DOCSLIB.ORG

Bournemouth Symphony Orchestra Concert Season 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bournemouth Symphony Orchestra Concert Season 2017 Bournemouth Symphony Orchestra concert season 2017 / 18 Lighthouse, Poole’s Centre for the Arts We launch the season, which leads us to our debuts from a range of guest artists including 125th Anniversary in good heart with a Company conductors Richard Farnes, Matthew Halls, Mikhail whose artistic strength continues to grow under the Tatarnikov and Robert Trevino. We are especially outstanding leadership of Chief Conductor Kirill delighted to welcome Andreas Ottensamer, Principal Karabits. Kirill’s musical journey is sure to be a Clarinet of the Berlin Philharmonic Orchestra as thrilling one once again, not least at the opening of our Artist-in-Residence for the season. the season with Messiaen’s epic Turangalîla Symphony. As ever our range of programmes are designed to This is a once in a generation opportunity to inspire our loyal regular supporters whilst finding experience this truly extraordinary masterpiece, many ways to welcome new audiences of all ages and here on the South Coast. tastes. Throughout the season we will encourage you A highlight of every week is without doubt the to find out more through our range of online resources palpable sense of audience excitement, that sense of on the BSO website and social media channels. the shared musical experience generating emotions As one of the UK’s leading arts charities, the BSO and long-lasting memories that is hard to equal. It is has a unique remit to bring great music and cultural the amazing rapport between stage and audience that engagement to the range of communities across the inspires our outstanding musicians, conductors and South and South West, whether that be in a concert guest artists each concert, making the season so special. hall, a school, a hospital or a community setting. Kirill continues his exploration of the great In turbulent times, the BSO is leading the charge to symphonies of Bruckner, Mahler and Schumann demonstrate the positive role cultural engagement has and returns to the music of Elgar and Walton, the in the development of our children, in the cohesion core German repertoire of Brahms and Beethoven of our communities and in building a better society. and this season we place the music of Tchaikovsky in We could not do it without your support and I would the context of some of his contemporaries including like to thank everyone who supports this remarkable Glinka and Kalinnikov. Rachmaninov’s dramatic organisation and in helping us build a strong future. I choral symphony The Bells with the Bournemouth look forward to welcoming you to another season of Symphony Chorus is also sure to be something special. great music making. Our philosophy of nurturing enduring relationships, whilst fostering new talent continues and we welcome Dougie Scarfe, Chief Executive wednesday Rhythm of Life 4 october 7.30pm “the cultural Named from two Sanskrit words, turanga and bizet heartbeat lîla, meaning roughly ‘time’ and ‘love’, Turangalîla Symphony in C features ‘non-retrogradable’ rhythmic patterns messiaen of the – those that are the same played forwards as Turangalîla Symphony south west” backwards – and four distinct musical themes, described by Messiaen as the ‘statue theme’, named Darren Henley Kirill Karabits for the threatening images on ancient Mexican conductor CEO Arts Council England monuments, the slow, quiet ‘flower theme’, the January 2017 Steven Osborne central and most significant ‘love theme’ and a piano final theme of opposing chords that produces crossing counterpoints in the orchestra. Messiaen Cynthia Millar wanted to create a “love song and hymn of joy, ondes martenot time, movement, rhythm, life, and death” and this inventive piece is like no other – a work of huge structural scope that strives to convey, from most tender to most wild, its basic theme: love. Written in a single month, Bizet’s polished gem of a symphony is remarkable not so much for its originality, but for its skilful reworking of others’ designs. It is a brilliant work that shows a grasp of unity and overall design that was remarkable for a seventeen-year old composer. Supported by Stephen Elder & Vanessa Claydon Kirill Karabits wednesday Clarinet Magic 11 october 7.30pm It was the jazz clarinettist Benny Goodman who its deft interplay between soloist and orchestra. brahms asked Hindemith to write a concerto for him, having Equally inventive and a landmark in the history Variations on a already commissioned works from a number of of the symphony, Schumann’s Fourth Symphony Theme by Haydn composers, including Bartók and Copland. It is is a sinuous and structurally taught work. Its four hindemith a work of particular serenity and melody, marked thematically connected movements are played Clarinet Concerto by a distinctive, translucent polyphonic language without pause, enhancing the poetic flow of the weber encompassing the entire chromatic scale. The four solemn grandeur of the