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© Julia
Wiener Concert-Verein
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October 2024  | ||||||
|---|---|---|---|---|---|---|
Mo | Tu | We | Th | Fr | Sa | Su |
Program and cast
SUNDAY, JUNE 2, 2024
PERFORMERS
Vienna Concert Association
Felix Hornbachner, conductor
Elisabeth Plank, harp
PROGRAM
HUGO WOLF
Serenade G major, “Italian Serenade”
ELIAS ALVARS
Concertino for harp and string orchestra, op. 34
- Break -
STEFAN PLANK
The little Prince. Suite based on the book of the same name by Antoine de Saint-Exupéry (premiere)
BÉLA BARTÓK
Divertimento for string orchestra, Sz 113
Ends approximately 1:00 p.m
MONDAY, OCTOBER 28, 2024
PERFORMERS
Vienna Concert Association
Jakob Lehmann, conductor
Laila Salome Fischer, mezzo-soprano
PROGRAM
ANTON BRUCKNER
Three orchestral pieces
TANJA ELISA GLINSNER
“Scena die Medea” for mezzo-soprano, string quintet and percussion
CHARLES EDWARD IVES
The Unanswered Question
GIOACCHINO ROSSINI
Giovanna d'Arco. Cantata for mezzo-soprano; orchestrated by Salvatore Sciarrino
- Break -
LUDWIG VAN BEETHOVEN
Symphony No. 4 in B major, op. 60
Ends approximately 9:30 p.m
WEDNESDAY, NOVEMBER 27, 2024
PERFORMERS
Vienna Concert Association
Glass Marcano, conductor
Richard Galliano, accordion
PROGRAM
WOLFGANG AMADEUS MOZART
A little Night Music. Serenade G major, KV 525 - 1st movement (Allegro)
RICHARD GALLIANO
Opals. Concerto for accordion and strings
AMIR SAFARI
Dreaming in Opxoigel (premiere)
- Break -
WOLFGANG AMADEUS MOZART
Divertimento D major, KV 136
RICHARD GALLIANO
Habanerando
Petite suite French
Tango for Claude
La Valse à Margeaux
ASTOR PIAZZOLLA
Oblivion
Ends approximately 9:30 p.m
MONDAY, MARCH 10, 2025
PERFORMERS
Vienna Concert Association
Anna Rakitina, conductor
Kiron Atom Tellian, piano
PROGRAM
ANTON ARENSKIJ
Variations for strings on a theme by Peter Ilyich Tchaikovsky
KIRON ATOM TELLIAN
Symphonic Poem (premiere)
- Break -
FREDERIC CHOPIN
Concerto for Piano and Orchestra No. 1 in E minor, op. 11; edited by Ilan Rogoff
Ends approximately 9:30 p.m
WEDNESDAY, APRIL 30, 2025
PERFORMERS
Vienna Concert Association
Hannah Eisendle, conductor
Paul Kropfitsch, violin
PROGRAM
JOSEPH HAYDN
Symphony C major, Hob. I:60, “Il Distratto”
ANNA CLYNE
Sound and fury
- Break -
JEAN SIBELIUS
Humoresque D major, op. 87/2
Humoresque G minor, op. 89/4
HANNAH EISENDLE
New work (premiere)
Ends approximately 9:30 p.m
SUNDAY, JUNE 15, 2025
PERFORMERS
Vienna Concert Association
Živa Ploj Peršuh, conductor
Sebastian Breit, oboe
PROGRAM
ANTONIO SALIERI
Sinfonia D major (“Veneziana”)
WOLFGANG AMADEUS MOZART
Concerto for oboe and orchestra in C major, KV 314
- Break -
TOMÁŠ ILLE
Viennese coffee houses (premiere)
FRANZ XAVER SÜSSMAYR
Sinfonia turchesca C major
Ends approximately 1:00 p.m
Musikverein Brahms Hall
For many years, this hall was known only as the “Kleine Musikvereinssaal”, until in 1937, during the 125th anniversary year of the Gesellschaft der Musikfreunde in Wien, it was given a name that truly reflects its importance: the Brahms Saal. Johannes Brahms not only performed in person in this hall, he was also behind the very first concert to be performed here, by Clara Schumann on 19 January 1870. The standards set that day have been maintained ever since. The Brahms Saal remains one of the most prized locations for the greatest chamber music ensembles and lieder singers performing in the world today.
With just under of 600 seats, the hall is designed to showcase the intimate aspects of classical music. The hall acoustics are perfectly attuned to deliver this: the Brahms Saal – 32.50 metres long, 10.30 metres wide und 11 metres high – possesses a similar acoustic brilliance to the Große Musikvereinssaal.
When the Musiverein building was opened in 1870, the Kleine Musikvereinssaal was described as a “true little treasure chest”. It was even suggested that this hall might warrant greater praise and wonderment than the Große Musikvereinssaal: “One might even wish to award the prize to this hall for its peacefulness and simple grandeur.” It is abundantly clear that Theophil Hansen’s design for the Brahms Saal created an architectonic masterpiece of the Historicism period. His commitment to the “Greek Renaissance”, evident in the design’s allusions to classical Hellas, make this concert hall an authentic temple of chamber music.
In 1993 the Brahms Saal underwent a comprehensive restoration programme. The restoration project involved consulting the original designs held at the Print Room at the Academy of Fine Arts in Vienna. This made it possible to reconstruct the original colour scheme created by Hansen as the Musikverein’s architect: green walls, red columns and the liberal use of gold.
When the Brahms Saal reopened to the public in its new form in 1993, a Vienna newspaper wrote: “Without wishing to raise expectations too high, this has been transformed into the most beautiful, magnificent and prestigious chamber music concert hall we are likely to find anywhere in the world.”
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