1996 he also became the Ballet’s Artistic Director and in 2005 one of the managing directors of the Hamburg State Opera. He received his first ballet lessons in his hometown of Milwaukee/Wisconsin (USA) and then trained in Copenhagen (Denmark) and at the Royal Ballet School in London (Great Britain). In 1963 he was engaged as a dancer at the Stuttgart Ballet; in 1969 he moved on to Frankfurt, where he was ballet director. John Neumeier has received numerous awards and his choreographies are part of the repertoire of many renowned ballet companies worldwide – his oeuvre comprises more than 150 ballets of different genres. In 1978 John Neumeier founded the Hamburg Ballet’s Ballet School. In 2006 he initiated the John Neumeier Foundation and in 2011 founded the National Youth Ballet, whose Artistic Director he is.
“Our goal with the National Youth Ballet is to make the dancers instruments for living choreographers. To be involved physically and emotionally in a choreographer’s creative process, to join in this creativity, that is what was important to me as a dancer, and that, I believe, is what makes our profession as dancers special.” Kevin Haigen Artistic and Pedagogical Director
Kevin Haigen, born in Miami, trained at the School of American Ballet. After dancing with the American Ballet Theatre and the Stuttgart Ballet, he joined the Hamburg Ballet in 1976 to work with John Neumeier. Starting in 1984 he danced with the Nederlands Dans Theater; in 1985 he moved on to the Ballets de Monte Carlo as principal soloist, ballet master, teacher and choreographer, then in 1986 to the London Festival Ballet, in1988 to the Béjart Ballet Lausanne, and in 1991 he returned to Hamburg. As principal ballet master of the Hamburg Ballet and teacher at its School, he teaches internationally and also oversees productions of John Neumeier’s ballets all over the world. Since 2011 he has also been Artistic and Pedagogical Director of the Bundesjugendballett. However, he is inspired mainly by the current development of his work: teaching creative thinkers and makers, conveying that the art of ballet is a journey that never ends. In 2019 Kevin Haigen won the Hamburg Theatre Prize – Rolf Mares in the category “Outstanding Production”.
The Greek conductor Dionysis Grammenos originally made a name for himself as a clarinettist: a graduate of the Music Academy “Franz Liszt” in Weimar, he was named “European Young Musician of the Year” by the EBU in 2008 and took part in the “Rising Star” series of the European Concert Hall Organization. In the meantime, Grammenos concentrates mostly on his conducting career. Most recently, he worked with Johannes Debus at the Canadian Opera Company on a production of Mozart’s Die Entführung aus dem Serail and Tchaikovsky’s Eugene Onegin and a performance of La clemenza di Tito at the Aspen Music Festival. The list of orchestras he has conducted ranges from the Festival Strings Lucerne, the German State Philharmonic of Rheinland-Pfalz and the Odessa Philharmonic Orchestra to the Athens State Orchestra and the Malta Philharmonic. Most recently, Grammenos appeared in Milan with the Cameristi della Scala and Khatia Buniatishvili as soloist. During the 2021/22 season he is principal conductor of the English Touring opera for a production of Puccini’s La Bohème. Dionysis Grammenos is the founder and chief conductor of the Greek Youth Symphony Orchestra.
Five Greek Dances (1931-1936):
Peloponnissiakos “The brave Lyngos” • Dance of Zalongo • Arcadikos • Messolongitikos • Mazochtos
Symphony No. 3 in E-flat-major Op. 55 “Eroica” (1803)
The Portuguese conductor Pedro Carneiro, born in the capital of Lisbon in 1975, has pursued a double career in music. On the one hand, he is an internationally celebrated percussionist who performs at all the major concert halls between the USA, Japan and Australia. More than 100 world premieres demonstrate his special position as a member of the musical avant-garde, as do his collaborations with the Arditti Quartet, the Tokyo String Quartet and the Chilingirian Quartet. The percussionist has a special love for improvisation, often in combination with live electronics or other innovative technologies. On the other hand, Carneiro has launched a career as a conductor during recent years. The Portuguese Chamber Orchestra (Orquestra de Câmara Portuguesa) was founded at his initiative and has its own concert series at the Centro Cultural de Belém in Lisbon. Not least, the Portuguese multi-talent composes orchestral and chamber music as well as film and theatrical music, develops percussion accessories and has recorded numerous prize-winning CDs.
His self-description is composer, performer and instrument builder. Musical creativity is one of the outstanding trademarks of the Portuguese artist João Carlos Pinto, who is only 23. After studying at the Gulbenkian Conservatory in his hometown of Braga, he completed a bachelor’s degree at the Music Academy in Lisbon. Master classes and workshops have allowed Pinto to work with prominent protagonists of the musical avant-garde, e.g. the Ensemble Recherche, Rebecca Saunders, Tristan Murail, Thomas Adès and Stefano Gervasoni. Pinto’s special affinity for electronic experimentation is reflected in many of his works, for example anti-manifesto.exe for megaphone and electronics (2018), a String Quartet with Electronics (2019) and the Pocket Opera for 12 people (2019). He has also created works such as Impuls(o)s for piano solo (2018), Music for Percussion (2020) and most recently a Saxophone Concerto (2021). Pinto’s works have been performed not only in Portugal, but also at numerous festivals in Spain, the Netherlands, the USA and Korea.
