Lesestücke
Sakuntala’s Ring: Act 1
https://www.in-toon.com/en/ballets/sakuntalas-ring/act-1



Photo credit: Alice Bloomfield

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The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/en/ballets/sakuntalas-ring/act-1



Photo credit: Alice Bloomfield

Lesestücke
Sakuntala’s Ring: Act 2
https://www.in-toon.com/en/ballets/sakuntalas-ring/act-2



Photo credit: Gage Lindsten

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The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/en/ballets/sakuntalas-ring/act-2



Photo credit: Gage Lindsten

Lesestücke
Sakuntala’s Ring: Act 3
https://www.in-toon.com/en/ballets/sakuntalas-ring/act-3



Photo credit: Jiahuan Wang

">

The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/en/ballets/sakuntalas-ring/act-3



Photo credit: Jiahuan Wang

Lesestücke
Sakuntala’s Ring: Act 4
https://www.in-toon.com/en/ballets/sakuntalas-ring/act-4



Photo credit: Antoine Leisure

">

The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/en/ballets/sakuntalas-ring/act-4



Photo credit: Antoine Leisure

Lesestücke
Sakuntala’s Ring: Act 5
https://www.in-toon.com/en/ballets/sakuntalas-ring/act-5



Photo credit: Pete Sharp

">

The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/en/ballets/sakuntalas-ring/act-5



Photo credit: Pete Sharp

Lesestücke
Sakuntala’s Ring: Act 6
https://www.in-toon.com/de/ballets/sakuntalas-ring/act-6



Photo credit: Raman Djafari

">

The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/de/ballets/sakuntalas-ring/act-6



Photo credit: Raman Djafari

Lesestücke
Sakuntala’s Ring: Act 7
https://www.in-toon.com/de/ballets/sakuntalas-ring/act-7



Photo credit: Masanobu Hiraoka

">

The story of Sakuntala’s Ring is based on Kalidasa’s drama Sakuntala. This is one of the most famous love stories in world literature. The illustrations were commissioned by the Bayerisches Staatsballett on the occasion of the revival of the ballet La Bayadère in May 2023. Seven illustrators have each illustrated one act of Kalidasa’s Sakuntala. Click through the acts, look at the pictures and listen to the sound design by Renu Hossain. She has worked with a recording of La Bayadère with the Bayerisches Staatsorchester. Using the menu, you can not only set the language, but also choose whether you want to show or hide the texts and music. We would be delighted if you could send us a message via the menu item “Participate” and share your ideas with us.

https://www.in-toon.com/de/ballets/sakuntalas-ring/act-7



Photo credit: Masanobu Hiraoka

Chefs
Felix Mottl
http://www.rgrossmusicautograph.com/60/089-60.jpg, Public domain, https://commons.wikimedia.org/w/index.php?curid=46867254

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Felix Mottl was born on 24 August in Unter-St. Veit near Vienna. He studied harmony and counterpoint at the Vienna Conservatory with Anton Bruckner, among others, before founding the Academic Wagner Society and working as a répétiteur at the Vienna Opera. In 1876, he worked as a copyist and assistant at the first Bayreuth Festival, where he conducted over 70 performances between 1886 and 1906. After working as General Music Director of the Philharmonic Society in Karlsruhe and as a guest conductor in Paris, Brussels, London and New York, he came to Munich in 1904 as Court Kapellmeister. In 1907, he was appointed director of the Munich Court Opera, where he worked until his death. Felix Mottl died as a result of a heart attack suffered on 21 June 1911 during a performance of Tristan in Munich. The corresponding passage in the second act is recorded in the performance material of the Bayerisches Staatsorchester and is a reminder of the tragic event at every performance to this day.



Photo credit: By J. Hartmann, Bayreuth – http://www.rgrossmusicautograph.com/60/089-60.jpg, Public domain, https://commons.wikimedia.org/w/index.php?curid=46867254

Chefs
Hermann Zumpe
edocs.ub.uni-frankfurt.de, PD-alt-100, https://de.wikipedia.org/w/index.php?curid=5002963

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Hermann Zumpe was born in Oppach on 9 April 1850 and died in Munich on 4 September 1903. He took composition lessons with Albert Tottmann in Leipzig, and in 1872 he became the conductor of a Leipzig vaudeville theatre. In the same year, he went to Bayreuth, where he assisted Wagner with the completion of his Ring scores and prepared a piano reduction of Götterdämmerung. After positions as Kapellmeister in Salzburg, Würzburg, Magdeburg, Frankfurt and Hamburg, he was appointed Court Kapellmeister in Stuttgart in 1891. From 1895, he conducted the Kaim Orchestra, which later became the Munich Philharmonic Orchestra, before moving to Schwerin as Court Kapellmeister in 1897. In 1901 he moved to the new Prinzregententheater in Munich in the same position and in 1902 he was appointed General Music Director.



Photo credit: From unknown - edocs.ub.uni-frankfurt.de, PD-alt-100, https://de.wikipedia.org/w/index.php?curid=5002963

Chefs
Bernhard Stavenhagen
https://www.tripota.uni-trier.de/portraits/385/2/385_0966_p_900.jpg

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Bernhard Stavenhagen was born in Greiz on 24 November 1862 and died in Geneva on 25 December 1914. After the family moved to Berlin, he became a pupil at the Royal Academy of Music before studying piano, music theory and composition from 1878. His C major piano concerto won him the Mendelssohn Grand Prize for the Performing Arts. From 1885, he was a pupil of Franz Liszt in Weimar, whom he accompanied on his travels and whose funeral oration he delivered. In 1890, he was appointed Grand Duke of Saxony’s court pianist in Weimar, where he worked as court conductor from 1894. After Richard Strauss gave up his position in Munich to move to Berlin, Stavenhagen took over as Court Kapellmeister in 1898. He was engaged here until 1902, when he once again devoted himself increasingly to soloist and chamber music activities.



Photo credit: https://www.tripota.uni-trier.de/portraits/385/2/385_0966_p_900.jpg

Chefs
Hugo Röhr

Hugo Röhr was born in Dresden on 13 February 1866 and died in Munich on 7 June 1937. He studied in Dresden with Franz Wüllner, the conductor of the world premieres of Das Rheingold and Die Walküre, who was engaged as First Court Kapellmeister in Munich from 1871. From 1886 he worked as a solo repetiteur at the Court Opera in Dresden, then as a conductor at the Augsburg City Theatre, the Kassel Court Theatre and the German State Theatre in Prague and Breslau. From 1892 to 1896 he held the post of First Kapellmeister at the Mannheim National Theatre before being appointed to the Munich Court Theatre in 1896. His secular oratorio Ekkehard was premiered at the Musikalische Akademie, followed by his opera Das Vaterunser in 1904 at the Munich Court Theatre. He held his post until 1918.


Photo credit: Musikalische Akademie Mannheim

Chefs
Max Erdmannsdörfer

Max Carl Christian Erdmannsdörfer was born in Nuremberg on 14 June 1848. He studied music theory, piano and violin at the Leipzig Conservatory between 1863 and 1867 before training as a conductor in Dresden in 1868/1869. In 1871, he became court conductor to the Prince of Schwarzburg in Sondershausen, and between 1881 and 1889 he conducted the concerts of the Russian Music Society in Moscow, where he also taught at the conservatory. From 1889, he conducted the philharmonic concerts and the Singakademie in Bremen before moving to Munich in 1895. One year later, he was appointed Bavarian court conductor. He also conducted the Academy Concerts and taught at the Academy of Music until 1898. Erdmannsdörfer died in Munich on 14 February 1905.


Photo credit: Wilhelm Höffert, Public domain, via Wikimedia Commons

Chefs
Richard Strauss

From 1894, the 30-year-old Richard Strauss conducted the Munich Court Orchestra for two years, first as Royal Kapellmeister and then as Court Kapellmeister. Alongside Wagner, Mozart’s operas were a particular focus of his work in Munich. His symphonic poems Till Eulenspiegel’s Merry PranksAlso sprach Zarathustra and Don Quixote were also composed during this time, although they were premiered in Cologne and Frankfurt rather than Munich.


Photo credit: Portrait photograph of Richard Strauss (cabinet format). Atelier Hertel; Weimar (Friedrich Hertel † 1918), Public domain, via Wikimedia Commons.

Chefs
Franz Fischer

Franz Fischer was born on 29 July 1849 in Munich, where he also died on 8 June 1918. He took part as cellist in the Munich premiere of Wagner’s Rheingold, but also played his instrument as principal cellist at the Pest National Theatre and in the first festival orchestra at the Bayreuth Festival. As Hofkapellmeister at the Mannheim National Theatre, he conducted Wagner’s Tannhäuser before being appointed to the same position in Munich under General Music Director Hermann Levi. He conducted the posthumous Munich premiere of Wagner’s Die Feen in 1888 and several concerts as part of the Musikalische Akademie. He worked in Munich between 1880 and 1913.


 

Photo credit: Franz Fischer, photographed around 1880 by Egon Hanfstaengl Source: Portrait collection of the Munich City Museum

Chefs
Friedrich Wilhelm Meyer

Meyer was born in Altenburg on 2 March 1818 and died in Munich on 30 May 1893. After working in Trier and Stettin, Meyer became court conductor in Munich in 1869, where he worked until 1882. The young Richard Strauss studied with Meyer from 1875 and later dedicated his Serenade in E flat major op. 7 to him, which was the 17-year-old composer’s first work to be premiered outside of Munich in 1882.

