The stage is set for our favourite organist, who is also in great demand on the international scene: In the last organ concert of this season, Christian Schmitt will play our large concert hall organ – accompanied by our solo flutist Daniela Koch and our deputy solo violist Branko Kabadaić. The concert begins with a fascinating etude for organ pedal, which Christian Schmitt premièred in Zurich in 2023 – and about which the composer Maximilian Schnaus writes: »The musical idea illuminates the peripheral areas of the organ sound and the peripheral areas of our perception.« Liszt studied Bach’s organ works and passions intensively, particularly during his time in Weimar – and his affection for this Baroque master found intimate expression in the Andante »Aus tiefer Not«, written in 1859. Paul Hindemith wrote this touching funeral music on a concert tour in London on 21 January 1936 within a few hours after King George V had died there on the previous day. Bach’s masterful Sonata in G major captivates with its skilful interweaving of voices between the two instruments. For César Franck, it was clear: »Mon orgue? – C'est un orchestre!« And that is exactly how his magnificent musical creations sound – including the »Grande pièce symphonique«, completed in 1862, which even bears the required orchestral gesture in its title. Tōru Takemitsu, the cosmopolitan and influential composer from Japan, created an almost revolutionary work in 1971 with his flute piece »Voice« – because the human voice is included here in an interesting way. To wrap things up, the concertino by Cécile Chaminade, written in 1902, impresses with its breathtaking virtuosity, passionate gestures, shimmering harmonies and yearning melodies.

Organ concert: Schmitt Koch Kabadaić

Bamberg Concert Hall

In one of his novels, Jean Paul enthused: »I love the flute, the magic wand that changes the inner world whenever it touches it – a wish-rod in front of which the inner depths open up.« Our musicians present a small cosmos of works for flute and strings. Mozart wrote his charming flute quartet in 1777 on a commission from a music lover – although he was somewhat distracted because a young singer had made his head spin. Perhaps this is why the piece features an instrumental bravura aria, followed by a minor cantilena and a dance-like ending. It was said of Beethoven's chamber music that one »inevitably gets drawn into the master‘s magic circle, in which one sees more and more lines and figures that take hold of the soul so that one can't get rid of them again.« His C minor trio from 1798 shows fluttering states of mind: Sometimes it is melancholic, sometimes pathetic, then again reflective and suddenly whimsical. Since humour is just as much a balm for the soul, Haydn also liked to allow himself tongue-in-cheek experiments: In his magnificent divertimento of 1765, he celebrates birthdays musically. The Andante, explicitly entitled »Man and Woman«, is characterised by sighing figures in the high part and responses from the low register. Apart from that, the other instruments also join in the fun as children. Finally, a multifaceted composition by Jacques Castérède, who died in 2014: »Ombres et Clartes« captivates with touching melodies, is technically very challenging and revolves around changing moods – because as Tolstoy said: »All the variety, all the charm and all the beauty of life are formed by light and shadow.«

Chamber concert: Flute quartet

»The flute so gracefully captures the ears that it brings calm and peace to all emotions, right into the soul«. This quote from Plutarch builds a wonderful bridge to the opening of our concert – the spiritual flute concerto by the prominent Japanese composer Toshio Hosokawa. Premiered in 2022, the piece is about a fascinating ceremony. According to Hosokawa, the solo part represents »a shamanic person« who invokes the orchestra as »the world, the universe, nature« using breathing sounds to summon supernatural forces: »The breathing sounds echo through the flute just like the wind in nature and become the song that awakens the spirit.« Our solo flutist Daniela Koch assumes the role of the shaman in this ritualistic piece, about which Hosokawa noted that it was »also prayer music for the end of the pandemic, as it was composed during the Corona catastrophe.« This fits with something Bruckner said in 1874 shortly after completing the first version of his third symphony: »Because the present state of the world, spiritually speaking, is weakness, I resort to strength and compose powerful music.« Many of Bruckner's movements are symphonic canticles in a sublime style, moving through the struggles and trials of a soul seeking its way to salvation through pain and suffering. Since the premiere of his third symphony was a dreadful disaster for him, he revised it multiple times, feeling deeply depressed – and finally scored a success with the 1889 version. Bruckner said about the fluctuating moods of this symphonic cosmos: »That‘s just the way it is in life. The polka stands for the humour and cheerfulness of the world – the chorale for the sadness and pain in it.«

Daniela Koch

Events

Past events

Mar 23, 2025

Organ concert: Schmitt Koch Kabadaić · Bamberger Symphoniker

Mar 5, 2024

Chamber concert: Flute quartet · Bamberger Symphoniker

Future and recently performed repertoire

Flute in Flute Quartet No. 1 by Mozart

Bamberger Symphoniker

Flute in String Trio in C minor by Beethoven

Bamberger Symphoniker

Flute in Flute Concertino by Chaminade

Bamberger Symphoniker

Flute in Voice by Takemitsu

Bamberger Symphoniker

Flute in Ceremony by Hosokawa

Bamberger Symphoniker

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