music before reaching its movements reflect four moods – hedonism, volatile and explosive ending – and its threat of Concertino optimism, lyricism and gaiety. Weber’s works for insurrection, violence, terror and madness. Also schumann the clarinet broke fresh ground, allowing the recently known as the St Anthony Variations, the Haydn Symphony No.4 developed instrument a new measure of prominence Variations marked the turning point of Brahms’ and demonstrate its wide-ranging capabilities for both career as an orchestral composer. With its range and Kirill Karabits expressivity and virtuosic display. It is a tribute to inventiveness, the work is more than a mere set of conductor his ability that the dramatic and energetic Concertino variations however – rather a work of ever-evolving Andreas Ottensamer remains a favourite in the standard repertory with harmonic and rhythmic enhancements. clarinet Supported by Richard Bagley wednesday 18 Salzburg Connections october 7.30pm l mozart In 1779, Mozart found himself back in his native “an artistic triumph... Sinfonia in G Major Salzburg after a disheartening journey through ‘Neue Lambacher’ Germany and France seeking new employment the martinu symphony m haydn opportunities. A period of great creativity, it heralded was a sensation, and drew Cello Concerto the emergence of his mature genius. The Posthorn from the bso a world-class is one of his largest serenades in duration, scope, w a mozart performance, lovingly and scoring, calling for as large an ensemble as his Serenade No.9 ‘Posthorn’ symphonies, and spanning a full emotional range. prepared and bursting It takes its nickname from the inclusion of the post Reinhard Goebel with energy” horn – traditionally used to announce the arrival conductor David Truslove, Bachtrack and departure of coaches, specifically those carrying October 2016 Bruno Delepelaire the mail. After years of debate and misattribution, cello the New Lambach symphony is now recognised as coming from the pen of Leopold Mozart rather than Wolfgang. It represents Leopold at his most mature; a serious, progressive symphony and no mere novelty of which he is often accused of writing. Origins of a newly discovered concerto for cello have also been questioned. Which Haydn wrote it – Josef or younger brother Michael? Whatever the case, it has a Mozartian combination of instrumental idiom and subtle large-scale structure. wednesday Colour and Light 25 october 7.30pm The father of musical Impressionism, Debussy’s debussy music displays a palette of bold colours and delicate Printemps interplay of light as any painting by Monet or Renoir. chopin Meandering harmonies weave from one bar to the Piano Concerto No.1 next in an organic flow, nowhere more so than in d indy his symphonic masterpiece La Mer. It is a gorgeously ’ sensual evocation of the sea in all its variety, from La Forêt enchantée the sparkling glint of the water to the brooding debussy immensity of its power. Printemps foreshadows La Mer Debussy’s later works with his use of gentle pentatonic melodies and oriental exoticism. Written to show Fabien Gabel off his extraordinary talent, Chopin’s E minor conductor Concerto opens with a grand orchestral sweep Louis Schwizgebel before the piano enters with a dazzling display of piano technical virtuosity, culminating in a race to the end with a series of blazing scales and arpeggios both enthralling and exhausting. D’Indy’s delightfully descriptive piece tells the story of a knight and his fellow warriors encountering a troupe of elves as they ride through the forest, the mood changing from the darkly forbidding opening through the light and Supported by airy elf theme to the quiet stillness of the ending. BSO Endowment Trust in memory of Louis Schwizgebel Canon & Mrs Ivor Jeffrey-Machin wednesday 1 Russian Masters november 7.30pm glinka The extraordinary musical demands of Rachmaninov’s All-round captivating and instantly charming, his Ruslan & Ludmilla Overture Third Concerto make it one of the most challenging First Symphony abounds with memorable melodies, glinka works in the piano concerto repertoire. The soloist developed with great skill and embellished through Valse from A Life for the Tsar plays almost constantly throughout and must his fluent and colourful orchestration. In particular, combine ear-popping virtuosity with a chamber the andante is a most gentle and luminous idyll set kalinnikov musician’s ability to listen and blend into the orchestra. within a work of elegant yet simple grandeur and Symphony No.1 Undoubtedly a tour de force, the great technical well worth a listen. Glinka, proverbially the father rachmaninov demands are more a means than an end, as the work of Russian opera, also tapped into the Russian Piano Concerto No.3 seems much more focused on conveying Romantic psyche with his two operas A Life for the Tsar and musical ideas than being a simple display piece – its Ruslan and Ludmilla, both of which incorporated Kees Bakels mood and character sitting squarely in 19th century Russian as well as other folk elements.