Chefs
Joseph Gabriel Rheinberger
https://commons.wikimedia.org/w/index.php?curid=99154084

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Joseph Gabriel Rheinberger was born in Valduz (Liechtenstein) on 17 March 1839 and studied at the Hauser Conservatory in Munich, where the twelve-year-old was then considered the youngest and most talented student at the institute. In 1859 he was employed as a piano teacher at the Munich Conservatory and as organist at the church of St. Michael. Rheinberger’s first compositions were published by Peters from this time onwards. From 1864 he was solo répétiteur at the Munich Court Opera, where he took part in the world premiere of Wagner’s Tristan und Isolde, among other works. In 1876 he was appointed professor of composition and organ playing at the newly founded Royal School of Music. Just one year later he took up the post of court conductor in Munich, succeeding Franz Wüllner, which he gave up in 1894 in order to devote himself fully to his compositions. Rheinberger died in Munich on 25 November 1901. He left behind numerous works, including masses, songs, symphonic instrumental music and operas. His Wallenstein Symphony, the opera The Seven Ravens, his Requiem in B flat minor and his Florentine Symphony op. 87 were particularly successful during his lifetime.


Photo credit: By Atelier Müller-Hilsdorf, Munich – own (Münchner Stadtmuseum), CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=99154084

Chefs
Hermann Levi

Hermann Levi was born in Giessen on 7 November 1839 and quickly made a name for himself as a musical prodigy. After early studies in Mannheim and Leipzig, he held posts as music director and Kapellmeister in Saarbrücken, Mannheim and Rotterdam from 1859 onwards. From 1864 to 1872 he worked as Hofkapellmeister in Karlsruhe, where Wagner became aware of him during his Meistersinger conductions. In 1872 Levi finally came to Munich as court conductor. He worked as assistant in Bayreuth, among other places, where he conducted the first performance of Parsifalin 1882. In Munich, he championed works by Johannes Brahms, Anton Bruckner, Richard Strauss, but also Hector Berlioz and Engelbert Humperdinck. He also had a decisive influence on the so-called Mozart Renaissance with his translations that were used until the 1930s. Two years after being appointed General Music Director, Levi retired in 1896 due to illness. He died in Munich on 13 May 1900. Because of his importance for music and especially his pioneering work at the National Theatre in Munich, the Orchestra Academy of the Bayerisches Staatsorchester, founded in 2002, has borne his name since 2021: Hermann Levi Academy.


Photo credit: Andrea1903 (scan); photographer unknown, Public domain, via Wikimedia Commons

Chefs
Franz Wüllner

Franz Wüllner was born in Münster on 28 January 1832 and already toured with Beethoven’s late piano sonatas between 1850 and 1854. In 1854 he moved to Munich, where he worked as a piano teacher from 1856. After positions as municipal music director in Aachen and as director at the Lower Rhine Music Festival, he was appointed court conductor of the Royal Vocal Orchestra in Munich in 1864. Wüllner conducted the premieres of Wagner’s Rheingold and Walküre in Munich and was finally appointed 1st Court Kapellmeister in 1871. He worked in this position until 1877, when he took over the direction of the conservatoire in Dresden as well as the Court Kapellmeister’s office there. In 1884 he went to Cologne as municipal Kapellmeister and conductor of the Conservatory. He died in Braunfels on 7 September 1902.



Photo credit: Dresden, Saxon State Library – Dresden State and University Library (SLUB), shelfmark/inventory no.: MB.gr.2.2

Chefs
Hans Richter
https://commons.wikimedia.org/w/index.php?curid=29443729

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Hans Richter was born in Raab (in present-day Hungary) on 4 April 1843; his father was a cathedral conductor and his mother an opera singer. After his father’s death, he received his further education in Vienna, first as a choirboy, then at the conservatory. From 1862 to 1866 he was horn player with the orchestra of the Kärntnertortheater, before coming to Tribschen in October 1866 to join Richard Wagner, where he copied the score of his opera Die Meistersinger von Nürnberg. As musical assistant, he took part in the rehearsals for the Munich premiere of the same opera and was eventually appointed royal music director here. As early as the following year, however, i. e. 1869, he gave up this post again because he refused to premiere Das Rheingold against the composer’s wishes. Instead, Franz Wüllner was to conduct the first performances of Das Rheingold and Die Walküre in Munich, which King Ludwig II had longed for. From June 1870 Richter worked as Wagner’s secretary in Tribschen, where he also copied the score of Siegfried. From 1871 he was Kapellmeister at the National Theatre in Pest, and from 1875 he worked at the Vienna Court Opera, conducting, among other things, the concerts of the Vienna Philharmonic between 1875 and 1898. He was the conductor of the first complete Ring performances in 1876 in Bayreuth, where he conducted a total of 77 performances, and conducted the German opera performances at the Royal Opera House in Covent Garden between 1903 and 1910. Richter died in Bayreuth on 5 December 1916.


Photo credit: By Herbert Rose Barraud, Public domain, https://commons.wikimedia.org/w/index.php?curid=29443729

Chefs
Hans von Bülow
https://commons.wikimedia.org/w/index.php?curid=6783959

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Hans von Bülow was born on 8 January 1830 in Dresden, where he received his first lessons in music theory and where the premiere of Richard Wagner’s opera Rienzi left a lasting impression on the then twelve-year-old. He studied law in Leipzig and Berlin before the premiere of Wagner’s Lohengrin in Weimar on 28 August 1850 finally persuaded von Bülow to devote himself entirely to music. Hans von Bülow completed his pianistic training with the conductor of the Lohengrin premiere and piano virtuoso Franz Liszt, while Wagner himself supported von Bülow in his musical plans and arranged his first engagements as a conductor. Liszt’s daughter Cosima finally married Hans von Bülow in 1957, after he had already completed his first concert tours and taken up a permanent position as a piano teacher at the Stern Conservatory in Berlin. In 1864, von Bülow was appointed to Munich by King Ludwig II at Wagner’s suggestion: initially as royal prelude player, then as head of the Munich Music School to implement Wagner’s reforms there, and finally as Court Kapellmeister from 1867. Despite his wife Cosima’s relationship with Richard Wagner, von Bülow remained loyal to the composer and conducted the premieres of his operas Tristan und Isolde and Die Meistersinger von Nürnberg in Munich. Cosima eventually moved to Switzerland to live with Wagner, whom she married in 1870. After this finality of separation, Hans von Bülow devoted himself to his career as a pianist, giving concerts in London, Russia and the USA. In 1877 he became first court conductor in Hanover, in 1880 court music director in Meiningen, and from 1885 he conducted, among other things, the Hamburg subscription concerts and events of the Berlin Philharmonic. Plagued by severe headaches and no longer able to undertake the extensive travels of his touring life, Hans von Bülow sought relief from the Egyptian climate in Cairo, where he died on 12 February 1894. Hans von Bülow not only composed songs, symphonic poems and piano music, but in addition to his activities as a conductor and piano virtuoso, he also appeared as an educator and music writer.


Photo credit: By author unknown – Carte de Visite Woodburytype – Print (Repro by/of Günter Josef Radig), Public domain, https://commons.wikimedia.org/w/index.php?curid=6783959

Chefs
Johann Caspar Aiblinger

Johann Caspar Aiblinger was born in Wasserburg am Inn on February 23, 1779, and received his education at the Benedictine Abbey at Tegernsee and at the Jesuit Gymnasium in Munich. At Landshut University he studied philosophy and theology before going to Italy, where he worked as a composer and music teacher in Vicenza and Venice. In 1819 he became Kapellmeister of La Scala in Milan and in the same year moved to Munich as director of the Italian Opera, after whose dissolution in 1825 Aiblinger was given the post of Vice-Kapellmeister. From 1826 to 1864 he was finally engaged in Munich as Hofkapellmeister. He composed sacred music, numerous works for choir, but also operas and ballets. Aiblinger died in Munich on May 6, 1867.



Bildnachweis: Johann Kaspar Aiblinger, Photolithographie um 1850, Museum Wasserburg a. Inn, Inv. Nr. 2259a

Chefs
Franz Lachner
https://commons.wikimedia.org/w/index.php?curid=4372774

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Franz Lachner was born in Rain am Lech on April 2, 1803, and after other stations in Munich, Vienna and Mannheim, he conducted opera performances, the concert series of the Musical Academy and church music as Court Kapellmeister from 1836 to 1868. Lachner’s appointment as Court Kapellmeister marked the beginning of the venerable series of Bavarian General Music Directors. Now it was no longer the concertmaster who was in charge, but a conductor with a baton leading an ever-growing ensemble. The orchestra included excellent virtuosos such as the clarinetist Heinrich Baermann, the horn player Franz Strauss and members of the Moralt family, who thrilled all of Europe on their travels as a string quartet. New instruments entered the orchestra, valves expanded the range of horns and trumpets, and the Munich solo flutist Theobald Böhm developed a new key system for woodwind instruments that is still in use today.