Born in 1977 in the state of Iowa, Erik Nielsen began his music education at the Juilliard School in New York, where he studied oboe and harp, before studying conducting at the Curtis Institute. He was then a member of the Berlin Philharmonic’s orchestral academy as a harpist before deciding to focus full-time on conducting. After an engagement at the Frankfurt Opera, he became chief conductor at the Basel Theatre, and has been chief conductor of the Bilbao Symphony Orchestra since 2015. Nielsen’s repertoire is notable for a broad range of operas, especially modernist operas such as Lachenmann’s Das Mädchen mit den Schwefelhölzern, Trojahn’s Orest, Reimann’s Medea as well as Benjamin Britten’s Billy Budd and Peter Grimes. Nielsen has also led the Ensemble Modern and renowned orchestras in Madrid, Lisbon, Stockholm and Oslo.
Only last year, the composer Raquel García Tomás won the Spanish National Music Award, honouring the broad-ranging oeuvre of the composer, born in Barcelona in 1984, an oeuvre marked by the “interdisciplinary and innovative character of her personal musical language”, thus the jury. The composer combines live music with electronic pre-recorded tapes and videos, thus in Look Sweetie I Found my Old Projector! (2018) and Pictures of the Floating World (2017). In 2013 she composed the ballet (co)(hes)(ion.), which was given its world premiere by the English National Ballet in London. One focus of García Tomás’ output are stage works; her opera Go, Aeneas, Go won the Neukölln Opera Award in 2015. Most recently, the monodrama Balena Blava was premiered in Barcelona in the 2017/18 season, followed one year later by the world premiere of Je Suis Narcissiste in Madrid.
“Homenaje a la Tempranica” (1939)
“Blind Contours No. 1” (2016, German Premiere)
Symphony No. 1 in C-minor Op. 68 (1876)
Herbert Böck began his music education as a member of the Vienna Boys’ Choir, subsequently studying oboe, conducting, composition and music pedagogy at the Vienna Music Academy. From 1985 to 1990 Böck was principal oboist of the ORF Symphony Orchestra. Since 1995 he has been a professor of choral and ensemble conducting at the Mozarteum Music University in Salzburg; since 2007 he has also been the director of the Mozarteum University’s chamber choir, which he founded. Numerous concert tours have taken him through all of Europe, to Russia, Israel and the USA during the past decades. Herbert Böck has enjoyed many years of artistic partnership with Den Norske Oper in Oslo and the Oslo Philharmonic Orchestra. Since 2009 he has been a popular guest conductor at the Arctic Philharmonic Orchestra in Tromso, Norway, where he has performed major choral works by Bach, Mozart and Haydn. Since 1989 the 63-year-old has also been chief conductor of the Wiener Jeunesse Orchestra.
Daniel Auner, born in to an Austrian-Russian family of musicians in 1987, is one of the internationally most sought-after Viennese violinists of his generation today. Recent invitations have taken him to the Orchestre Philharmonique de Strasbourg, the Saint Paul Chamber Orchestra, the Bournemouth Symphony orchestra, the Orquestra Sinfónica Portuguesa and the Orquestra Sinfónica Brasileira. A former student of Christian Altenburger, Igor Ozim and Boris Kuschnir, he has studied baroque performance practice of the 17th and 18th century particularly, culminating in a recording of Bach’s complete solo sonatas and partitas released in 2019. Auner has performed as a cultural ambassador of Austria in many non-European countries, including Brazil, Mexico, Iran, Kuwait, Indonesia and Malaysia. The violinist plays a historical instrument built by Giovanni Battista Guadagnini on loan to him from the Austrian National Bank’s collection of valuable string instruments. In 2015 he founded the Auner Quartet; he has also been teaching violin as a professor at the Prayner Conservatory in Vienna since 2018.
Over the course of the past decades, Kurt Schwertsik, 85 years old today, has earned the reputation of a colourful figure in Viennese music life. Internationally, he has long been considered one of Austria’s leading composers, whose works have been performed at many large festivals. In the 1960s he was a student of Karlheinz Stockhausen in Cologne, but Schwertsik soon gave up serialism again and began to compose tonal music. Often, his works are characterized by an ironic, humoristic note. Also a horn player in the Vienna Symphony Orchestra, Schwertsik enjoyed success with numerous solo concerti, but also the fantastical opera Fanferlieschen Schönefüßchen (1983), the five-part orchestral cycle Irdische Klänge (1992) and his Sinfonia–Sinfonietta (1996). He wrote his Divertimento Macchiato (2007) for the trumpet player Håkan Hardenberger; his ballets Macbeth, Frida Kahlo, Nietzsche, Gastmahl der Liebe and Hans Christian Andersen were created in cooperation with the choreographer Johann Kresnik.
