Zeitzeugnisse
Erich Wolfgang Korngold: The Ring of Polycrates / Violanta
https://www.loc.gov/item/2005689510/


">

The world premiere of Erich Wolfgang Korngold’s two one-act plays Der Ring des Polykrates and Violanta took place on March 28, 1916 in Munich’s Hoftheater. The composer was 18 at the time and had already appeared as a child prodigy at the age of 13 with the world premiere of his ballet pantomime Der Schneemann at the Vienna Hofoper. Korngold had already completed his cheerful opera Der Ring des Polykrates in 1914, which was followed immediately by the composition of the tragic opera Violanta. The sensational success of Korngold’s opera Die tote Stadt finally followed in 1920, which last premiered at the Bavarian State Opera in 2019 and caused a sensation under the musical direction of Kirill Petrenko in a production by Simon Stone and with Jonas Kaufmann and Marlis Petersen in the leading roles. This spectacle was documented on DVD and Blu-ray on the in-house label Bayerische Staatsoper Recordings. Max Reinhardt brought Korngold to Hollywood in 1934, where the composer provided the music for 19 films and thus had a lasting influence on film music.


Photo credit: George Grantham Bain Collection (Library of Congress) https://www.loc.gov/item/2005689510/


 

Programm
Passion Concert

On April 1st at 6:00 p.m. in the Allerheiligen Hofkirche there will be a Passion Concert, which will be performed jointly by the Hermann Levi Academy and young talents from the Opera Studio of the Bavarian State Opera under the musical direction of Michael Pandya. Pieces from the two great oratorios St Matthew Passion and St John Passion as well as from the cantata Sehet! Wir gehn hinauf gen Jerusalem by Johann Sebastian Bach will be performed.


Photo credit: Magdalena Koenig


 

Programm
Ballett Festival Week 2023

At the beginning of April, the Bayerisches Staatsballett traditionally hosts its Ballet Festival Week. Founded in 1960 by then ballet director Heinz Rosen, the festival presents the highlights of the current season at the Nationaltheater between March 31 and April 8, 2023. It kicks off with the premiere evening Schmetterling, which features two works by the choreographer duo Sol León and Paul Lightfoot. In addition, there are the story ballets A Midsummer Night’s Dream by John Neumeier, Romeo and Juliet by John Cranko and Cinderella by Christopher Wheeldon. In addition, the ensemble once again brings the three-part evening Passages to the stage of the Nationaltheater with choreographies by David Dawson (Affairs of the Heart), Marco Goecke (Sweet Bones’ Melody) and Alexei Ratmansky (Pictures at an Exhibition). The junior ensembles perform again at the matinee of the Heinz Bosl Foundation.

Meet the Musicians
Benedikt Don Strohmeier, cello (stv. solo)

Benedikt Don Strohmeier prefers to go on vacation where there is water, wind and, ideally, waves to be able to kitesurf well. He knew very early on that he wanted to be a musician, but at some point he had to decide whether it should be the cello or the piano. At that time he also made street music, for example on the final day of the 2002 World Cup. He sat down with his sister and friends in the old town in Regensburg and played the second movement of Haydn’s Kaiserquartett on a continuous loop. After about an hour and a half they had enough money to have a nice afternoon and evening.


Photo credit: Wilfried Hösl


 

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


 

Meet the Musicians
So-Young Kim, violin (Pre-Player)
Watch full video here

">

Lead violinist So-Young Kim introduces herself and talks about the 2017 Asia Tour.

Watch full video here

Meet the Musicians
Rupert Buchner, cello
Watch full video here.

">

Cellist Rupert Buchner introduces himself and talks about the 2017 Asia Tour.

Watch full video here.

Meet the Musicians
Thomas März, drums
Watch full video here.

">

Percussionist Thomas März introduces himself and talks about the 2017 Asia Tour.

Watch full video here.

Programm
3rd Theme Concert – Choosing Not to Know

The third Theme Concert will take place on March 31 at 7:00 p.m. in the Scholastikahaus (Ledererstraße 5, 80331 Munich). The motto of this year’s series is: Waiting to see you again – What do we hold on to in the course of time? New encounters with old problems.