Photo credit: Franz Lachner. Lithograph by Andreas Staub. Public domain photograph, https://commons.wikimedia.org/w/index.php?curid=4372774

Lesestücke
Felix Weingartner: Malawika

“To be modern means to admit that in a short time one will no longer be modern.” – This saying comes from the text Modernity, published in 1918, whose author Felix Weingartner spoke out against a linear development of music history that was constantly outdone by new forms and modes of expression. Thus, in his notes on his life, he sometimes self-deprecatingly referred to himself as a “Wagnerian” and a “Lisztian” and at another point proclaimed the paradoxical thrust “forward to Mozart!”. Weingartner, whose death anniversary was on May 7, 2022, the 80th time, completed 10 operas, 7 symphonies, several songs and chamber music and participated with numerous books and essays in the music-aesthetic as well as theoretical and performance-practical discourse of his time. His success was based on his activity as a conductor. In his letters to his “dearest friend,” as he usually addressed Weingartner, Gustav Mahler did not hold back with praise: “I know of no one to whom I would hand over my work with such confidence and joyful courage as to you.” Weingartner succeeded Mahler as opera director of the Vienna Court Opera, having previously been Kapellmeister of several opera houses as well as chief conductor of the Munich Kaim Orchestra – today’s Munich Philharmonic. During his 19-year association with the Vienna Philharmonic, Weingartner made a decisive contribution to its worldwide fame. As a subscription conductor, he led all concerts, including the first Beethoven cycle in 1918 and the first South American tour in the orchestra’s history in 1922. His opera Malawika, a “Comedy in Three Acts,” premiered at the Munich National Theatre on June 3, 1886, when the composer was just 23 years old. He wrote the libretto himself, based on a drama by the Indian poet Kalidasa.


Photo Credit: Archiv Bayerische Staatsoper

Chefs
Joseph Hartmann Stuntz

Joseph Hartmann Stuntz was born in Arlesheim near Basel on July 23, 1793, and after receiving his first music lessons from his father, he composed a Te Deum for the Strasbourg Cathedral at the age of 14. He joined the Munich court orchestra in 1808 and studied with Peter von Winter, later also in Vienna with his teacher Antonio Salieri. From 1816 to 1818 Stuntz was Kapellmeister of the Italian Opera in Munich, and in the following years he composed several operas for the theaters in Venice, Milan and Turin. At the Teatro alla Scala, his opera La rappressaglia was so successful that he was awarded the title “maestro di cartello.” In 1823 Stuntz became Vice-Kapellmeister of the Munich Hofkapelle and in 1825 first Hofkapellmeister, succeeding Peter von Winter. As the “national composer and festive conductor” of Bavaria, Stuntz’s music was played at major inauguration ceremonies – for example, the opening of the Valhalla or the laying of the foundation stone of the Befreiungshalle and the unveiling of the Bavaria. He is also considered the founder of male choral singing in Munich. He died in Munich in 1859.


Photo credit: Etching by Joseph Hartmann Stuntz circa 1830. Bayerische Staatsbibliothek, Ausstellungskataloge, 38.

Chefs
Peter von Winter
https://www.sammlung.pinakothek.de/de/artwork/ZKGPvAyxgA

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Peter von Winter was born in Mannheim on August 28, 1754, and began his career as a violinist in the court orchestra there, where he also played double bass in the meantime. During his participation in the orchestra, he became intensively acquainted with Italian and German opera before composing his own operas. In 1778 he moved to Munich when a large part of the Mannheim orchestra was called there. During a stay in Vienna, he studied for several months with Antonio Salieri, and in 1787 he was appointed vice kapellmeister of the Munich court orchestra, then kapellmeister in 1798, when he directed mainly church music and Italian opera. His own operas were celebrated at that time in Naples, Venice and Vienna, later also in London. Together with Emanuel Schikaneder, the librettist of The Magic Flute, Winter created a sequel to Mozart’s popular opera entitled The Labyrinth or The Struggle with the Elements. Mozart himself, however, referred to Winter as his “greatest enemy” in a letter to his father in 1781. Along with Carl Maria von Weber, Peter von Winter’s Singspiele were significant pioneering works in the field of German opera before Richard Wagner. In addition, in 1811 Winter, together with members of the Munich Hofkapelle, was involved in the founding of the Musikalische Akademie: the Munich Concert Association, which still exists today. Winter worked in Munich until his death in 1825.


Image credit: Johann Nepomuk Haller, The Composer and Kapellmeister Peter von Winter (1754-1825), 1825, Bayerische Staatsgemäldesammlungen - Neue Pinakothek Munich, URL: https://www.sammlung.pinakothek.de/de/artwork/ZKGPvAyxgA

Chefs
Paul Pietragrua
https://www.digitale-sammlungen.de/de/view/bsb00054636?page=6,7 Location: Munich, Bayerische Staatsbibliothek -- Slg.Her 1725

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The violinist, Kapellmeister and composer Paul Grua was born in Mannheim on February 1, 1753 and received his musical training from his father Carlo Pietragrua, who as Kapellmeister at the Electoral Palatinate Court under the Electors Carl Philipp and Carl Theodor had been responsible for all areas of court music. Paul Pietragrua worked in the Mannheim court orchestra before being sent to study in Bologna and Parma in 1777. After the Mannheim court moved to Munich, Paul Pietragrua was appointed vice kapellmeister in 1779 before serving as Kapellmeister of vocal music at the Munich court from 1784. In 1780 Paul Pietragrua’s carnival opera Telemaco was premiered at the Cuvilliés Theatre in Munich, after which the composer concentrated on church music. He held his post of Kapellmeister in Munich until his death in 1833, a total of nearly half a century.


Photo credit: https://www.digitale-sammlungen.de/de/view/bsb00054636?page=6,7 Location: Munich, Bayerische Staatsbibliothek -- Slg.Her 1725

Chefs
Andrea Bernasconi
http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10381988-6,

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Andrea Bernasconi was probably born in 1706 in Marseille and composed several operas before coming to Munich. He also worked in Venice at the Ospedale della Pietà as “maestro di capella”. In 1753 he was appointed vice kapellmeister at the Munich court by the Elector Maximilian III Joseph in Munich, to whom he also gave music lessons. After the death of the Hofkapellmeister Giovanni Porta, Bernasconi took over his position in 1755. Bernasconi’s operas were performed in numerous European cities, but most of them in Munich: for example, La clemenza di Tito in 1768, before Mozart was to compose an opera of the same name, or Agelmondo in 1760 and Demetrio in 1772. Bernasconi remained in office until his death in Munich in 1784.


Image credit: From Pietro Metastasio, Andrea Bernasconi – Demetrio. Location: Munich, Bayerische Staatsbibliothek -- Bavar. 4015-4,1/4 http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10381988-6,

Chefs
Giovanni Porta
https://commons.wikimedia.org/w/index.php?curid=13401583

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Giovanni Porta was born around 1675 in Venice, where he was a pupil of Francesco Gasparini, before working at the court of Cardinal Pietro Ottoboni in Rome between 1706 and 1710. Other places of activity were in Vicenza and Verona and at the Conservatorio della Pietà under Antonio Vivaldi. From 1716 he devoted himself mainly to the composition of operas and sacred works. From 1726 to 1737 he was “maestro di coro” at the Ospedale della Pietà as a colleague of Vivaldi. In 1737, after the death of Pietro Torri, he took over his position as Kapellmeister at the Munich court. Porta died in Munich in 1755.


 

Image credit: By Heinrich Eduard Winter - This image is from the Gallica Digital Library and is available under ID btv1b8423665z, Public Domain, https://commons.wikimedia.org/w/index.php?curid=13401583

Chefs
Pietro Torri
https://www.amazon.de/Baviera-Neue-Hofkapelle-München/dp/B00011MK38


Photo creddit: Ars Produktion https://www.ars-produktion.de/Pietro_Torrica1650_1737_La_Baviera/topic/SACDs/shop_art_id/132/tpl/shop_article_detail

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The singer, composer and organist Pietro Torri was born around 1650 in Peschiera del Garda. He was organist and Kapellmeister at the court of the Margrave of Bayreuth, before serving as organist at the court of Elector Max Emanuel in Munich from 1689. When the latter was appointed governor of the Spanish Netherlands, Torri followed the Elector to Brussels in 1692, where he took up the post of “maître de chapelle” in the Brussels court orchestra and conducted the opera performances. After a change of power, Max Emanuel returned to Munich in 1701, where Torri served for the time being as chamber music director, since the office of court conductor was still held by Giuseppe Antonio Bernabei. During the War of the Spanish Succession, the Elector resided again in Brussels from 1704 to 1714, where Torri also followed him. Back in Munich, Torri held the title of court conductor in 1715 until he was finally appointed court conductor in 1732 after Bernabei’s death. Torri died in Munich in 1737. He left behind masses and other liturgical forms, oratorios, cantatas, and numerous operas, most of which were premiered in Munich.

There exists a CD recording of selected works by Torri by Christoph Hammer and the Neue Hofkapelle Munich: https://www.amazon.de/Baviera-Neue-Hofkapelle-München/dp/B00011MK38


Photo creddit: Ars Produktion https://www.ars-produktion.de/Pietro_Torrica1650_1737_La_Baviera/topic/SACDs/shop_art_id/132/tpl/shop_article_detail

Chefs
Giuseppe Antonio Bernabei
https://commons.wikimedia.org/wiki/File:GA_BERNABEI.jpg


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The son of Ercole Bernabeis was born in Rome in 1649 and received his musical training from his father, who he succeeded as kapellmeister at San Luigi dei Francesi in 1672. He was ordained a priest before moving to Munich, where he was appointed vice kapellmeister in 1677 and, after his father’s death in 1687, his position as Munich hofkapellmeister. Giuseppe Antonio stopped composing operas for Munich as early as 1690 and was able to concentrate entirely on court church music when court music director Pietro Torri took over the composition of operas and chamber music. In 1704 the court orchestra was temporarily dissolved when Bavaria was occupied by Austria, and in 1708 Giuseppe Antonio Bernabei was dismissed. In 1715 the Elector returned to Munich, and Bernabei was able to devote himself again to conducting church music as hofkapellmeister in Munich until his death in 1732.