Load more

Recommended publications
  • Ernst, Daniel & Andreas Ottensamer
    THE CLARINOTTS ERNST, DANIEL & ANDREAS OTTENSAMER THE CLARINOTTS 2 FELIX MENDELSSOHN 1809–1847 AMILCARE PONCHIELLI 1834–1886 Concert Piece for Clarinet, Basset Horn and Orchestra op. 113 7 Il convegno op. 76 9.54 arranged by Rainer Schottstädt The Meeting | Die Zusammenkunft | Le Rendez-vous 1 1. Allegro con fuoco 2.27 arranged by The Clarinotts 2 2. Andante 2.55 DANIEL OTTENSAMER clarinet I | ANDREAS OTTENSAMER clarinet II 3 3. Presto 2.23 WIENER VIRTUOSEN DANIEL OTTENSAMER clarinet | ANDREAS OTTENSAMER basset horn JEAN FRANÇAIX 1912–1997 WIENER VIRTUOSEN 8 Petit Quatuor: Cantilène (2nd mvt.) 2.28 WOLFGANG AMADEUS MOZART 1756–1791 arranged by Rainer Schottstädt 4 Trio “Soave sia il vento” from Mozart’s Così fan tutte 2.54 ANDREAS OTTENSAMER clarinet | DANIEL OTTENSAMER basset horn ERNST OTTENSAMER bass clarinet ANDREAS OTTENSAMER clarinet I | DANIEL OTTENSAMER clarinet II ERNST OTTENSAMER basset horn BELA KORENY *1946 WIENER VIRTUOSEN 9 Cinema I 10.25 FRANZ DOPPLER 1821–1883 & KARL DOPPLER 1825–1900 ANDREAS OTTENSAMER A clarinet | DANIEL OTTENSAMER B flat clarinet bass clarinet piano 5 Fantasy on Themes from Verdi’s Rigoletto 10.01 ERNST OTTENSAMER | CHRISTOPH TRAXLER arranged by Rainer Schottstädt WIENER VIRTUOSEN DANIEL OTTENSAMER clarinet I | ANDREAS OTTENSAMER clarinet II LUIZ BONFÁ 1922–2001 ERNST OTTENSAMER basset horn 0 Manhã de Carnaval 5.40 WIENER VIRTUOSEN THE CLARINMorning of Carnival | Karnevalsmorgen | MatinO de carnaval TTS GIOACCHINO ROSSINI 1792–1868 arranged by The Clarinotts 6 La danza 4.35 ANDREAS & DANIEL OTTENSAMER
    [Show full text]
  • Digital Concert Hall Where We Play Just for You
    www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.