Prof Dr Dr h.c. Christoph Engel, Director at the Max Planck Institute for Research on Collective Goods, Bonn, gives a lecture on the subject: I don’t even want to know that.

For Immanuel Kant there was no doubt: “Enlightenment is man’s emergence from his self-inflicted immaturity.” But does the patient become guilty who does not want to know his diagnosis? Or the spouse who doesn’t want to know if he’s being cheated on? Or the liberators who wrap the cloak of silence around the misdeeds of the old regime? Or the company that doesn’t keep track of the attendance of its employees? How is the conscious decision not to want to know something to be evaluated? And how to protect the legitimate desire to remain unenlightened?

Members of the Bayerisches Staatsorchester perform Isang Yun’s Gasa (1963) for violin and piano, two compositions by Toshio Hosokawa (_Memory_. In Memory of Isang Yun for piano trio and Vertical Time Study III for violin and piano) and Wolfgang Amadeus Mozart’s Piano Trio No. 2 B-major KV 502. Japan’s most-performed composer Toshio Hosokawa is a constant at this year’s Theme Concerts, whose music enters into dialogue with a composition by his composition teacher Isang Yun: Gasa can be translated as “song words” and comes as a narrative song from the Korean tradition.

In cooperation with the Max Planck Society


Photo credit: Pietro Bucciarelli / Connected Archives


 

 

Programm
2nd Theme Concert – Diversity and Justice

The second Theme Concert will take place March 30 at 7:00 p.m. in the Brainlab (Olof-Palme-Straße 9, 81829 Munich-Riem). The motto of this year’s series is: Waiting to see you again – What do we hold on to in the course of time? New encounters with old problems.

Prof Dr Dr h.c. multi. Marie-Claire Foblets, Director at the Max Planck Institute for Social Anthropology, Halle (Saale) will give a lecture on the topic: Does diversity threaten our democracy?The project of a democratic, liberal, open and pluralistic society is an ambitious and at the same time difficult project, the implementation of which is accompanied by conflicts of interests and values. Opinions vary widely on the degree of openness and respect due to different ways of life and philosophical or religious beliefs, as illustrated by examples from legal practice across the EU, where not only courts but also administrations and legislators deal with issues of see diversity confronted, is illustrated. With a bit of creativity, sensible solutions can be found, but they differ depending on the constitutional framework of the respective country.

Members of the Bayerisches Staatsorchester perform two compositions by Toshio Hosokawa: A Song from far away – In Nomine - for 6 players (2001) and The Raven, a monodrama for mezzo-soprano and 12 players (2011/12), based on the poem of the same name by Edgar Allan Poe. Armando Merino is the musical director of the latter part of the programme, and Salome Kammer takes on the singing part. Hosokawa’s A Song from Far Away was commissioned for the Witten Festival for New Chamber Music, when the program focused on “In nomine” compositions whose tradition goes back to John Taverner’s six-part mass Gloria tibi Trinitas. Most recently, Arnold Schönberg’s monodrama Erwartung could be experienced on the big stage of the National Theatre, so now a contemporary work of this genre in the Brainlab: In The Raven the discrepancy between forgetting and remembering is addressed, with a mezzo-soprano singing the inner voice of a woman, the voice of the raven and the narrator. Musically, an eerie and mysterious mood prevails.

In cooperation with the Max Planck Society


Photo credit: Pietro Bucciarelli / Connected Archives


 

 

Programm
1. Theme Concert – The Future Doesn’t Wait? Temporality in Capitalism

The first theme concert will take place March 26 at 7:00 p.m. in the Freiraum in Munich High 5 (Werksviertel, Atelierstraße 10, 81671 Munich). The motto of this year’s series is: Waiting to see you again – What do we hold on to in the course of time? New encounters with old problems.

Dr Lisa Suckert, research associate at the Max Planck Institute for the Study of Societies in Cologne, will give a lecture on the topic: The future won’t wait? Temporality in capitalism.