Photo credit: Unknown painter 1700 – Giuseppe Antonio Bernabei. Civico Museo Bibliografico Musicale, Bologna, Italy. https://commons.wikimedia.org/wiki/File:GA_BERNABEI.jpg


 

Chefs
Johann Caspar Kerll

Kerll was born in 1627 in Adorf (today in the Vogtland district of Saxony) as the son of an organ builder, where he took up his first position as organist at St. Michael’s Church. He probably converted to Roman Catholicism in Vienna in the 1640s and went to Rome around 1648/49 to study with the composer Giacomo Carissimi. After the appointment of his brother Leopold Wilhelm as governor of the Netherlands by Emperor Ferdinand III. Johann Caspar became court organist in the Brussels residence. In 1655 the Brussels court was dissolved, and Kerll was appointed to the Munich court opera, where he was initially provisional vice-kapellmeister, then vice-kapellmeister and after the death of Giovanni Giacomo Porro finally in 1656 hofkapellmeister. Kerll took over the musical direction of the services, the chamber and table music as well as the court opera. Several of his operas were premiered in Munich. He resigned his post in 1673, probably as a result of intrigues by Italian musicians. In 1674 Kerll went to Vienna with his family, where he received a pension granted by the emperor and from 1677 worked as the court’s first organist. Nevertheless, he repeatedly visited Munich, for example in 1688 when the Munich engraver Carl Gustav Amling made the only known portrait of the composer. In 1692 Kerll gave up his post in Vienna to go to Munich, where he died on February 13, 1693 and was buried in the crypt of the Augustinian monastery on Kaufingerstrasse. During his lifetime, Kerll was considered the best-known German composer of operas and church music, and his works were performed internationally. He was equally famous as an organ improviser.


Photo credit: Engraving, Carl Gustav Amling, around 1680, Staatliche Graphische Sammlung München, Inventar-Nr. 122532 D


 

Chefs
Ercole Bernabei
https://commons.wikimedia.org/w/index.php?curid=46619527


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Ercole Bernabei was born in 1622 in Caprarola, 57 kilometers northwest of Rome. In Rome he was from 1653 organist at San Luigi dei Francesi, from 1665 for two years conductor at the Lateran Basilica and from 1667 head of the chapel San Luigi dei Francesi. In 1672 he took up the position of Kapellmeister at St. Peter’s Church, which he gave up when he was called to Munich by the Bavarian Elector Ferdinand Maria. He was hofkapellmeister here from 1774 until his death in 1687. His works include numerous motets, cantatas and madrigals as well as several lost stage works that he wrote for Munich, possibly in the opera seria genre. In Munich, Bernabei was also commissioned by Elector Max Emanuel to train students from Bavarian monasteries and monasteries in composition.


Photo credit: By Heinrich Eduard Winter – This image comes from the Gallica Digital Library and is available under the ID btv1b8415785d, in the public domain, https://commons.wikimedia.org/w/index.php?curid=46619527


 

Chefs
Giovanni Giacomo Porro
http://collections.rmg.co.uk, public domain, https://commons.wikimedia.org/w/index.php?curid=230541


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Giovanni Giacomo Porro was born in Lugano around 1590 and worked, among other things, as organist for the Duke of Savoy Carlo Emanuele, as Kapellmeister at the Roman San Lorenzo in Damaso and as a substitute for the organ virtuoso Girolamo Frescobaldi at the Cappella Giulia. In 1635 he was appointed Kapellmeister to the court of Maximilian I in Munich. From there he made several trips to Italy to recruit Italian musicians for the Munich court orchestra. Porro used to be in regular contact with Galileo Galilei, by whom he set poems to music. Although no opera performance has survived under Porro’s direction, there are indications of him as a potential co-founder of the music-theatrical tradition in Munich. He worked here until his death in 1656. Almost all of his compositions, which were mostly of a sacred nature but also included madrigals and ballets, have been lost, according to a posthumous list of more than 1100 compositions.


Photo credit: By Domenico Tintoretto – http://collections.rmg.co.uk, public domain, https://commons.wikimedia.org/w/index.php?curid=230541


Chefs
Giovanni Battista Crivelli

The composer Giovanni Battista Crivelli was born in Scandiano (province of Reggio Emilia) at the end of the 16th century and probably studied in the cathedral of Reggio Emilia, where he worked as organist from 1614. From 1620 he was Kapellmeister at the Chiesa dello Spirito Santo in Ferrara, and from 1629 he finally worked in Munich at the court of Maximilian I, where he conducted the Court Orchestra. From 1635 he worked in Reggio Emilia, where he was appointed conductor at the Basilica della Ghiara, and at Milan Cathedral and Santa Maria Maggiore in Bergamo. Crivelli held his last post as Kapellmeister of the court orchestra of the Duke of Modena, where he died in 1652. His compositions mainly include motets and madrigals.


Photo credit: Wikimedia Commons/Classe 3l, CC BY-SA 4.0,  commons.wikimedia.org/wiki/File:Duomo_Di_Reggio_Emilia,_Facciata.jpg


 

Chefs
Ferdinand II. di Lasso
https://de.wikipedia.org/wiki/Maximilian_I._(Bayern)#/media/Datei:Wenceslas_Hollar_-_Compton_or_Carleton._Philosophia_universa_(State_4).jpg


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Although Orlando di Lasso was the most famous offspring of his family, he was not the only composer and musician closely connected with the history of the Munich court orchestra. Because after his son Ferdinand I di Lasso, his son Ferdinand II di Lasso was also court music director in Munich: probably between 1616 and 1629 Ferdinand II conducted the orchestra of Duke Maximilian I of Bavaria. A letter dated July 24, 1613 shows how intensively Maximilian I himself dealt with cultural policy. It shows that the Duke had sent Ferdinand II to Rome so that he could study there. Maximilian I was closely informed about the progress of Orlando di Lasso’s grandson, and so he wrote to Rome:

“From your letter of the 6th I have learned what progress Ferdinando Lasso is making in music there, and that he is now able to return and render services as soon as he will have stayed in Rome for three more months to write allegro compositions in a modern style, having hitherto engaged in serious ones. I can therefore tell you that I am content to leave him there for the three months mentioned, so that he can try to perfect himself as much as possible, not only in composing, but also in practicing and putting together concerts for two, three or more choirs. Then let him come back here.”


Photo credit: Wenceslaus Hollar: Maximilian I. als Herrscher. University of Toronto Wenceslaus Hollar Digital Collection. https://de.wikipedia.org/wiki/Maximilian_I._(Bayern)#/media/Datei:Wenceslas_Hollar_-_Compton_or_Carleton._Philosophia_universa_(State_4).jpg


 

Chefs
Ferdinand I di Lasso
Mus.pr. 164. https://www.digitale-sammlungen.de/de/view/bsb00072000?page=2,3


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The son of Orlando di Lasso was born in Munich around 1562 and trained by his father in the court orchestra. In 1585 he was employed as Kapellmeister at the court in Hechingen, and in 1587 a collection of motets by Ferdinand I di Lasso was published, which was dedicated to his employer Eitel Friedrich IV von Hohenzollern-Hechingen. In 1589 he returned to Munich and worked as a tenor singer there and in Landshut before he succeeded Johannes de Fossa as Kapellmeister to Duke Maximilian I of Bavaria in 1602. In 1622 he initiated the publication of the collection Apparatus musicus with eight-part works by his father. In 1609 Ferdinand I di Lasso died in Munich. The Cantiones Quinque Vocum in the cover picture is an edition published in 1597 of previously unpublished motets by his father and Ferdinand I.


Photo credit: Lasso, Orlando di: Cantiones quinque vocum. Ab Orlando di Lasso et huius filio Ferdinando di Lasso. Compositae Typis iam primo subiectae et in lucem editae. Location: Munich, Bayerische Staatsbibliothek -- 4 Mus.pr. 164. https://www.digitale-sammlungen.de/de/view/bsb00072000?page=2,3


 

 

Chefs
Johannes de Fossa
Mus.ms. 2757. Location: Munich, Bavarian State Library Mus.ms. 2757. https://www.digitale-sammlungen.de/de/view/bsb00079000?page=6


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Johannes de Fossa’s date and place of birth are unknown. Up until his entry into the Munich court orchestra in 1569, de Fossa’s biography is documented incompletely. He probably comes from a Dutch family of musicians, in which his name appeared several times. In a copy he made himself, de Fossa referred to the composer Johannes Castileti – also known as Jean Guyot – as his teacher. De Fossa was probably Castileti’s pupil in the 1540s and 1550s in Liège. In 1569, de Fossa was finally appointed Vice Kapellmeister of the Munich court orchestra and held this office until Orlando di Lasso’s death in 1594. After di Lasso’s death, di Fossa took over his position as Munich court music director, although the official appointment did not take place until 1597. His merits were honored by de Fossa’s elevation to the imperial nobility. He died in Munich at Pentecost 1603, having had to resign from office a year earlier due to health problems.


Photo credit: Fossa, Johannes de: 7 Sacred songs – BSB Mus.ms. 2757. Location: Munich, Bavarian State Library Mus.ms. 2757. https://www.digitale-sammlungen.de/de/view/bsb00079000?page=6


Chefs
Ludwig Daser
Mus.ms. 18. Location:
München, Bayerische Staatsbibliothek -- Mus.ms. 18. https://www.digitale-sammlungen.de/de/view/bsb00079115?page=6,7


 

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Ludwig Daser was born in Munich around 1526 and joined the Munich court orchestra as a young man, where he probably received his musical training under Wolfgang Fynnckl and Andree Zauner, perhaps also under Ludwig Senfl. Like Andree Zauner, Daser studied at the University of Ingolstadt and from 1552 was active as court conductor of the Munich court orchestra. In 1563 Daser finally resigned from his position in Munich, and in 1572 he became Kapellmeister at the Württemberg ducal court in Stuttgart, where he worked until his death in 1589. Daser was a prolific composer of masses, motets and sacred songs, much admired by his contemporaries. Recently he has again become the focus of musicology, and so the publication of the extensive book Ludwig Daser (1526–1589) – Grenzgänger Zwischen den Traditionen by Daniel Glowotz is in preparation.