Symphony No. 1 in D-major Op. 25 “Symphonie Classique” (1916-1917)
Violin Concerto No. 2 Op. 81 “Albayzin and Sacromonte” (2000)
Symphony No. 7 B-minor D.759 “Unfinished” (1822)
Symphonic Suite from “The Love for Three Oranges” Op. 33 a (1919)
2015 was a decisive year for Elias Grandy: at the time, he won the International Conducting Competition “Sir Georg Solti“ in Frankfurt, which opened the doors to a promising career. He was also appointed the new General Music Director at the Heidelberg Opera, at the age of only 34, a position he still holds. Originally Grandy studied to be a cellist; he played for the Bavarian Radio Symphony Orchestra before being appointed associate principal cellist at the Komische Oper in Berlin in 2007. In 2011 he made his opera debut at the Kammerakademie Rheinsberg, leading Grétry’s opera Das Urteil des Midas. In Heidelberg, Grandy most recently conducted premieres of Verdi’s Rigoletto, Puccini‘s Madama Butterfly and Janácek’s Katya Kabanova; at the Frankfurt Opera he conducted Romeo und Julia auf dem Dorfe by Frederick Delius. Grandy has also been invited to conduct in Japan and the USA.
Leonore Overture No. 3 Op. 72 (1806)
“A Requiem in Our Time” Op. 3 (1953)
Symphony No. 9 in E-minor Op. 95 “From the New World” (1893)
The Romanian conductor Cristian Mandeal, born in 1946, studied at the Music Academy in Bucharest before completing his training with Herbert von Karajan in Berlin and with Sergiu Celibidache in Munich. From 1987 to 2009, he was the Chief Conductor and General Music Director of the Bucharest Philharmonic, guiding its rise to an orchestra of international rank. Apart from Romanian orchestras, he has conducted renowned orchestras throughout Europe and was Principal Guest Conductor of the Hallé Orchestra in Manchester until 2009 and the Copenhagen Philharmonic until 2013. In 2001 and 2003, Cristian Mandeal was the Artistic Director of the George Enescu International Festival. He has conducted more than 60 world premieres of Romanian and other composers and has recorded George Enescu’s complete symphonic works for CD. During recent years, the conductor, who turns 75 this year, has been active in building up the National Romanian Youth Orchestra, with which he last appeared at Young Euro Classic in 2012, 2014, 2018 and 2019, and the National Symphony Orchestra of Romania.
The 30-year old Romanian pianist Daniel Ciobanu can look back on a multitude of famous concert halls where he has appeared, including New York’s Carnegie Hall, the Salle Cortot in Paris, the Elbphilharmonie Hamburg and Salzburg’s Mozarteum. Tours have taken him to Japan, China, Taiwan, South Africa and Brazil. After starting his music education in his homeland, Ciobanu received a scholarship in 2011 to study in Scotland; further studies took him to Berlin’s University of the Arts, where Pascal Devoyon and Markus Groh were his teachers. In 2019 the pianist gave a solo recital at the Konzerthaus’ chamber music hall. In early 2020, invitations took him to debuts with the Gewandhaus Orchestra Leipzig and the Royal Philharmonic Orchestra; last year also saw the release of his first CD featuring works by Prokofiev and Debussy, Georges Enescu’s Piano Suite No. 3 and Franz Liszt’s Dante Sonata. In 2017 Ciobanu founded the Neamt Music Festival for young artists in the Romanian Carpathian Mountains, which features not just classical music, but also jazz and experimental projects.
Three pieces for String Orchestra op. 4 No. 2 (1933/1950)
Piano Concerto No. 2 in F-major Op. 102 (1957)
Symphony No. 1 B-flat-major Op. 38 "Spring Symphony" (1841)
The musical world of the Swedish violinist Hugo Ticciati is characterized by infinite curiosity. The 41-year-old, brother of the chief conductor of Berlin’s DSO, Robin Ticciati, includes literature, philosophy, spirituality and meditation in his programmes, just like dance and kinetic painting. He performs the classical violin concertos, but also delves into contemporary music with verve. Ticciati has works by Takemitsu, Shchedrin, Glass and Lera Auerbach in his repertoire and has also given works by Albert Schnelzer, Sergey Yevtushenko, Erkki-Sven Tüür and Judith Weir their world premieres recently. He is a passionate chamber musician, working with the percussionist Evelyn Glennie, pianists Angela Hewitt and Olli Mustonen and the trombonist Nils Landgren, for example. In addition, Hugo Ticciati is the artistic director of the O/Modernt Kammarorkester, which is in residence at Stockholm’s concert hall Musikaliska. Recently he has been invited to work with the Swedish and Australian Chamber orchestras as well as Stuttgarter Kammerorchester.
Mezzo-soprano Luciana Mancini is a perfect fit for the international, border-busting profile of O/Modernt. Born in Sweden, but of Chilean descent, with both parents being musicians, her upbringing was embraced by classical music and folk music from around the world, which naturally led Luciana into exploring several colours of vocal expression from a very early age, having widened her artistic career to diverse genres, adapting to the different styles with great care and fascination. She received bachelor degrees in classical singing and Early Music performance practice at the Royal Conservatory of Den Haag in Holland. She joined the Opera Studio while working on her Master thesis on Italian monodies of the 1600´s, receiving her Masters degree from the Early Music department in 2009. In Berlin, the singer has appeared several times at the Berlin State Opera, thus in Sasha Waltz’ production of Gluck’s Orfeo and in Cavalieri’s Rappresentazione di Anima e Corpo under René Jacobs. Luciana Mancini also enjoys an intense collaboration with Christina Pluhar and her ensemble L’Arpeggiatia, in whose programmes Los Imposibles, Via Crucis and All’improviso she has appeared in numerous European cities.