Capitalism is not only an economic order and a regime of production, but also involves a specific temporal order. Acceleration and future orientation play a special role in this, but also waiting practices, unequal temporal autonomy and a bureaucratic enclosure of the future. Along with the peculiarities of our current capitalist order of time, its attractiveness but also its numerous paradoxes and fractures become clear.

Members of the Bayerisches Staatsorchester play Toshio Hosokawa’s Hour flowers. Hommage à Olivier Messiaen (2008) for clarinet, violin, cello and piano and Olivier Messiaen’s Quatuor pour la fin du temps for clarinet, violin, cello and piano. Hosokawa is considered to be the best-known and most-performed composer in Japan today, whose musical language oscillates between Western avant-garde and traditional Japanese art forms. His work Hourly Flowers was written on the occasion of the 100th birthday of the French composer Olivier Messiaen, whose famous chamber music work Quatuor pour la fin du temps is also used for the composition of the Hourly Flowers. Messiaen completed his “Quartet for the End of Time” in a Nazi prisoner of war camp, where it premiered in 1941.

In cooperation with the Max Planck Society


Photo credit: Pietro Bucciarelli / Connected Archives


 

 

Programm
About the program of the concert in the Isarphilharmonie (Jurowski/Capuçon)

On March 25, the Bayerisches Staatsorchester will play under its general music director Vladimir Jurowski in the Isarphilharmonie, the Munich concert hall that only opened in October 2021 and can accommodate almost 2,000 guests. Renaud Capuçon will perform Alban Berg’s violin concerto In Memory of an Angel. The dedication refers to Manon Gropius – daughter of Gustav Mahler’s widow Alma from her first marriage to the architect Walter Gropius – who died at the tender age of 18 from complications of polio. Alban Berg used the twelve-tone technique of his teacher Arnold Schönberg for this, allowing himself a few compositional liberties. Anton Bruckner’s Symphony No. 4, also known as the “Romantic”, was premiered in Vienna in 1881 and was performed nine years later at the Musikalische Akademie under Franz Fischer after the General Music Director Hermann Levi fell ill. The latter was very committed to Bruckner’s music, for example by contributing to the printing costs of the fourth symphony, so that Bruckner, enthusiastic with gratitude, spoke of Munich as his “artistic home” in a letter to Levi.


Photo credit: © Isarphilharmonie im Gasteig HP8


 

 

Programm
Un:erhört – chamber concert of the Hermann Levi Academy

The Hermann Levi Academy supports talented young musicians by giving them the opportunity to practice with the orchestra under professional conditions, discovering  opera literature with its specific requirements as well as symphonic music.

The Bayerisches Staatsorchester’s Hermann Levi Academy was originally founded in 2002 under the name “Orchestra Academy of the Bayerisches Staatsorchester”. Its task was to pass on the traditions of one of the oldest German orchestras to young musicians and consequently keep this particularly special sound and performance culture alive for subsequent generations. Since July 2021, the Orchestra Academy has included the “Hermann Levi Academy” title in its name to honour Hermann Levi’s importance in the world of music and in particular his forward-looking creativity at the National Theatre in Munich.

On March 20th, the Hermann Levi Academy will present itself in the Alte Pinakothek, playing Ludwig van Beethoven’s Trio op. 78, arranged for horn, trumpet and trombone, the wind quintet in C major op. 79 by August Klughardt, the fantasy C minor for harp solo op. 35 by Ludwig Spohr and Beethoven’s string quartet in C minor op. 18 no. 4.