Photo credit: Daser, Ludwig: 9 Masses – BSB Mus.ms. 18. Location:
München, Bayerische Staatsbibliothek -- Mus.ms. 18. https://www.digitale-sammlungen.de/de/view/bsb00079115?page=6,7


 

Chefs
Andree Zauner
Wappenbuch Des Heiligen Römischen Reichs, und allgemainer Christenheit in Europa, München, 1580 (Bayerische Staatsbibliothek, Res/2 Herald. 46).


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Andree Zauner was the successor of Wolfgang Fynnckl and conducted the court orchestra from 1550 to 1552. Zauner originally came from Landshut and was enrolled at the University of Ingolstadt from 1525, where he mainly studied the writings of Johannes de Muris, who as a late medieval intellectual with music theory busy and decisively promoted music notation. Accordingly, Zauner used the academic title “Maister” (magister), which is rare for a musician. He remained with the court orchestra as a singer after resigning and even received a grace payment until his death in 1577.


Photo credit: Coat of arms of the University of Ingolstadt 1580. Illustration from: Schrot, Martin: Wappenbuch Des Heiligen Römischen Reichs, und allgemainer Christenheit in Europa, München, 1580 (Bayerische Staatsbibliothek, Res/2 Herald. 46).


Chefs
Wolfgang Fynnckl
gallica.bnf.fr. Provenienz: Bibliothèque nationale de France.


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Little is known about Ludwig Senfl’s successor: only Wolfgang Fynnckl’s name and office are known. After Senfl stopped his work at the Munich court orchestra in 1543 and before 1551, Fynnckl must have continued the work of his predecessor and thus the Munich court music. During Fynnckl’s tenure, two new instrumentalists were hired: Sebastian Hurlacher (-> tile on this website “appointment lapel of trombonist Sebastian Hurlacher”) and Bastian Behaim.


Photo credit: Biographisch-bibliographisches Quellen-Lexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhundert. Bd. 4. Quelle: gallica.bnf.fr. Provenienz: Bibliothèque nationale de France.


 

Termine
Fr 23.12.22
TSCHAIKOWSKI-OUVERTÜREN
Alexei Ratmansky
Tschaikowski-Ouvertüren

Sa 08.04.2023
Mikhail Agrest

Termine
Sa 08.07.2023
Vladimir Jurowski
1. Jubiläumskonzert
Chefs
Vladimir Jurowski about the Bayerisches Staatsorchester

500 – what a number! Five hundred years ago, the history of the ensemble began, which today, as the Bayerisches Staatsorchester, is one of the most respected opera and concert orchestras in the world and can be justifiably proud of this unique history. The orchestra’s early days are associated with names such as Ludwig Senfl and Orlando di Lasso as artistic directors, and there has never been a lack of important personalities since then. Collaborations with the greatest composers of their time – such as Wolfgang Amadeus Mozart, Richard Wagner and Richard Strauss – as well as with the great conductors of the past and present (the list of names is too long to mention here) have decisively shaped the orchestra and made it one of the best in the world. Not only the result but also the reason for this quality is the diversity of its activities: in opera, in ballet, in symphonic repertoire, in the cosmos of chamber music, in its commitment to musical education and outreach. This last point is represented in particular by the commitment of the Hermann-Levi-Akademie, the talent factory for the future not only of the Bayerisches Staatsorchester but of orchestral music in general. The founding of the first concert series for the Munich bourgeoisie in 1811, the Musikalische Akademie, which is still alive today, speaks of the orchestra’s deep connection with the city of Munich and its citizens, which has not dried up even after more than two hundred years. In the festival year 2023, we want to further deepen this connection with many proven and new formats. I congratulate the Bayerisches Staatsorchester, which I am honoured to preside over as chief conductor, and look forward to a musically rich 500th anniversary.

Vladimir Jurovsky
General Music Director of the Bayerisches Staatsorchester since 2021


Photo credit: Wilfried Hösl


Termine
Jubiläums-Abschlusskonzert

21. Dezember 2023 19:00 Uhr

Vladimir Jurowski
 

Lesestücke
Musical Publics

Armin Nassehi


Prof. Dr. Armin Nassehi has held the chair at the Institute of Sociology at the Ludwig Maximilian Uni-versity of Munich since 1998, specialising in the sociology of culture, political sociology, sociology of religion, sociology of knowledge and sociology of science. His latest book publications: Das große Nein. Eigendynamik und Tragik des gesellschaftlichen Protests (Hamburg 2020) and Unbehagen. Theorie der überforderten Gesellschaft (München 2021). A passionate musician himself, he has often written es-says for the Bayerische Staatsoper and participated in many events.

Anyone wanting to gain a comprehensive overview of an orchestra’s working me-thods will do so exclusively by glancing up at the stage or down into the pit. Only when we look closely will it become clear very quickly that as institutions orchest-ras are based on the principle of the division of labour and made up of many spe-cialists, male and female, each of whose fields of competence and praxis must be expressed symphonically. As such, an orchestra is a preeminent symbol of the way in which a group of specialized individuals, all of whom are simultaneously doing something different in real time and whose activities need to be coordina-ted, can produce something unified. In turn, however, this unity can be achieved only through the carefully preordained coordination of its members’ individual actions. The result is something that can hardly be attributed to a single individual any longer. The powerful figure of the conductor – in the twentieth century, above all, an almost heroic figure and generally a man – ensures that the musici-ans’ individual activities and abilities are subsumed within a greater, universal whole, with the result that it is the conductor, above all, who is credited with the orchestra’s capacity for working as a collective in the symphonic repertory. In his sociological study of music Adorno wrote mockingly about the conductor who, craving recognition, has to conceal the fact that he (or she) is not working at all but merely cultivating a cult that is centred around his (or her) own person. Closer to the truth is no doubt the view that an orchestra is such an intricate entity that it requires a third party to weld together its complex individual sections and create a single whole.
This glance up at the stage and down into the pit reveals the institution of the orchestra, with all of its structural complexities and historical development, to be the performative reflection of complex musical forms that would not exist wit-hout a body of players based on the principle of the division of labour. This prin-ciple is taken to extreme lengths here and, as such, it is a radically modern inven-tion. Long before this principle was introduced into industrial production, into the structures of state administration and into organizational logistics, it was above all the orchestra that had to subsume within itself the concepts of specialization and coordination, functioning as a single pillar and as the totality of society and reconciling individuality and collectivity, differentiation and integration. Anyone who is surprised that such an orchestral form, which is already five hundred years old, has survived for so long may care to bear in mind that this form of social or-ganization was already in advance of ist time, the harbinger of a society whose inner differences and complex variety may not be symphonically integrated but which is all the more conscious in consequence of the problem of coordinating its actions. One could even go further and describe the symphony orchestra, with its particular, timeless form, as a parable of a social model that is capable of reconci-ling individual abilities, specialisms and characteristics with the need for those actions to be coordinated.
We can also redirect our gaze from the stage or pit to the concert hall or to the opera house. In research into the emergence of “publics” that has been conduc-ted in the fields of both history and the social sciences, concerts, opera perfor-mances and chamber recitals are regarded as early settings in which such “publics” have evolved – the same is true of salons and the theatre. In music es-pecially it can be shown that the change from the sort of performance practices associated with the court and with the Church to the practices bound up with the middle classes not only altered the way in which music as an art form saw itself but also led to its increasing independence and, more especially, to the reason for giving concerts in the first place. Courtly praxis had been geared to providing an introduction to the refinements and distinctive lifestyle of the aristocracy, but the middle-class types of performance that opened up in towns and cities brought with them a completely new kind of public. Music migrated from its court-ly setting to concert halls and opera houses, whose sole function was to mount performances and where Baroque and Classical elements survived only as deco-rative adjuncts.
Only once this last-named type of praxis was established did the audience ac-quire a decisive significance. Unlike performances at court and in church, those that took place in public concert halls brought together strangers who may have remained strangers in terms of most of the aspects of their personality but who were held together by a common focus that allowed them to engage in conversa-tion about the success or otherwise of the performance, about the character of the music, about the more notable features of the conductor, about the critical reviews and about the latest political and economic news and all that was happe-ning in society at large. As a result the middle-class concert hall also represents a way of preparing for public life. In the past, middle-class audiences were also a reading public that could create the sense of a public in these encounters preci-sely because their reading matter was similar and the store of their knowledge was calculable. This knowledge could be communicated in a way that was impar-tial but committed, it could be disinterested or interested, and it could be contro-versial while allowing the participants to agree to disagree. It is also possible that the journey to the concert hall, the breaks between the pieces and the gossip about absent members of the audience first lent the concert experience the cha-racter of a social whole. Concerts were an opportunity for middle-class society to discover itself, even if this was true of only a small carrier group. Here it was no classless society that discovered itself but a class with distinctive features. The result may not have been a democratic agora but there was still the ability to face up to controversies and to encounter other people. There was no attempt to reach a consensus but these conditions still provided a chance to acquire the ability to deal with differences of opinion.
The practices associated with these middle-class performances may be said, therefore, to constitute an exercise in public life inasmuch as the forms of social distance that were cultivated here in ways found in few other places could be practised despite all of the points in common – and this is true even of those pe-riods when expressions of public life involved a high degree of political confor-mism. There is some disagreement as to whether we should regard the concert, the middle-class salon or the theatre as a blueprint for political forms of public life under later (nation-)states, but what is undisputed is that symphonic practices presuppose a public that submits itself to public observation and cultivates cor-responding forms of coordinating actions among strangers. Full-time orchestras – or at least the ones in Germany that are supported or even run by central or local government – continue to be seen as a regular part of our cultural lives. his, too, represents a reminiscence of this model of public life as part of a public spectacle. Here the complexity of the orchestra is merely the corresponding equivalent of a significant and persistent praxis – and in a pluralistic, de-mocratized, egalitarian and, last but not least, globalized culture, it is no longer the exclusive place on whose reflection it continues to feed. Yet it is very much this circumstance that makes it all the more significant and remarkable that it has retained such a stable form, a form which, despite its chronic structure, does not appear to be becoming anachronistic. Perhaps the reason for this state of affairs lies in the fact that both were ahead of their times when they came into exis-tence: the orchestra as an untypically complex example of the principle of the distribution or labour and its audience as a community of strangers engaged in conversation. Ad multos annos!