    [Show full text]
  • Digital Concert Hall
    Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
    [Show full text]
  • Digital Concert Hall Where We Play Just for You
    DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2015/2016 PROGRAMME 2015/2016 1 WELCOME TO THE DIGITAL CONCERT HALL When people think of classical music, they And there is a lot more to see and hear invariably think of Ludwig van Beethoven. in the Digital Concert Hall this season on top Interpretations of his symphonies were high- of the symphonic concerts of the Berliner lights of the tenure of all chief conductors of Philharmoniker: late-night concerts, educa- the Berliner Philharmoniker. In the 2015/2016 tional projects, concerts by youth orchestras season, Sir Simon Rattle will present his and a variety of bonus films. In short: as al- reading of these works – in the Berlin Phil- ways, you have the opportunity to immerse harmonie and in the Digital Concert Hall. yourself in the world of the Berliner Philhar- moniker. Sir Simon also appears on two occa- sions as an opera conductor. These include a concert performance of Wagner’s Tristan www.digital-concert-hall.com and Isolde with Stuart Skelton and Eva-Maria Westbroek. We will also encounter another famous pair of lovers in Debussy’s Pelléas et Mélisande – here directed by Peter Sellars and with Christian Gerhaher and Magdalena Kožená in the title roles. Debussy’s opera is part of a further theme that runs through the season, that of French music, which also includes works by Hector Berlioz, Henri Dutilleux, César Franck, Francis Poulenc, Maurice Ravel and Camille Saint-Saëns. Outstanding conductors and soloists will as usual appear as guest artists in these and many other works from all areas of the sym- phonic repertoire.
    [Show full text]
  • Str Uss C O P L A
    C O P L S T R AUSS N Clarinet Concerto D Duet Concertino Appalachian Spring Capriccio Ernst Ottensamer clarinet | Stepan Turnovsky bassoon Academy of London Royal Northern Sinfonia Richard Stamp conductor STRAUSS | COPLAND Duet Concertino for clarinet and bassoon* Richard Strauss 1 I. Allegro moderato [6.36] 2 II. Andante [3.26] RICHARD STRAUSS (1864-1949) 3 III. Allegro ma non troppo [9.27] Duet Concertino for clarinet and bassoon I. Allegro moderato 4 Prelude to Capriccio* Richard Strauss (1864-1949) [11.13] II. Andante Peter Manning, Pauline Lowbury violins | Peter Lale, Deborah Lander violas III. Allegro ma non troppo Martin Loveday, Robert Bailey cellos | Richard Stamp director Prelude to Capriccio Clarinet Concerto † Aaron Copland (1900-1990) 5 I. Slowly and expressively [9.27] 6 II. Rather fast [8.32] Appalachian Spring Suite (Original Version) † Aaron Copland AARON COPLAND (1900-1990) 7 I. Very slowly [3.12] Clarinet Concerto 8 II. Fast [2.57] I. Slowly and expressively II. Rather fast 9 III. Moderate [4.02] 0 IV. Quite Fast [3.43] Appalachian Spring Suite (Original version) q V. Still Faster [4.03] w VI. Very Slowly (As at First) [1.19] e VII. Calm and Flowing [3.17] r VIII. Moderate. Coda. [3.51] Total timings: [75.14] Ernst Ottensamer clarinet | Stepan Turnovsky bassoon Academy of London* | Royal Northern Sinfonia † Richard Stamp conductor www.signumrecords.com for WSK he four works on this disc, relative values of words and music. Their Self-deprecating to the last, Strauss Strauss, maintained that the Concertino was all composed in the 1940s, rival claims are embodied in the figures called his late wind concertos – the Second based on Hans Christian Andersen’s tale embrace the lingering end of the composer Flamand and the poet Horn Concerto, the Oboe Concerto and the The Princess and the Swineherd.