Photo credit: Frank Bloedhorn


 

 

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


">

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


 

Zeitzeugnisse
Women in the orchestra
https://www.kulturrat.de/themen/frauen-in-kultur-medien/beitraege-publikationen/gendersrecht-in-berufsorchestern/

More about Leonore Buff: https://www.sophie-drinker-institut.de/buff-leonore


Photo credit: Archive of the Musikalische Akademie


">

Today, the proportion of women in the Bayerisches Staatsorchester is over a third. That wasn’t always the case: in the photo from 1911, the only female member of the Musikalische Akademie can be seen in the first row, namely the harpist Leonore Kennerknecht-Buff. She was said to be related to Charlotte Kestner (born Buff), who went down in literary history as the historical role model of Lotte in Goethe’s epistolary novel The Sorrows of Young Werther. In 1892, Buff was accepted as a member of the Bayerisches Hoforchester, which later became the Bayerisches Staatsorchester. Other orchestras took much longer to take this step: while the Berlin Philharmonic accepted the first woman as an orchestra member in 1982, the Vienna Philharmonic only followed suit in 1997.

More about women in orchestras: https://www.kulturrat.de/themen/frauen-in-kultur-medien/beitraege-publikationen/gendersrecht-in-berufsorchestern/

More about Leonore Buff: https://www.sophie-drinker-institut.de/buff-leonore


Photo credit: Archive of the Musikalische Akademie


 

 

Programm
On the program of the 4th Chamber Concert 2022/23: Music around Richard Strauss

At the age of 23 Richard Strauss was Kapellmeister in Meiningen; during this time he composed the Sonata in E flat major for violin and piano op. 18, in which the musical influence of Johannes Brahms, 31 years older, can be felt. Karl Amadeus Hartmann himself named “Strauss’s Salome und Elektra” as the central influence of his first compositions. Hartmann founded the Munich concert series musica viva, and some of his early works were premiered at the Bavarian State Opera, where he even worked as dramaturge from 1945. In his 1932 Little Concerto for string quartet and percussion, the percussion enriches the string ensemble with unusual timbres. Two months before the premiere of Hans Pfitzner’s opera Palestrina, Thomas Mann expressed his anticipation in a letter to the composer, because “it will mean an apotheosis of the music itself, nothing less”. Before that premiere in 1917 was actually to become Pfitzner’s triumph in Munich, he composed his piano quintet op. 23. It was first performed in 1908 and was dedicated to Bruno Walter, who later became General Music Director of the Bayerisches Staatsorchester.


Photo credit: Magdalena König


 

 

Zeitzeugnisse
Beer sign in the Hofbräuhaus Munich
https://www.historisches-unterfranken.uni-wuerzburg.de/db/biermarken/biermarken/aufsatz.php

About the Hofbräuhaus in München: https://www.hofbraeuhaus.de/bierzeichen/


Photo credit: Wilfried Hösl


">

The Staatliches Hofbräuhaus brewery in Munich preserves the tradition of beer symbols, also known as beer marks: since the 19th century they have served as a calculating aid and have been part of almost every brewery for a long time; first made of brass, then aluminium, later made of plastic, in the post-war years after the Second World War also in the form of paper notes. Each brand has a specific value, for example “1 Maß light or dark” or “Good for 1 liter of beer”. In the Hofbräuhaus am Platzl, beer tokens can be purchased that keep the value of a beer, even if the prices on the drinks menu go up. Now there is also a beer sign from the Hofbräuhaus in honor of the 500th anniversary of the Bayerisches Staatsorchester.

Worth knowing about the beer brand: https://www.historisches-unterfranken.uni-wuerzburg.de/db/biermarken/biermarken/aufsatz.php

About the Hofbräuhaus in München: https://www.hofbraeuhaus.de/bierzeichen/


Photo credit: Wilfried Hösl


 

 

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


">

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


 

 

Ensembles
Schumann Quartet
http://www.schumann-quartett.de .

">

Consisting of members of the Bayerisches Staatsorchester, the Munich Schumann Quartet performed Béla Bartók’s early piano quintet and Arnold Schönberg’s 2nd string quartet with soprano in 1994, the year it was founded. Since then, invitations to concert tours and festivals in Europe, Japan and the USA have followed. The close cooperation with singers and composers enables the ensemble to perform rarely heard works as well as world premieres and experimental pieces in addition to the widely diversified common quartet repertoire, which combine video and language arts beyond pure tonal language. The first violinist Barbara Burgdorf is concert master of the Bayerisches Staatsorchester. Traudi Pauer has been playing here since 1996. Stephan Finkentey has been deputy principal violist since 1988, and one year later Oliver Göske joined the Bayerisches Staatsorchester. For the Schumann Year 2010, the quartet recorded two double CDs, which are available in stores or via http://www.schumann-quartett.de .