Termine
Fr 31.03.2023
Choosing not to know
Themenkonzert

31. März 2023 19:00 Uhr

Lesestücke
1523
Why 1523?

The year 1523 marks the beginning of institutionalized music-making in the instrumental association at the Bavarian court; This was the nucleus of today’s Bavarian State Orchestra, which can now look back on five hundred years of history.

In 1523, probably in the spring, the musician Ludwig Senfl, who was known throughout Europe and had worked for Emperor Maximilian I until his death in 1519, entered the service of Duke Wilhelm IV of Wittelsbach “Expansion of court music” (Dr. Stefan Gasch), in two respects. On the one hand, the music required at court and in the ducal church service was placed on a new basis with a tribe of permanent members. For example, Senfl hired Johannes Steudel, trombonist, about whom it is noted: “Receives 100 Gld. rhein. per year, for 1 horse fodder, 2 court clothes and 3 bushels of grain”, “Steudel shall be the leader among the trombonists”. On the other hand, a pool of written works that were composed for specific occasions was gradually formed. This also made it necessary for all participants to be able to read music (rather than improvising in three parts, as was the case in earlier practice); both aspects are therefore directly related. In addition to the services in the liturgical area, the instrumentalists of the court orchestra also denied festivities such as balls and state visits, contributed table music at banquets and provided the accentuation of important moments at state events with fanfares.

In 1523, therefore, two major developments began: on the one hand, the professionalization of the musicians’ staff, on the other hand, the development of a lasting repertoire - both of which are claims that the Bavarian State Orchestra still makes its own today.


Photo credit: Hans Wertinger, Herzog Wilhelm IV. von Bayern Rückseite: Wappen Bayern-Baden und Devise, 1526, Bayerische Staatsgemäldesammlungen – Alte Pinakothek München


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Why 1523?

The year 1523 marks the beginning of institutionalized music-making in the instrumental association at the Bavarian court; This was the nucleus of today’s Bavarian State Orchestra, which can now look back on five hundred years of history.

In 1523, probably in the spring, the musician Ludwig Senfl, who was known throughout Europe and had worked for Emperor Maximilian I until his death in 1519, entered the service of Duke Wilhelm IV of Wittelsbach “Expansion of court music” (Dr. Stefan Gasch), in two respects. On the one hand, the music required at court and in the ducal church service was placed on a new basis with a tribe of permanent members. For example, Senfl hired Johannes Steudel, trombonist, about whom it is noted: “Receives 100 Gld. rhein. per year, for 1 horse fodder, 2 court clothes and 3 bushels of grain”, “Steudel shall be the leader among the trombonists”. On the other hand, a pool of written works that were composed for specific occasions was gradually formed. This also made it necessary for all participants to be able to read music (rather than improvising in three parts, as was the case in earlier practice); both aspects are therefore directly related. In addition to the services in the liturgical area, the instrumentalists of the court orchestra also denied festivities such as balls and state visits, contributed table music at banquets and provided the accentuation of important moments at state events with fanfares.

In 1523, therefore, two major developments began: on the one hand, the professionalization of the musicians’ staff, on the other hand, the development of a lasting repertoire - both of which are claims that the Bavarian State Orchestra still makes its own today.


Photo credit: Hans Wertinger, Herzog Wilhelm IV. von Bayern Rückseite: Wappen Bayern-Baden und Devise, 1526, Bayerische Staatsgemäldesammlungen – Alte Pinakothek München


Chefs
Kent Nagano about the Bayerisches Staatsorchester

What distinguishes the Bayerisches Staatsorchester especially in my opinion? For me, it is the mixture of dark, warm sound, transparent texture, individual timbre and a distinct common identity that has been continuously built up and developed over five centuries, strongly influenced by the great composers and artists associated with this house. This combination of klang and personality, which has been constantly renewed, though the flexibility, technical capacity and energy of each new generation is unique, and in the best sense a counter phenomenon to certain trends emerging from our information age.

In its 500-year history, this great ensemble has shared the priceless gift of humanism with the world, and thus it will continue to be relevant in the future. Thank you, Bayerisches Staatsorchester, and happy birthday!

Kent Nagano
General Music Director 2006–2013


Photo credit: Wilfried Hösl


Chefs
Kirill Petrenko about the Bayerisches Staatsorchester

The seven years I was privileged to spend with the Bayerisches Staatsorchester as its principal conductor are but a breath in the light of its long history. But for me, these seven years as Bavarian Music Director have been an unspeakably happy time. I hope that together we have been able to leave some traces that will outlast our own work. As the Bayerisches Staatsorchester has undertaken so many new things in the five hundredth year of its existence, this event becomes less a retrospective of a glorious past than an outlook on a far-reaching and radiant future. I wish this wonderful orchestra that with all my heart – and I am very happy that we will meet again in its anniversary year.

Kirill Petrenko
General Music Director 2013–2021
Honorary Conductor of the Bayerisches Staatsorchester


Photo credit: Wilfried Hösl


Termine
Mi 29.11.2023
20 Jahre
Hermann-Levi-Akademie
Festkonzert

29. November 2023 20:00 Uhr

Termine
Mo 03.07.2023
Dall'Abacos Reisen
Festspiel-Barockkonzert
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3. Juli 2023 20:00 Uhr

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Termine
So 25.06.2023
Festspiel-Gottesdienst
Festspiel-Gottesdienst
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25. Juni 2023 10:00 Uhr

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Termine
Mo 17.07.2023
Surprise Variations
Festspiel-Nachtkonzert
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17. Juli 2023 20:00 Uhr

OperaBrass

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Termine
Mo 24.07.2023
Renaissance und Früh-Barock
Festspiel-Renaissancekonzert
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24. Juli 2023 20:00 Uhr

Monteverdi Continuo Ensemble

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Termine
So 02.07.2023
ATTACCA
Festspielkonzert
Termine
So 07.05.2023
IL RITORNO / DAS JAHR DES MAGISCHEN DENKENS
Christopher Moulds
Il ritorno / Das Jahr des magischen Denkens
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7. Mai 2023 19:30 Uhr Premiere

Christopher Moulds
Christopher Rüping

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Termine
Mo 26.06.2023
HAMLET
Vladimir Jurowski
Hamlet
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26. Juni 2023 19:00 Uhr Premiere

Vladimir Jurowski
Neil Armfield

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Termine
Sa 29.04.2023
Eine Tuba kommt selten allein
Eine Tuba kommt selten allein
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29. April 2023 18.00 Uhr

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Termine
Do 22.06.2023
Tangoabend
Tangoabend

10. Juni 2023 18:00 Uhr

Ensemble Sentimentale

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Termine
Sa 13.05.2023
Samba für alle
Samba für alle
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13. Mai 2023 18.00 Uhr

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Termine
Sa 27.05.2023
Around the world
Musik und Tänze aus aller Welt
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 27. Mai 2023 18.00 Uhr

OperaBrass

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Termine
So 25.06.2023
Alles kommt zusammen
Alles kommt zusammen
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25. Juni 2023 18:00 Uhr

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Termine
So 29.01.2023
DIDO AND AENEAS ... ERWARTUNG
Andrew Manze
Dido and Aeneas ... Erwartung
Lesestücke
One for all und all for one
We should not forget that with music-making, too, the truth is to be found “on the field”. The individuals who make up the team must learn to submit to a single figu-re. At least for as long as the music is still playing.

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A brief look back at the rich history of the Bayerisches Staatsorchester reveals an orchestra that is more than the sum of its parts.