Marcelo Nisinman brings the Argentine colour to this O/Modernt programme. Born in Buenos Aires in 1970, he studied bandoneon and composition in his hometown, then studying with Detlev Müller-Siemens in Basel, where he still lives today. As a bandoneonist, he has performed with artists such as Martha Argerich, Gidon Kremer, Gary Burton and Fernando Suarez Paz, but also with the WDR Big Band and the Philadelphia Orchestra. He has composed numerous works for bandoneon and orchestra in which he mixes traditional tango with elements of contemporary composition, for example in Dark Blue Tango and the two compositions Hombre Tango and 4 am Tango. In addition, he has combined the bandoneon with a string quartet and in a trio with electric guitar and double bass. The broad spectrum of Nisinman’s output is reflected in his discography, which features duos for bandoneon and double bass (Al Principio), solo pieces (Cumparsitos), stage music (Desvios Tango Theater Music) and his arrangement of Piazzolla’s María de Buenos Aires.
For the cellist Julian Arp, participating in the O/Modernt concert in Berlin is almost a home game. He studied at the Hanns Eisler Academy of Music in Berlin with Boris Pergamenschikow. He continued his studies with David Geringas and Eberhard Feltz, graduating in 2008. Since his soloist debut as a 16-year-old at the Schwetzingen Festival in 1997, Arp has appeared as a soloist and chamber musician at festivals including the Schleswig-Holstein Music Festival, the Rheingau Music Festival, Beethovenfest Bonn, Beauvais, Montreux, SoNoRo Bucharest, Stellenbosch, Stift Festival, the Oxford Chamber Music Festival and IMS Prussia Cove. The Duo Arp/Frantz has released three CDs. Contemporary composers, including Samir Odeh-Tamimi, Sven-Ingo Koch, Sarah Nemtsov and Violeta Dinescu have written pieces for him. He is a co-founder of the festival Zeitkunst which is dedicated to chamber music and contemporary literature and has been a guest at the Centre Pompidou, Radialsystem Berlin, Israel, England and Rio de Janeiro.
Leandro Mancini-Olivos is a Swedish-Chilean drummer and percussionist based in London. Growing up in a family of popular and classical musicians, Leandro was exposed to diverse music from all corners of the world and has developed a wide spectrum of musical genres. Performing and recording on sessions that span from modern jazz to baroque and from Welsh folk to West African rhythms, Leandro has been invited to appear at some of Europe’s most prestigious venues and festivals. In 2004 Leandro began his freelance career in Santiago as a sideman for local and international artists such as Miguel Botafogo aka Don Vilanova. In 2009 he moved to the UK, where he studied Music Performance in Drums at the London Centre of Contemporary Music. Since 2010 he has performed, recorded and toured the UK extensively with several established artists and groups, mainly from the London scene. Most recently Leandro was invited to collaborate with Owen Shiers on the ambitious song project Cynefin and Cherise Adams-Burnett.
Even if he is still a student at the Royal Academy of Music in Stockholm, Filip Korošec counts among the most promising percussionists of the younger generation in Sweden. As a soloist and in chamber music formations, he has performed all over Europe. Filip Korošec was also the first winner of the Marimba One Excellency Award in Luxembourg. Focusing on the contemporary percussion repertoire, the musician is a champion of new works for percussion and electronics; in addition, he has an interest in jazz and baroque music – and everything in between.
“Vos flores rosarum” (arr. Johannes Marmén)
“Alma mia“ (arr. Johannes Marmén)
“Summer Dreams“ for Violin, Mezzosoprano und String Orchestra (2020, German Premiere)
“Gaia’s Tango“ for Cello, Bandoneon and Strings (2021, German Premiere)
“Sin Piel“ (2000, arr. Sverre Indris Joner)
“Verano Porteño“ (1965) and “Invierno Porteño“ (1969) from “Estaciones Portenas" (arr. Leonid Desyatnikov)
“Nani Nani” Sephardic Lullaby
“Yo soy María“ from “María de Buenos Aires“ (1968, arr. Sverre Joner)
Fayçal Karoui is a French conductor of extraordinary versatility and activism. Bringing the Orchestre de Pau Pays de Béarn (OPPB) to the level of top French orchestras is one of his achievements. His collaboration with the New York City Ballet was critically acclaimed. In 2015 the French Cultural Minister made him a “Chevalier des Arts et Lettres”. Together with the Philharmonie de Paris, he initiated “El Camino Pau”, a music school for children which particularly supports children from socially disadvantaged quarters.