Zeitzeugnisse
Carlos Kleiber asks for material

Photo credit: Archive Musikalische Akademiee


Zeitzeugnisse
The Tragedy of the Devil
https://www.youtube.com/watch?v=MylAsq5_dy0


Photo credit: Wilfried Hösl


">

On February 22, 2010, The Tragedy of the Devil by Hungarian composer Peter Eötvös was premiered with a libretto by Albert Ostermaier in the National Theatre. Eötvös himself conducted the Bavarian State Orchestra. The Ukrainian artist couple Ilya and Emilia Kabakov designed the stage and Balázs Kovalik directed. Find out more about the work and the staging of that time in a contribution with Eötvös, Kovalik, Ostermaier and the Lucifer singer of the premiere Georg Nigl.

https://www.youtube.com/watch?v=MylAsq5_dy0


Photo credit: Wilfried Hösl


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


">

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


Zeitzeugnisse
Carlos Kleiber discusses the concert program

Photo credit: Archive of the Musikalische Akademie


Zeitzeugnisse
Carl Orff: The moon

Carl Orff’s opera Der Mond was premiered on February 5th, 1939 at the Bavarian State Opera under the musical direction of Clemens Krauss in a production by Rudolf Hartmann. The composer wrote the libretto himself and in doing so took over literal text passages from the fairy tale of the same name by the Brothers Grimm. Orff’s description of this “small world theater” is based on the three scenes of heaven, earth, underworld and the view of a little boy on it. Orff thought about his opera as “a thoughtful parable of the futility of human efforts to disturb the world order and at the same time a parable of being safe in this world order”. The composer himself described the music as his “farewell to romanticism”. Critics were enthusiastic, for example the musicologist Fred Hamel: “So you encounter a creation that has been desired for the opera stage for a long time […] It’s great how Orff’s music also fully expresses this power here the elementary means of rhythm and song form […] With this economy of means, Orff’s melodic invention is so powerful, his rhythmic imagination so inexhaustible, that they evoke a sheer abundance of changing impressions of pictorial power.”


Photo credit: Hanns Holdt


Meet the Musicians
Christian Loferer, horn

In addition to Munich, Christian Loferer feels very comfortable in Sydney and San Francisco. He has busked in Edinburgh before, and if he could make any activity an Olympic event, time telling would give him the best chance of winning a medal.


Photo credit: Wilfried Hösl


Meet the Musicians
Barbara Burgdorf, 1st violin (concertmaster)

For Barbara Burgdorf, the best thing about her job is the beauty it offers for the soul, for herself and for others. If she hadn’t become a musician, she would probably have been a biologist.


Photo credit: Wilfried Hösl


Programm
4th Akademiekonzert 2022/23

The long-standing collaboration between the Greek composer Minas Borboudakis and the Bavarian State Orchestra has borne fruit, such as the “Musical Theatre for Young People in Eight Scenes” premiered in 2007 entitled liebe.nurliebe, but also Synaptic Arpeggiator for piccolo, English horn, E-flat clarinet, bass clarinet and contrabassoon and most recently the German and German-language premiere of the chamber opera Z in the 2018/19 season. In the composition commissioned by the Bavarian State Opera for the 500th anniversary of the Bavarian State Orchestra entitled Apollon et Dionysos. Patterns, Colors and Dances for Orchestra Borboudakis is dedicated to the musical fusion of Apollonian and Dionysian opposites. Friedrich Nietzsche already stated in his fundamental writing The Birth of Tragedy Out of the Spirit of Musicthat “the further development of art is bound to the duality of the Apollonian and the Dionysian”: light, clarity, harmony and self-knowledge on the one hand and dissolution of boundaries, ecstasy, madness and loss of control on the other side. The ancient god Apollo adorns the gable of the National Theatre Munich to this day.