Holger Noltze


The slogan “One for all and all for one” may initially remind us of football but it is in fact taken from Alexandre Dumas’ timeless novel The Three Musketeers, which was written before the invention of football as a sport. These words express the individual’s unconditional commitment to the collective and his (or her) willingness to subordinate the particular to the general. This beautiful idea can be applied with arguably even greater justification to music-making as part of an ensemble. In football it is ultimately only the goals that count, so everything depends on the player who scores those goals. Fencing, too, could be said to be first and fore-most a solo discipline. But making music together involves a deeper truth: indivi-dual excellence must be acknowledged as part of a greater whole. Players must be able to listen and, where necessary, step back from the limelight. It is this abili-ty that marks out the true artist within the collective. Indeed, it is this that decides the quality of a body of musicians – not that this precludes either the appeal or the principle of contrapuntal polyphony. This principle has always been a promi-nent feature of the long and glorious history of what is now the Bayerisches Staatsorchester, formerly known as the Munich Hofkapelle and, five hundred years ago, as the Munich Kantorei. The appointment of that brilliant master of polyphony, Ludwig Senfl, as musicus intonator in 1523 marks the beginning of one of the world’s longest orchestral histories. Although Duke Albrecht V may have had a reputation as a man who suffered from melancholia, it was his artistic un-derstanding and farsightedness that inspired him to appoint the cosmopolitan Flemish composer Roland de Lassus – known in Italian as Orlando di Lasso – as tenor secundus at his court in 1556. By 1563 Lasso was the maestro della musica di camera and the Kantorei’s principal composer. As the master of a new vocal and instrumental style of composition, he opened up the prospect of a new sym-phonic approach to music that still lay far in the future. In short, there is a long line linking this period with Wagner’s ideal of the sort of sonorities that are found in his later music dramas. The Munich Hofkapelle has had the honour of premiering not only Mozart’s Idomeneo but also Wagner’s Tristan und Isolde – a work that changed the course of musical history – and his Meistersinger von Nürnberg.
But the orchestra was also instrumental in bringing about a shift in attitudes to middle-class culture. The Academy Concerts that were established to promote symphonic music date back to 1811. Over two centuries later, the orchestra is still organizing these concerts. After all, the players are able to perform not only ope-ras. They began with a symphony in D major by an as yet relatively little-known composer by the name of Beethoven. The list of the conductors – some of them among the greatest practitioners of their art – who have headed this special and long-standing artists’ collective, which since 1918 has been known as the Bayeri-sches Staatsorchester, is a lengthy one and extends from Franz Lachner, Hans von Bülow, Hermann Levi and Richard Strauss to Bruno Walter, Hans Knapperts-busch, Georg Solti, Rudolf Kempe, Joseph Keilberth, Wolfgang Sawallisch, Zubin Mehta, Kent Nagano, Kirill Petrenko and, most recently, Vladimir Jurowski: an almost intimidating roll of honour stretching back over five centuries and starting out with Orlando di Lasso.
A further long-standing aspect of the orchestra’s activities has been its travels in the form of extended tours across Europe and to Asia. Its special interplay of venerable tradition and its desire to embrace the new may be heard in the world’s great centres of music, including Carnegie Hall, the Elbphilharmonie and Lucer-ne’s Culture and Congress Centre. For the eighth year in a row and the tenth time in all, the Bayerisches Staatsorchester has recently been named "Orchestra of the Year“ in a poll conducted among fifty international music critics for Opernwelt magazine. It is no surprise, therefore, that the orchestra has sought to document its successful performances on its own label, Bayerische Staatsoper Recordings. Its very first releases were showered with prestigious prizes, including no fewer than four Gramophone Awards. Its work in preserving the past through the medi-um of recordings has met with an entirely positive response.
We should not forget that with music-making, too, the truth is to be found “on the field”. The individuals who make up the team must learn to submit to a single figu-re. At least for as long as the music is still playing.

Termine
So 05.03.2023
KRIEG UND FRIEDEN (WOINA I MIR)
Vladimir Jurowski
Krieg und Frieden (Woina i mir)
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5. März 2023 17:00 Uhr Premiere

Vladimir Jurowski
Dmitri Tcherniakov

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Chefs
Orlando di Lasso
https://www.sammlung.pinakothek.de/de/artwork/ma4d3KgGrO

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With Orlando di Lasso, Duke Albrecht V engaged what is probably the most important musician of his time. From 1562/63 he was the court music director, taking over the management of the table and chamber music as well as the musical arrangement of the services. The Duke enjoys close contact with his musicians and spends a lot of money on them. The Bavarian court is looking for the best singers and instrumentalists throughout Europe. At the wedding of the heir to the throne Wilhelm V in 1568, visitors raved about the artistic interplay and varied repertoire of the court orchestra.


Photo credit: Deutsch, Bildnis des Orlando di Lasso, 1580, Bayerische Staatsgemäldesammlungen, URL: https://www.sammlung.pinakothek.de/de/artwork/ma4d3KgGrO

Chefs
Zubin Mehta about the Bayerisches Staatsorchester

With most of the orchestras I conduct these days, I am half the age of these bodies. Fortunately, I can’t say that about the Bayerisches Staatsorchester. So I wish my colleagues and all their predecessors nothing but the best on their 500th birthday! My eight years with this great ensemble have been a highlight of my career, and I can’t tell you how many wonderful memories I have in both symphony and opera: our European tour with the Mahler Three; the Bruckner Eight; the trip to Kashmir and Mumbai; the Don Carlo production with Jürgen Rose; as well as the two Ring productions I was privileged to conduct, will remain forever in my heart.

Great musicians were and are gathered in the Bayerisches Staatsorchester to whom I tip my hat in admiration. I can only end these words of homage this way: Ladies and gentlemen of the Bayerisches Staatsorchester, I love and adore each and every one of you all and cannot wait to make music with you again. In deep friendship and admiration

Zubin Mehta
General Music Director 1998–2006
Honorary Conductor of the Bavarian State Orchestra

Photo credit: Wilfried Hösl

Termine
Fr 31.03.23
SCHMETTERLING
Sol Léon
Paul Lightfoot
Schmetterling
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31. März 2023 19:30 Uhr Premiere

Sol León und Paul Lightfoot

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The value of variety

The Bayerisches Staatsorchester is remarkable for its fascinatingly varied reper-tory, its multifarious forms of artistic expression and its multiple activities.

Ruth Renée Reif

“Fear! … a deep-seated sense of fear and, time and again, the question as to how the various orchestral departments will survive and what effect it will have on their nerves when the timpani launch an assault on the violas and double basses?” This was Gerd Albrecht’s anxious question when conducting Aribert Reimann’s Lear. But then came the surprising answer: the Bayerisches Staatsorchester accepted this music in a characteristic spirit of professionalism and impassioned commit-ment. It knows how to deal with the problem that arises when the flutes are asked to negotiate keenly strident intervals while accompanying a shimmering pianissi-mo in the violins and violas and a tintinnabulation of jingles, cymbals and a triangle and trumpets add their fanfares not only in the orchestra pit but also in the audi-torium. Always willing to confront the unfamiliar and the new, the orchestra casts its spell on its audiences with its mystical sounds and ecstatic highs, while also captivating them with ist subtle delicacy and lyric enchantment. It revels in Ro-mantic melodies but retains the ability to explore a world of rhythmic brutality and austerity, indulging in beautiful sounds, paying tribute to the spirit of virtuosity and to a universe of noise and inviting audiences to immerse themselves in worlds of sound that allow it to function as a psychological sounding board.
The operatic repertory of the Bayerisches Staatsorchester is characterized by its variety. Every evening there is a different work from a different period on its schedule. And the orchestra has the ability to bring every composition to life and to transform music that was written only yesterday – or several centuries ago – into joy, sadness and tragedy. It is with openness and inquisitiveness that it rises to the challenge of exchanging its modern instruments for their Baroque equiva-lent and following the conductor not on his or her podium but seated at a harpsi-chord. Its players study old scores and are happy to try out novel performance techniques. It is with sheer bravura that it returns to a period that it helped to shape centuries ago, when the singers onstage fought sea monsters or the enti-re stage, including its performers and dancers, was relocated to a raft on the River Isar so that a spectacular sea battle could be enacted there.
Past experiences live on, leaving their mark on the players and overwriting their history in the manner of a palimpsest, while leaving btraces of earlier layers. Nothing is ever completely forgotten. Just as something is invariably left over from every good relationship, so each experience leaves behind a residue that continues to exist in unseen ways, emerging only when it is required to do so. Their exploration of so many different musical landscapes creates a variety that pushes back the horizon even further. Just as the orchestra’s engagement with Classical and Romantic works makes it easier for its players to understand indivi-dual styles on the cusp of tonality and beyond, so their work on contemporary scores allows them to take a fresh look at the classics.
The variety of the Bayerisches Staatsorchester is also reflected in the range and depth of its programmes as well as in the manifold forms that its activities take, activities that it invariably pursues with passion. When Octavian presents a silver rose to Sophie, this scene is accompanied not only by radiant harmonies on a celesta, two harps and a glockenspiel, turning this moment into an event of the highest order, the score’s complex rhythms and kinetic textures extend beyond the performers’ voices and envelop the rose in an aura of elaborate intervals and ingenious turns of phrase. Dance theatre also represents a significant field of activity for the orchestra, and just as its operatic repertory extends from the Baroque to the great Romantic works and the present day, so it accompanies the entire range of choreographic works for the theatre, opening up a vast panorama that extends from dance episodes from the Baroque to the classical ballets of the nineteenth century, the works that were created in the twentieth century and projects involving the contemporary avant-garde.
The prospect of being able to work on projects that no other house can attempt draws international choreographers to Munich’s Nationaltheater. “Here we can play music that demands a great and outstanding orchestra,” says choreographer Jörg Mannes in the context of his adaptation of Shakespeare’s The Tempest. And so Ariel can chase the stranded seafarers over the stage as dogs, jackals and tigers, while jagged intervals rise up out of the crowded orchestra pit. The fact that the orchestra is an equal partner in ballet performances is underscored by the work of choreographers in which the dancers visualize the music. While the orchestra performs works from the eighteenth, nineteenth and twentieth centu-ries, the dancers respond by adopting the appropriate dance idioms. And so the enchantment associated with mystery is cast over the stage when the dancers respond to a musical explosion in the pit with expressive concentration.
Finally, whenever the Bayerisches Staatsorchester invites audiences to its Academy Concerts, the Nationaltheater is transformed into what Wolfgang Sa-wallisch is once called “Munich’s most beautiful concert hall”. On these occasions the orchestra is literally centre-stage. These concerts, which are now a local in-stitution, can be traced back to a time when a major concert was held every Wed-nesday at Nymphenburg. The symphonic repertory that has been performed throughout these years is correspondingly vast and varied. And new works are added each year, in many cases commissions by the Bayerische Staatsoper that are receiving their first performances.
But it is the chamber concerts that cover the greatest historical range, a circum-stance due in part to the fact that the Bayerisches Staatsorchester was originally a chamber ensemble and in part because its members explore the whole spect-rum of music at their chamber concerts, taking a particular interest in the period from the early twentieth century to the present day but also going back in time to the Baroque and the Renaissance. They also engage with remote corners of the repertory and enjoy experimentation. In this way they have sought to establish connections with other arts, including literature, and with other cultures, including Far Eastern sounds and African polyrhythms. Every department of the orchestra takes part in these activities, exploring traditional chamber formations such as the string quartet and the piano trio but also investigating other resources, inclu-ding flute, oboe, english horn, clarinet and bassoon or flute and percussion or oboe, bass clarinet and piano. Nor do they shy away from novel performance techniques, holding their string instruments as they would hold a guitar, for exa-mple.
This range culminates each year in the Munich Opera Festival, when the Bayeri-sches Staatsorchester is challenged in the whole range of its activities from an opera and ballet orchestra to concerts that are a part of its Academy Concert series, specially mounted Festival concerts and chamber recitals.
Yet the most valuable tool in this varied arsenal is the people who over the centu-ries have breathed life into this ensemble and who have allowed it to grow artisti-cally. Evening after evening the individual members of the orchestra contribute to its profile and to ist brilliant success with their own cultural background, their indi-vidual life stories, their abilities and their experience. The creativity, commitment and talents of the musicians in the pit and on the podium have resulted in the strength that has kept this wonderful orchestra alive through wars, political uphe-avals, fires and the repeated loss of its instruments. It is this strength that also guarantees the orchestra’s future.