As music director of the OPPB, Fayçal Karoui offers “Artist in residence” programmes for important French composers. He has developed projects that aim to enable as many people as possible to gain access to music. He has conducted renowned orchestras in Italy and Austria as well as France, including the Accademia di Santa Cecilia di Roma, Orchestre Philharmonique de Radio-France, Orchestre National de France, Orchestre National du Capitole de Toulouse, Orchestre de l’Opéra National de Paris, the Hong Kong Sinfonietta and the Vienna Philharmonic.
Stefan R. Kelber enjoyed a multi-faceted music education. He has played the violin since he was seven, first in Rio de Janeiro, then from 1995 at the Cologne Music Academy’s Wuppertal department. He then studied music pedagogy. In 2004 he began studying viola at the Cologne Music Academy’s Wuppertal department, completing it with distinction. Stefan Kelber also took conducting lessons from Stefan Fraas, Andreas Weiss and Manfred Fabricius. Before the Music School Neukölln appointed him its associate director, Stefan Kelber was a member and guest conductor of several ensembles, such as the Rio de Janeiro Youth Symphony Orchestra, the Philharmonic of Southern Westphalia, the South-Western Philharmonic in Konstanz, the Vogtland Philharmonie, the Tagiev Youth Orchestra in Brisbane, the Orquesta Joven del Ecuador and the Orquesta Juvenil de Santa Cruz. At the moment Stefan Kelber conducts the Schloss Britz Chamber Orchestra and the Schwerin Youth Symphony Orchestra.
The Music School Paul Hindemith Neukölln was founded in 1927 and is one of the three oldest music schools in Germany. Paul Hindemith, one of the most influential composers of the 20th century, joined its faculty in 1929. In 2002 the school was named for him. More than 200 teachers instruct more than 4,000 students in 14 subjects here. The Music School is at pains to employ highly qualified staff; many of its teachers are renowned artists and also teach as docents and professors at music academies. The Music School considers it its foremost goal to enable everyone to discover the many facets of music, regardless of background. The goal is to accompany and support joyful, shared music-making. Not only in the field of classical music, but also in jazz, musical, rock/pop and world music, the institution brings people from all corners of society together. “We look forward to the project Young Euro Classic 2021 – in Neukölln as well.”
The Orchestre de Pau Pays de Béarn, or OPPB, is a young French orchestra conducted by Fayçal Karoui. The OPPB was founded in 2002 and pursues an ambitious cultural and artistic goal: to give classical music in the southern region of Aquitaine the place its deserves, giving people of all walks of life access to musical events. Since its founding, the OPPB has brought great international soloists together with young talents – for an audience accustomed to classical concert halls and their world, but also for concertgoers who are less familiar with symphonic music. “Bringing music everywhere it can be heard” is the continuous goal of the team from Pau.
El Camino – Youth Orchestra
In partnership with Démos-Philharmonie from Paris, El Camino runs a joint project for Southern Aquitaine in Pau: founded in October 2015, the youth orchestra “El Camino Pau” is led by Fayçal Karoui.
„La Marseillaise“ (1792) (French National Anthem)
Theme from the String Quartet in C-major Op. 76 No. 3 “Emperor Quartet” (1796/97) (German National Anthem)
Suite of French Dances after Pierre D’Attaignant (1948)
„Carmen” (Excerpts, 1875)
„The Great Gate of Kiev“ from „Pictures at an Exhibition” (1874, instr. Maurice Ravel 1924)
„James Bond” Theme (1962)
„Game of Thrones” Theme (2011)
„He’s a pirate” from „Pirates of the Caribbean“ (2003)
„Ode to Joy” from the Symphony No. 9 in D-minor Op. 125 (1824) (European Anthem)
During recent seasons, the Latvian conductor Andris Poga has been a sought-after guest on many concert stages. He was invited by almost all the German radio orchestras, including the Deutsches Symphonie-Orchester Berlin, made guest appearances with the Gewandhaus Orchestra Leipzig and the Orchestre de Paris as well as in Zurich, Rome, Tokyo and Sydney. The career of the 40-year old conductor, who studied at the Music Academy in his hometown of Riga and in Vienna, began in 2010 when we won the International Conducting Competition “Yevgeny Svetlanov” in Montpellier. 2014 brought his international breakthrough, when he substituted at short notice for Valery Gergiev and Lorin Maazel during a tour of Asia of the Munich Philharmonic. Within Poga’s broad repertoire, a predilection for works by Shostakovich, Schnittke and Strauss stands out. He is also a noted champion of the works of his compatriot Peteris Vasks.
“Rendering” for Orchestra; by Luciano Berio based on sketches and motifs by F. Schubert (1989)
Symphony No. 5 in E-minor Op. 64 (1888)
As a conductor, composer and arranger, Jochen Neuffer works not only for internationally renowned orchestras, but also for some of the leading artists of our times. In cross-genre projects with the BBC Symphony Orchestra, the Quincy Jones Orchestra, the Heritage Orchestra, the Metropole Orkest, the Netherlands Chamber Orchestra or the Los Angeles Philharmonic, he has worked with Gregory Porter, Lisa Fischer, Lalah Hathaway, Ledisi, James Morrison, Paul Weller, Donny McCaslin, Bryan Ferry, Jacob Collier, Mark Guiliana, Cory Wong and many others. As a specialist for non-classical ensemble and orchestra projects, Jochen Neuffer’s work has been documented on numerous media. He is invited regularly to renowned traditional concert stages, but also to major festivals such as the BBC Proms, the North Sea Jazz Festival and the Montreux Festival.