Felix Mendelssohn Bartholdy’s popular Violin Concerto in E minor was written by the composer for his friend, the violinist Ferdinand David: “I
I would also like to make you a violin concerto for next winter, one
in E minor stands in my head, the beginning of which gives me no rest.” After this announcement, seven winters should elapse before the world premiere in Leipzig. The result is a visionary work that comes up with some compositional innovations: namely the direct introduction of the main theme by the violin without an orchestral prelude, the position of the solo cadenza in the middle of the first movement and the special feature that all three movements musically merge into one another.

Two formative events in Anton Bruckner’s life flowed into his work on the sprawling Symphony No. 7 in E major: the tragic fire in the Vienna Ringtheater in 1881, in which several hundred people lost their lives, occurred at the time of its composition. Bruckner’s apartment was in the immediate vicinity of the Ringtheater, and the composer is said to have owned tickets for the fateful performance of Les contes d’Hoffmann, but spontaneously decided against going there. Bruckner and his manuscripts were spared from the fire. The slow Adagio as the center of the symphony can be understood as a requiem for the death of Richard Wagner in February 1883, which is given special colors by the use of so-called Wagner tubas (these were originally conceived for the Ring des Nibelungen). After Bruckner’s Seventh Symphony had already sparked a storm of jubilation at its premiere in Leipzig in 1884 – such positive reactions from the audience were a new experience for the hitherto rather ridiculed Bruckner – Hermann Levi, from 1872 to 1896 General Music Director and Court Kapellmeister at the Royal Court and National Theatre in Munich, conducted just one year later the Munich premiere of the work as part of the Musikalische Akademie. Levi also helped spread the work internationally by raising money for its publication, which the publisher was asking for. In Levi’s report on Bruckner’s works, the conductor finally ennobles the composer: “In my opinion, Bruckner is by far the most important symphonist of the post-Beethoven period.”


Photo credit: The Ringtheater fire in Vienna 1881. 19th century, Colored lithograph. Theatermuseum © KHM-Museumsverband


Zeitzeugnisse
Wolfgang Amadeus Mozart: Idomeneo
https://dme.mozarteum.at/DME/briefe/doclist.php


Photo credit: Bayerische Staatsbibliothek München, Signatur Slg.Her 811


 

">

On January 29, 1781, Mozart’s “Dramma per musica in tre atti” premiered in Munich’s Hoftheater, today’s Cuvilliéstheater. The libretto is based on the tragédie lyrique of the same name by Antoine Danchet with music by André Campra and was written by the Salzburg chaplain Giambattista Varesco. Five years later, a version revised by Mozart was performed in Vienna.

In 1775 Mozart’s La finta giardiniera was premiered in Munich, and in 1780 the composer was commissioned by Karl Theodor, the Elector of Bavaria, to create an opera for Munich as the highlight of the carnival season. Mozart attended the rehearsals of both operas. Idomeneo was not finished until he was there, and so Mozart was able to take special account of the vocal possibilities of the singers. A correspondence between Mozart and his father Leopold provides information about the background to the creation of Idomeneo, in which the function of scenes and arias is also discussed.

Mozart Letters and Documents – Online Edition:
https://dme.mozarteum.at/DME/briefe/doclist.php


Photo credit: Bayerische Staatsbibliothek München, Signatur Slg.Her 811


 

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


 

">

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


 

Programm
Director Krzysztof Warlikowski about DIDO AND AENEAS ... ERWARTUNG

Director Krzysztof Warlikowski gives first insights into his production of Dido and Aeneas ... Erwartung: The combination of Henry Purcell’s baroque opera and Arnold Schönberg’s monodrama composed more than 200 years later has its premiere on January 29th at the Nationaltheater.

Zeitzeugnisse
Engelbert Humperdinck: Königskinder

The first version of Engelbert Humperdinck’s fairy tale opera was premiered on January 23, 1897 in Munich’s Hoftheater under the musical direction of Hugo Röhr. After the success of Hänsel und Gretel four years earlier, the composer was looking for a text for a comic opera with a popular touch, which was ultimately provided by Elsa Agnes Bernstein, daughter of Humperdinck’s Munich friend Heinrich Porges.