Termine
Sa 15.07.2023
SEMELE
Stefano Montanari
Semele
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15. Juli 2023 18:00 Uhr Premiere

Stefano Montanari
Claus Guth

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Termine
Fr 23.06.23
SPHÄREN.01|GOECKE
Sphären.01
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23. Juni 2023 19:30 Uhr Premiere

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Termine
Mo 20.03.2023
Hermann-Levi-Akademie
1. Kammerkonzert der Hermann-Levi-Akademie
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20. März 2023 19:00 Uhr

Hermann-Levi-Akademie

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Termine
Mo 12.06.2023
Hermann-Levi-Akademie
2. Kammerkonzert der Hermann-Levi-Akademie
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12. Juni 2023 19:00 Uhr

Hermann-Levi-Akademie

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Neujahrswünsche von Hans Knappertsbusch

Photo creddit: Archiv der Musikalischen Akademie


 

Termine
So 14.05.2023
Ein Hörnerfest
6. Kammerkonzert 2022/23
Termine
Do 07.09.2023
Vladimir Jurowski
Südtirol Festival Merano
500th Anniversary Tour

07th September 2023

Venue: Südtirol Festival Merano, Kursaal Meran

Vladimir Jurowski, Conductor
Yefim Bronfman, Piano

Programme:

Richard Wagner
Prelude Tristan und Isolde

Robert Schumann
Piano Concerto A minor op. 54

Anton Bruckner
Symphony No. 4 E-flat major Romantic

Termine
Do 14.09.2023
Vladimir Jurowski
George Enescu Festival
500th Anniversary Tour

14th September 2023

_Venue: George Enescu Festival, Bukarest, Sala Palatului

Vladimir Jurowski, Conductor
Vilde Frang, Violin

Programme:

Anatol Vieru
Écran

Alban Berg
Violin Concerto To the Memory of an Angel

Richard Strauss
An Alpine Symphony op. 64

Termine
Fr 22.09.2023
Vladimir Jurowski
Brucknerfest Linz
500th Anniversary Tour

22nd September 2023
Venue: Brucknerfest Linz, Brucknerhaus Linz

Vladimir Jurowski, Conductor
Yefim Bronfman, Piano
Elsa Dreisig, Soprano

Programme:

Richard Wagner
Prelude Tristan und Isolde

Robert Schumann
Piano Concerto A minor op. 54

Gustav Mahler
Symphonie No. 4 G major

Termine
Mo 15.05.23
AIDA
Daniele Rustioni
Aida
Termine
Mo 22.05.2023
Di 23.05.2023
Vladimir Jurowski
6. Akademiekonzert 2022/23
Termine
So 23.04.2023
Der Münchner Klarinetten Olymp
5. Kammerkonzert 2022/23
Termine
Mo 17.04.2023
Di 18.04.2023
Robert Jindra
5. Akademiekonzert 2022/23
Termine
So 13.03.2023
Musik um Richard Strauss
4. Kammerkonzert 2022/23
Termine
Do 27.07.2023
Recital Pascal Deuber
4. Festspiel-Kammerkonzert
Termine
Mo 06.02.2023
Di 07.02.2023
Zubin Mehta
4. Akademiekonzert 2022/23
Termine
Mi 19.07.2023
Mozart und die Münchner Hofkapelle
3. Festspiel-Kammerkonzert
Termine
Do 30.03.2023
Vielfalt und Gerechtigkeit
Themenkonzert
Termine
So 08.01.23
Vladimir Jurowski
3. Akademiekonzert 2022/23
Bayerische Staatsoper Recordings veröffentlicht hatte, folgt jetzt die Uraufführung einer Auftragskomposition bei dem australischen Komponisten: Nocturnes and Night Rides. Mit den diesjährigen Münchner Opernfestspielen kommt außerdem seine Oper Hamlet auf die Bühne des Nationaltheaters. 

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Als „Akademien“ wurden schon im 18. und 19. Jahrhundert (oft privat organisierte) Konzerte bezeichnet. Der Münchner Verein Musikalische Akademie e. V. wurde 1811 aus der Mitte des damaligen Hofopernorchesters gegründet. Damit etablierten die Musiker die erste symphonische Konzertreihe Münchens.

Anders als beim Festakt enthält das Programm des 3. Akademiekonzertes ein zweichörig komponiertes Instrumentalwerk des venezianischen Komponisten Giovanni Gabrieli, der in München bei Orlando di Lasso studierte und als Schlüsselfigur an der Schwelle von Renaissance- zu Barockmusik später selbst Komponistengrößen wie Heinrich Schütz unterrichten sollte.

Das Bayerische Staatsorchester erhält nicht nur die großen Werke der letzten Jahrhunderte am Leben, sondern fühlt sich auch der Neuen Musik verpflichtet: Nachdem es unter seinem Generalmusikdirektor Vladimir Jurowski 2020 bereits sehr erfolgreich Brett Deans Testament aufgeführt und im hauseigenen CD-Label Bayerische Staatsoper Recordings veröffentlicht hatte, folgt jetzt die Uraufführung einer Auftragskomposition bei dem australischen Komponisten: Nocturnes and Night Rides. Mit den diesjährigen Münchner Opernfestspielen kommt außerdem seine Oper Hamlet auf die Bühne des Nationaltheaters. 

Zum Termin

Termine
So 19.11.2023
Große Streichsextette
2. Kammerkonzert 2023/24
Termine
Mo 06.11.23
Di 07.11.23
Kent Nagano
2. Akademiekonzert 2023/24
Termine
Do 13.07.2023
Cellissimo
2. Festspiel-Kammerkonzert
Termine
So 26.03.2023
Die Zukunft wartet nicht
Themenkonzert
1. Festspiel-Kammerkonzert
Termine
So 08.10.2023
Mo 09.10.2023
Di 10.10.2023
Kirill Petrenko
1. Akademiekonzert 2023/24
Termine
Mo 09.01.2023
Di 10.01.2023
Vladimir Jurowski
3. Akademiekonzert 2022/23
Termine
Passionskonzert
Chefs
Ludwig Senfl
weiterführende Informationen zu Ludwig Senfl


Location: München, Staatliche Münzsammlung

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Born in Basel or Zurich around 1490, Ludwig Senfl was probably active as a choirboy in Maximilian I’s chapel during his childhood. Presumably he completed his studies at the University of Vienna as part of an imperial scholarship as well as training as a clergyman. Senfl worked in the imperial chapel until 1520, and in 1523 he was given a permanent position by Duke Wilhelm IV in Munich, where he lived until his death in 1523. His extensive oeuvre includes sacred and secular compositions, such as masses, a large number of cycles of props, motets and songs. He maintained contacts with humanistic and Protestant circles and corresponded with Martin Luther, among others, to whom he also regularly sent compositions. Luther wrote to Senfl from Veste Coburg in 1530: “Love [of music] has also given me hope that my letter will not pose any danger to you … I really praise your Dukes of Bavaria, even if they are not in the least inclined towards me, and respect them above others for the way they promote and nurture music.”
Senfl’s immense esteem as a composer endured well after his death, as evidenced by the wide distribution and number of transmissions of his works. Since 2015, musicologists have been working on the New Senfl Edition, a new complete edition of all of Senfl’s compositions.


Hier finden Sie weiterführende Informationen zu Ludwig Senfl


Location: München, Staatliche Münzsammlung

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