The violinist Alexander Gilman, born in Bamberg in 1982, grew up in a family of musicians and made his debut at Munich’s Gasteig at the age of only six. At 16, he moved to New York to study at the Juilliard School with the legendary teacher Dorothy DeLay; later Gilman graduated with distinction from the Cologne Academy of Music, where Zakhar Bron was his teacher. In the meantime, he has been teaching at the Royal College of Music in London since 2019 and at the Kalaidos Music Academy in Switzerland. As a soloist, the 39-year-old has worked with renowned conductors such as Neeme Järvi, Kristjan Järvi, David Zinman, Bernard Haitink, Mario Venzago and Michael Sanderling. His chamber music partners include cellist Maximilian Hornung and violist Nils Mönkemeyer. Apart from his teaching, his special interest in pedagogy is manifested in his work with the ensemble LGT Young Soloists, which Gilman founded in 2013.
The young British pianist Martin James Bartlett, born in 1996, made his first career step in 2014 by winning the BBC Young Musician of the Year distinction. In 2015 he first appeared at the BBC Proms, performing Gershwin’s Rhapsody in Blue with the Royal Philharmonic Orchestra; one year later he was featured in the gala concert celebrating Queen Elizabeth II’s 90th birthday at St. Paul’s Cathedral. He has been invited to perform with renowned orchestras such as the City of Birmingham Symphony Orchestra and the Tokyo Symphony Orchestra, and to the festivals in Mecklenburg-Vorpommern and Verbier. In 2019 his debut CD Love and Death was released by Warner Classics, featuring piano works by Bach, Schumann, Wagner, Liszt and Prokofiev. At the moment, Bartlett is in his final year at the Royal College of Music in London.
Born in Kazan in 1973, the composer Airat Ichmouratov originally studied clarinet. At the age of only 20, he became principal clarinettist at the Opera and Symphony Orchestra of Kazan. In addition, he began an international career as a soloist, settling in Canada in 1998. In 2000 he founded the Mucynski Trio of clarinet, cello and piano, and the same year he also joined the Klezmer group Kleztory, with which he has toured extensively through Europe, China and Brazil. Ever since, he has developed an intense career as a composer as well, producing numerous concertos for soloists and orchestra as well as string quartets, music for children and Klezmer music. “Airat is a communicator in the best sense of the word. His music immediately grabs the listener, and a journey starts: storytelling, landscapes, emotions…” – thus the conductor Yannick Nézet-Séguin.
Concerto grosso (World Premiere)
“Estaciones Porteñas” (1965-1970, arr. Leonid Desyatnikov)
Piano Concerto No. 1 “Tirol Concerto” (2000)
Since 2019 Adik Abdurakhmanov has been chief conductor of the newly-founded Chelyabinsk Symphony Orchestra; however, he has been chief conductor of the Philharmonic Orchestra of the Southern Ural for much longer. Educated at the conservatories of St. Petersburg and the Ural, Abdurakhmanov has performed as a conductor in many cities in Russia, but also in Switzerland, Austria, Germany, Latvia and Lithuania. He is the artistic director of the foundation “New Names” for young musical talents in Chelyabinsk; he is also the founder and chief conductor of the chamber orchestra “Klassika” and its offshoot “Young Klassika”. He is also a professor and director of the orchestral department at the Chelyabinsk State Cultural Institute. In recognition of his cultural achievements, Abdurakhmanov was awarded the Order of Merit of the Fatherland (2nd Class) by Russia’s President Putin in 2019.
Denis Leonidovich Matsuev began his international career in 1998, when he won the Tchaikovsky Competition in Moscow. Born in Irkutsk in Siberia in 1975, he has been among the world’s most sought-after pianists for two decades, performing at all the major concert halls between New York, London, St. Petersburg and Tokyo. This places him in the long tradition of brilliant pianists from his homeland, such as Vladimir Horowitz, Sviatoslav Richter and Emil Gilels. Thus, one of his CDs is entitled Tribute to Horowitz, another dedicated to the “Unknown Rachmaninov” and performed on the composer’s own grand piano. Matsuev loves pianistic challenges: thus, he sometimes gives up to 150 concerts per year and has performed all three of Tchaikovsky’s piano concerti in one evening on occasion. In 2014 he also performed at the closing ceremony of the Olympic Games on Sochi. Through his many cultural and political contacts, Matsuev supports numerous charitable programmes which aim to promote classical music among young people in Russia and support talented children.
The works of composer Alan Kuzmin, born in 1973, are characterized by great variety and originality. He writes in classical forms as well as mixed genres, including experimental opera projects. A special position in his output is occupied by the genre “numerophony”, a symphonic musical portrait in which a number, expressed through intervals and tone sequences, forms the thematic foundation of a work. Alan Kuzmin is a member of the Russian Association of Composers and the winner of numerous all-Russian competitions. His composition Ultima Thule is based on a text by Vladimir Nabokov and was written in 2002.