In the years that followed, this melodrama version found its way onto the opera stages of Vienna, Prague, Berlin, Riga, London, Dublin and New York, but disappeared from the repertoire after 1902. The composer revised his melodrama into the through-composed version of the opera known today, for which the text was thoroughly reduced and simplified. Finally, in 1910, this second version was premiered at the Metropolitan Opera in New York.


Photo credit: Archiv Bayerische Staatsoper / Hof-Atelier Elvira München


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


">

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).


Ensembles
OPERcussion
https://www.youtube.com/watch?v=7oiPF874mZk


Photo credit: Dominik Gigler


">

Unique in its kind, OPERcussion, the virtuoso percussion quintet, brings the art of percussion from the depths of the orchestra pit to the front row, realizing a new model of artistic creation while respecting history and championing innovation.

When we study the history of the Bayerische Staatsoper, we learn that the first timpanist with a contract began in 1600 in what was then the Court Orchestra. In more than 400 years of musical tradition, the greatest composers and conductors in history have influenced the members of this traditional orchestra and promoted chamber music activities. The members of the percussion group have not escaped this call and since 2008 have been organized in the formation OPERcussion. Thomas März, Pieter Roijen, Maxime Pidoux, Carlos Vera Larrucea and Claudio Estay bring to the ensemble their virtuosity, their knowledge, the traditions of their countries of origin and their peculiarities. This international ensemble has distinguished itself in the world of percussion and in the music scene in general for the innovation and diversity of its programs, which include collaborations and commissions with contemporary composer:s, as well as arrangements of music not originally written for percussion, from the eras: Baroque, Classical and Impressionist to the interpretation of Latin American music with grandiose improvisational ideas.

On January 20th, the drum quintet OPERcussion performed in the Muffathalle and presented their new CD on the in-house label BSOrec. Here you can experience the ensemble in a recording of the 10th Monday Concert 2020 with a varied program from Mozart to Claude Debussy to Astor Piazzolla in their own arrangements together with the violinist Julia Pfister, who also performed in the Muffathalle with OPERcussion:

https://www.youtube.com/watch?v=7oiPF874mZk


Photo credit: Dominik Gigler


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


">

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.


 

Zeitzeugnisse
Fire in the National Theater on January 14th, 1823

On January 14th, 1823, the National Theater burned. Although the accident happened during a packed evening performance, nobody was hurt. Warm brewing water from the surrounding breweries was used to extinguish the fire, since the water used by the fire brigade froze in the syringes. The building could not be saved from the flames, but was reopened two years later.


Photo credit: Münchner Stadtmuseum, collection of graphics / paintings P-1134
Artist: unknown; Wolfgang Pulfer (repro)


Ensembles
OperaBrass

OperaBrass is one of the chamber music ensembles of the Bavarian State Orchestra. Although the formation also exists in the classic brass quintet formation, it is preferable to enter the stage with four trumpets and trombones, a horn, tuba and, in some cases, drums.

In 1996 the eleven musicians made their debut with two concerts in the Cuvilliés Theater in the Munich Residenz with a program made up of works from a wide variety of stylistic periods. Since all ensemble members are not only at home in classical music, but have also gained a wide range of experience from jazz to pop, this type of music also plays a major role in the formation’s repertoire. Arrangements of opera highlights, jazz standards and big band evergreens specially designed for OperaBrass were commissioned. In addition, the trumpeters Andreas Öttl and Frank Bloedhorn have also contributed their own arrangements to the repertoire. The two musicians are particularly attracted by the fact that they can use all their instruments in the ensemble – from the piccolo trumpet to the flugelhorn.

A tour with the cabaret artist Bruno Jonas and the program “Full Pipe - Hot Air” took them off the beaten track: a satirical tin, so to speak, the content of which dealt with no less than 400 years of love and death in the opera.