    [Show full text]
  • Yearbook 2019 July – December © Janis Vecbralis HOW DO AUDIENCES LISTEN? / 02
    Yearbook 2019 July – December © Janis Vecbralis HOW DO AUDIENCES LISTEN? / 02 WELCOME / 03 PROGRAMME / 12 ARTISTS / 22 / PARTNERS 44 CONTENTS \ THE LISTENING PROJECT THE LISTENING 1 Part II HOW DO AUDIENCES LISTEN? The EUYO launched its 2019 theme – The Listening The aim is twofold: for our young musicians to hone Project – in April of this year, exploring the crucial their performance skills by understanding how they importance of the skill of listening for orchestral can most effectively help you, the audience, to listen, musicians, whilst also reflecting on the importance and also to learn about the different ways that of listening for society as a whole. audiences do in fact listen. The learnings so far are many, from the technical skill What is the effect of the way in which the musicians of being able to alternate at will between listening to enter the stage? What about the mood of fellow audience sounds near and far away, to the ability to listen to others members? How does listening to a traditional concert whilst also listening to oneself. We also learnt that both in a venerable concert hall differ from the informality freedom and discipline enable improved listening: how of listening to a free concert in an art gallery? What being well prepared frees us to devote more energy to is the effect on listening of the open air spaces of listening in performance, and how a musician who can Grafenegg’s Wolkenturm, or the new architecture of take their eyes off the printed music can free themselves the Hamburg ElbPhilharmonie with its seats in front to listen far more powerfully.
    [Show full text]
  • The 2020 Guide April 2020 Festivals Editor’S Note Welcome to the 2020 Guide to Summer Festivals, with Information for More Than 100 Festivals
    The 2020 Guide April 2020 Festivals Editor’s Note Welcome to the 2020 Guide to Summer Festivals, with information for more than 100 festivals. This Guide could be considered as much an expression of hope as it is of planning in this unpredictable time. Festivals’ status and schedules are in continual flux, as you might imagine, so this Guide accu- rately reflects everyone’s plans for the coming season. We urge you to check with the individual events to confirm; we will be updating the Guide’s web pages as we receive new information. Themes for the season include the 250th anniversary of you-know-who’s birth, celebrated at, among many others, the Tanglewood Festival, which is also planning a weekend-long tribute to what would have been Isaac Stern’s 100th birthday. Austria’s Grafenegg Festival also bows to Beethoven, featuring major artists like Pretty Yende and Jonas Kaufmann on its multiple stages, while the Montreal Chamber Music Festival’s tribute includes the complete cello sonatas with cellist Amit Peled and pianist Alon Goldstein; and Oxford’s Piano Festival in the U.K. hosts Paul Lewis playing the Moonlight and Hammerklavier sonatas along with the Diabelli Variations. The concertos and symphonies are everywhere, as performed by a vast range of ensembles, from the Lucerne Festival Orchestra in Switzerland to the Bavarian Radio Symphony Orchestra in Latvia (at the Riga Jurmala Music Festival) to the Vienna Philharmonic at the Salzburg Festival, whose organizers like to call that esteemed orchestra their “house band.” Women are also getting some attention, with the Bard Music Festival focusing on “Nadia Boulanger and Her World” and Aspen devoted to “Uncommon Women of Note,” exploring works by Julia Wolfe, Joan Tower, Kaija Saariaho, Melody Eötvös, and others of their ilk.