Symphonic Poem “Ultima Thule” (2002, German Premiere)
Symphony No. 4 in A-major Op. 90 “Italian” (1833)
Piano Concerto No. 2 in C-minor Op. 18 (1900/1901)
The Catalan conductor Josep Caballé Domenech, born into a family of musicians in 1973, studied piano, percussion, violin and singing in his hometown of Barcelona before turning to conducting. Caballé Domenech has close ties to Germany; from 2013 to 2018 he was General Music Director at the Halle Opera House, where he presented a complete Ring of the Nibelung cycle in 2016. Guest concerts with the Halle Staatskapelle have also taken him to Berlin’s Konzerthaus. In addition, he has conducted a multitude of opera productions, both at the State Opera Berlin and the Komische Oper in Berlin and at the Semper Opera Dresden and the Hamburg Opera. He has been invited to conduct several German radio orchestras, the Royal Philharmonic Orchestra in London and renowned orchestras in Madrid, Stockholm, Zurich and Toulouse. Apart from being chief conductor of the Colorado Springs Orchestra, the Catalan has also been chief conductor of the Moritzburg Festival Orchestra since 2019.
At the age of only 20, violinist Kevin Zhu already looks back on an impressive number of concert performances at such venues as New York’s Carnegie Hall, London’s Royal Festival Hall and the concert hall of Beijing’s Forbidden City. Born in the state of Maryland, USA, Kevin Zhu received his first violin lessons at the age of three; later he became a junior student at the San Francisco Conservatory. He currently studies with Itzhak Perlman at the Juilliard School in New York. Winning the International Paganini Competition in Genoa, Italy, in 2018 was followed by invitations to orchestras such as the Pittsburgh Symphony Orchestra, the Moscow Virtuosos and the China Philharmonic Orchestra. Kevin Zhu plays the Stradivari violin “Lord Wandsworth” of 1722, which is on loan to him. He recently won the Avery Fisher Career Grant for young instrumentalists (25,000 dollars) in New York City.
Born in East Berlin in 1964, Jan Vogler has been a presence on all the world’s important stages for three decades. The cellist, who lives in New York City today, has performed with all the important symphony orchestras in the USA as well as orchestras in London, Paris, Vienna and St. Petersburg. He has worked with conductors such as Andris Nelsons, Antonio Pappano, Thomas Hengelbrock, Manfred Honeck and Kent Nagano. Apart from his work as artistic director of the Dresden Music Festival and the Moritzburg Festival, Vogler also finds time for the musical and literary project “Bill Murray, Jan Vogler & Friends – New Worlds”, which he developed jointly with the American actor. As part of his long-established collaboration with the label Sony Classical, his most recent recording in 2020 was Three Continents, featuring cello concerti by Nico Muhly (USA), Sven Helbig (Germany) and Zhou Long (China) with the WDR Symphony Orchestra under Cristian Măcelaru, as well as a recording of Shostakovich’s Cello Concerto No. 2 with the Mariinsky Orchestra under Valery Gergiev.
Born in London in 1992, pianist Mishka Rushdie Momen studied at the Guildhall School of Music and subsequently with Richard Goode and András Schiff at the Kronberg Academy in Germany. The pianist was further mentored by Schiff, who presented her in Berlin, Frankfurt, Milan, Turin and New York as part of his “Building Bridges” series. As a soloist, she has appeared with Kremerata Baltica, the Mozarteum Orchestra Salzburg and the Neuss Chamber Academy. Mishka Rushdie Momen has also appeared at the festivals in Mecklenburg-Vorpommern, Kreisau and Marlboro. In 2019 her first solo album Variations was released, combining commissioned works by Nico Muhly and Vijay Iyer with piano variations by Clara Schumann, Mendelssohn and Brahms. Three duo concerts with cellist Steven Isserlis were broadcast live from London’s Wigmore Hall during the coronavirus pandemic.
Symphony No. 2 in C-major Op. 61 (1845-1846)
Triple Concerto for Piano, Violin and Cello in C-major Op. 56 (1803-1804)
Life and music are one – thus the motto of the jazz pianist, composer and band leader Clara Haberkamp. In her trio with Tilo Weber (drums) and Oliver Potratz (bass), with whom she has been playing successfully for more than ten years, the 32-year-old makes her very personal music shine. A Berliner by choice, she is highly versatile: apart from her work with her trio, she also tours with the David Friedman Generations Quartet and accompanies the songwriter Susanne Betancor and the singer and actor Gustav Peter Wöhler on concert tours all over Germany. After four albums under her own name, including Orange Blossom, which was nominated for an ECHO Award in the jazz category in 2017, August 2021 will see the release of her latest album, Reframing the Moon. Born as a saxophonist’s daughter in Unna in Westphalia, Clara Haberkamp, who won the competitions “Jugend jazzt” and “Jugend musiziert” early on and was a member of the NRW Jazz Orchestra, moved to Berlin and Hamburg to study music in 2009. Today, she also teaches improvised song accompaniment at the Berlin University of the Arts and composition at the Babelsberg Film University.