The musical collaboration with two former General Music Directors of the Bavarian State Opera, Zubin Mehta and Kent Nagano, and other renowned conductors such as the baroque specialist Ivor Bolton played an important role in the artistic development of the ensemble.

In 2006, OperaBrass organized a concert together with the world-famous King’s Singers in the Prinzregententheater. Under the title “In Perfect Harmony”, both ensembles spanned the musical arc over the centuries. With Wagner & Friends, the musicians from OperaBrass 2012 ventured directly from the orchestra pit onto the stage of the National Theatre with a real crossover programme. Every summer OperaBrass are also involved in the Unicredit Festival Night at the beginning of the Munich Opera Festival.

Apart from that, you can experience the ensemble at the chamber concerts of the Bavarian State Opera and on tours. More recently, after the European tour in 2016 with the Bayerisches Staatsorchester and a guest performance in Asia in 2017, they went to Mallorca in September 2018, where the Munich brass band were guests in Palma Cathedral for the second time.


Photo credits: Wilfried Hösl


Programm
Concert program of the 3rd chamber concert 2022/23: Brass band music from the old days

At the 3rd chamber concert on January 15th, 2023, the OperaBrass ensemble will present a program in the Allerheiligen Hofkirche that is reminiscent of the beginnings of the Bavarian State Orchestra in the 16th century, when the Munich court orchestra at that time was used especially to represent the Bavarian dukes. A chronicler’s report is dated December 10th, 1565 and refers to the heyday of the Munich court orchestra at the time of Albrecht V: “they had three kinds of music during supper: [...] first played on cornetts and trombones, the other sung by several singers, accompanied by fifes and trombones. The third of 5 flutes and a trombone”. The composer Orlando di Lasso, who was already highly regarded internationally at the time, had been engaged to conduct the court orchestra two years earlier, and his pupil Giovanni Gabrieli also worked in Munich a few years later. A polychoral composition by Gabrieli was already heard at the 3rd Academy Concert in 2023 – also performed by brass players from the Byerische Staatsorchester.


Photo credit: Magdalena König


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


Programm
Ceremony 500 years Bayerisches Staatsorchester

The anniversary year of the Bayerische Staatsorchester is ushered in with a ceremony. General Music Director Vladimir Jurowski conducts music by composers whose selections offer a glimpse of the orchestra’s formidable history: Four of Richard Wagner’s operas were premiered in Munich by the Bayerische Staatsorchester, among which one boasts particularly festive sounds: Die Meistersinger von Nürnberg.

500 years ago, Ludwig Senfl, as musicus intonator or musicus primarius, and a few year-round musicians were engaged by the Bavarian Duke Wilhelm IV to collect sheet music, build up a repertoire and perform both ecclesiastical and secular music: this is the birth of an orchestra that was later also presided over by Orlando di Lasso. The popularity of Lasso’s music among Renaissance contemporaries and the composer’s historical significance for music history can hardly be overestimated. Lasso’s last work Lagrime di San Pietro bears impressive witness to this.

But Richard Strauss also conducted the Bayerische Staatsorchester for two years, and the scores of two of his operas were breathed life into for the first time by the Bayerische Staatsorchester. An Alpine Symphony represents the composer’s last symphonic poem and, in its impressive depiction of the ascent and descent of a mountain hike through a gigantic orchestral apparatus, makes programmatic reference to the Bavarian foothills of the Alps.

Zeitzeugnisse
Bruno Walters Neujahrswünsche

 


Photo creddits: Archiv der Musikalischen Akademie


Zeitzeugnisse
Bruno Walter about the Musical Academy

Photo Credit: Archiv der Musikalischen Akademie


 

Zeitzeugnisse
Service list for the annual court concert on January 1, 1863, with soloist Franz Strauss

Photo Credits: Archiv der Musikalischen Akademie


 

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


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

">

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

Neujahrswünsche von Hans Knappertsbusch

Photo creddit: Archiv der Musikalischen Akademie


 

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. 

Zum Termin

">

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

Chefs
Ludwig Senfl
weiterführende Informationen zu Ludwig Senfl


Location: München, Staatliche Münzsammlung

">

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

loading