    [Show full text]
  • Catalogue 2015 Editorial Team: Burkhard Grote, Konrad Von Soden ∙ Layout: Mmessner.De All Information Is Not Contractual and Subject to Change Without Prior Notice
    Avant PreCATALOGUEmi ère 2015 THANK YOU TO ALL OUR PARTNERS AND CO-PRODUCERS : Avant PreCATALOGUEmi ère 2015 COPRODUCTION & PRESALES: Unitel GmbH & Co. KG Gruenwalder Weg 28d, 82041 Oberhaching, Germany Tel: +49.89.673469-630 ∙ Fax: +49.89.673469-610 [email protected] Ernst Buchrucker (Managing Director) [email protected] ∙ Tel: +49.89.673469-19 Dr. Thomas Hieber (Head of Business and Legal Affairs) [email protected] ∙ Tel: +49.89.673469-611 Dr. Magdalena Herbst (Head of Production) [email protected] ∙ Tel: 49.89.673469-862 WORLD SALES – EXCLUSIVE INTERNATIONAL DISTRIBUTOR FOR ALL UNITEL PROGRAMMES: C Major Entertainment GmbH Kaiserdamm 31/86, 14057 Berlin, Germany Tel.: +49.30.303064-64 [email protected] Elmar Kruse ∙ [email protected] (Managing Director) Nadja Joost ∙ [email protected] (Sales Manager, Director Live Events & Popular Music) Nishrin Schacherbauer ∙ [email protected] (Sales Manager) Ira Rost ∙ [email protected] (Sales Manager, Assistant to Managing Director) Avant PreCATALOGUEmi ère 2015 OPERA Gaetano Donizetti: La Favorite 6 HK Gruber: Geschichten aus dem Wiener Wald (Tales from the Vienna Woods) 8 Leoš Janáček: Jenufa 10 Wolfgang Amadeus Mozart: Da Ponte-Cycle 12 Wolfgang Amadeus Mozart: Don Giovanni 14 Aribert Reimann: Lear 16 Gioachino Rossini: Aureliano in Palmira 18 Franz Schubert: Fierrabras 20 Richard Strauss: Arabella 22 Richard Strauss: Elektra 24 Richard Strauss: Feuersnot 26 Richard Strauss: Der Rosenkavalier 28 Giuseppe Verdi: Il trovatore 30 Giuseppe Verdi: La forza del destino 32 Giuseppe Verdi: Un ballo in maschera 34 BALLET “Cubania” by Carlos Acosta 36 Pyotr Ilyich Tchaikovsky: Swan Lake 38 CONCERTS Boston Symphony Orchestra – The Inaugural Concert (A.
    [Show full text]
  • Christophkoncz
    christophkoncz Pure genius […] Christoph Koncz fascinates us with his incredible presence, sending impulses in all directions, communicating perfectly with the Academy of St Martin in the Fields and combining virtuosity with tremendous expression. Der Bund (Switzerland) Austrian-Hungarian violinist Christoph Koncz enjoys a wide-ranging international career as a soloist, conductor, chamber musician and principal of the Vienna Philharmonic. At the age of just nine, he received worldwide acclaim for starring as child prodigy Kaspar Weiss in the Canadian feature film The Red Violin, which won an Academy Award for Best Original Score. During the current season, Christoph Koncz will perform the violin concertos by Mozart, Beethoven and Tchaikovsky in Europe, Japan and the U.S. as well as the Sibelius concerto and Brahms double concerto at the Berlin Philharmonie. Additionally, he will be recording chamber music by Johannes Brahms for Deutsche Grammophon alongside Leonidas Kavakos, Antoine Tamestit, Stephan Koncz and Andreas Ottensamer. Further highlights of his season include a tour of Japan with the Wiener Virtuosen, concerts as leader of the Koncz Quartet at the Salzburg Mozarteum and a recital at the Vienna Musikverein. Christoph Koncz is also rapidly establishing himself internationally as a conductor. His Austrian conducting debut in the course of the 2012 Salzburg Festival led to invitations to the Georgia National Philharmonic Orchestra, the World Orchestra Festival at the Vienna Musikverein, the Berlin Symphony Orchestra at the Berlin Philharmonie, to Gustavo Dudamel's Simon Bolivar Orchestra of Venezuela and as an assistant of Marc Minkowski to Les Musiciens du Louvre • Grenoble. In May 2014, Christoph Koncz took the Verbier Festival Chamber Orchestra on tour of Germany, Austria and Switzerland with 14 performances at such prestigious venues as the Berlin, Cologne and Munich Philharmonie, Vienna Konzerthaus and KKL Lucerne.
    [Show full text]