The Berlin-based pianist Clara Haberkamp may only be 32, but her Trio has existed for a good dozen years. This continuity, combined with varied goals, is one of the ensemble’s strengths. The pianist’s exceptionally beautiful compositions, which merge profound knowledge of composition/improvisation with powerful intuition and structure with detachment, are a colourful, strong foundation for joint exploration of reticence and attack, balance and development. Even if the Trio’s compositions are written exclusively by the pianist, her two companions bring not only their full personalities to the table, but also their ever-increasing experience of life. The earthy core of Tilo Weber’s drumming opens up a wide horizon of options to the group. Oliver Potratz is a hyper-sensitive master of dynamics, intuitively steering a course between contradictory atmospheres, movements and densities.
“I try to let go and find the greatest possible space to unfold within the mood I am currently in,” the pianist says. “Our only limitation is in form, if at all. But that is a good thing, as when you feel the form, it helps you become even freer.”
Here a well-established and elegant trio presents multi-faceted, genre-busting music, always in an attempt to convey the most important thing: the playful element and its fascinating expression.
Clara Haberkamp – Piano
Oliver Potratz – Bass
Tilo Weber – Drums
After studying jazz in Dresden, Fama M’Boup was drawn back to her hometown of Berlin, but it did not keep her long. Living in Copenhagen, she explored contemporary music, electronics and her own compositional style, but remained true to her instrument, her voice. She began writing for her latest project, “in June”, when she was stuck in Berlin during a pandemic – imagining no less than four voices. The pieces are about emotions. “This is as honest as it gets right now. And that is currently my element, but it’s not therapy. It is an exploration,” she says – and she is right. “in June” starts with us as people, and combines desire and loss and Walt Whitman and Rilke. “in June” knocks on the door and asks: what about your emotions? Where have you pushed them?
Fama M’Boup – Arrangement, vocals
Liv Sindler – vocals
Anna-Lucia Rupp – vocals
Moritz Klatt – vocals
The members of the Pacific Quintet first met at the Pacific Music Festival in Sapporo, Japan, originally founded by Leonard Bernstein. Inspired by the cultural exchange and respectful atmosphere of the Pacific Music Festival, the five young musicians decided to carry on collaborating in Bernstein’s spirit, founding the Pacific Quintet in Berlin. They hail from five different countries: Aliya Vodovozova (flute) from Russia, Fernando Martinez Zavala (oboe) from Honduras, Liana Leßmann (clarinet) from Germany, Kenichi Furuya (bassoon) from Japan and Haeree Yoo (horn) from South Korea. The musicians were educated at the Hanns Eisler Music Academy, at the Berlin University of the Arts and at the Karajan Academy of the Berlin Philharmonic. Since the 2020 summer semester, the Pacific Quintet has been enrolled in Martin Spangenberg’s chamber music class at the Hanns Eisler Academy of Music. In the spring of 2021 the ensemble won the first prize at the renowned competition of the “Arts and Culture Association of the German Business Community”.
The Cuban conductor José Antonio Méndez Padrón was educated at the Instituto Superior de Arte (ISA) in Havana; he received further artistic training at the Mozarteum in Salzburg with Peter Gülke, at the Carnegie Mellon School of Music in Pittsburgh and in projects with Thomas Hengelbrock, András Schiff, Walter Reiter, Jorge Rotter and others. Since 2009 Méndez Padrón has himself been the director of Orquesta del Lyceum de la Habana. In 2012 he was appointed associate chief conductor of the Orquesta Sinfónica Nacional de Cuba; in 2018 he became the chief conductor of the Orquesta Sinfónica de Matanzas. The conductor has also recorded works by Cuban composers from the 18th century to our present day for CD and has received the CUBADISCO award for several recordings.
Since 2001 Sarah Willis has been a member of the horn group of the Berlin Philharmonic; before this, she was a member of the Staatskapelle Berlin for ten years. Born in Maryland, USA, the musician spent her childhood in Tokyo, Moscow and London, as her father was a foreign correspondent. In London, she began playing the horn at the age of 14, subsequently studying at the Guildhall School of Music. During the past years, Sarah Willis has performed widely as a soloist and has not only presented the solo album Horn Discoveries, but also recorded the CDs Opera! and Four Corners! together with her colleagues from Berlin. She is highly active in the Berlin Philharmonic’s youth projects, especially its family concerts. As an enthusiastic champion of social media, Willis regularly interviews conductors and soloists for the Berlin Philharmonic’s internet presence and popularizes her instrument on Facebook. She runs a successful series of online interviews known at “Horn Hangouts” and fronts the classical music programme Sarah´s Music for Deutsche Welle TV. In 2017, Sarah Willis traveled to Cuba for the first time and got to know the Orquesta del Lyceum de la Habana with which she initiated the “Mozart y Mambo” project.
“Mozart y Mambo”
Overture to “The Abduction from the Seraglio” K. 384 (1782)
Horn Concerto No. 3 in E-flat-major K. 447 (1783)
“Rondo alla Mambo” (2020)
„Samba Son” (arr. Jenny Peña Campo)
“Sarahnade Mambo” (2020)
“El Manisero” (arr. Jorge Aragón, 2020)
“Dos Gardenias para ti” (arr. Jorge Aragón, 2020)