Name: Guest performance Coesfeld
Start: 2026-04-16T19:30:00
Location: Konzert Theater Coesfeld

Göttinger Symphonieorchester

Who would have thought back then – that this son, born exactly 200 years ago, would one day become a waltz king. One whose works have been among the most performed for what feels like an eternity. One who, in terms of song output, can really only be compared to Michael Jackson or Paul McCartney. Johann Strauss II, the son of his father of the same name, with strong Viennese roots and a heart beating in triple time, created sparkling waltz and polka hits that have stood the test of time and that almost everyone can whistle along to. Not just on New Year's Eve and New Year's Day, but then with particular zip. Chief conductor Nicholas Milton lives up to his reputation and peppers the program with little interludes from other composers. Cheers!

New Year's Eve Concert – Funkenfeuer

Stadthalle Göttingen

New Year's Concert – Funkenfeuer

Guest performance Amsterdam NL

The Concertgebouw

Spark fire

PS Speicher

This concert conducted by Leslie Suganandarajah demonstrates that the USA has much to offer despite current turmoil. The Sri Lankan-born conductor has been Music Director of the Salzburg Landestheater since 2019, where he brings together a broad spectrum of American music.
He begins with Anna Clyne, this season's Composer in Focus of the GSO, followed by the even more recent Trumpet Concerto by the already legendary jazz musician Wynton Marsalis, featuring Selina Ott, born in Austria in 1998, as soloist. And after the interval, a rarity: Florence Price, who made a name for herself at the beginning of the 20th century, was one of the first female composers in the USA.

Blues

What would the orchestral sound be without violas? One only has to experience a Mahler symphony to appreciate the slightly darkened, slightly scratchy sound of this often overlooked string group. In this chamber concert, the viola—as it prefers to be called, more elegantly—can be enjoyed in its purest form and up close. Oksana Labach and Igor Tulchynsky of the viola section of the Göttingen Symphony Orchestra put their instrument in the spotlight, performing works by Carl Stamitz, Max Reger, Jean Sibelius, and Jean-Marie Leclair. And the occasional addition of a violin to the stage provides an opportunity to marvel at the special character of its bigger sister by comparison.

Bratschissimo 2.0

GDA Göttingen

Reformed Church of Göttingen

Guest performance in Uelzen

Theater an der Ilmenau

That's what you call fate: While the bassoon is featured prominently as a soloist in many symphonies and operas, explicit solo concertos for this particularly dark woodwind instrument are rare. Carl Maria von Weber, the composer of the rather dark opera "Der Freischütz," wrote a bassoon concerto in 1811: an ideal playing field for the French bassoonist Marceau Lefèvre. The Italian conductor and pianist Vanessa Benelli Mosell frames Weber's rarely heard gem with timeless works: Wagner's Ringfarbige Musik der Freude über seinen neuen Sohn Siegfried (Ring-colored Music of Joy over His Newborn Son Siegfried), and Schubert's arguably best-known and unfinished symphony, whose two movements are among the finest of the entire 19th century.

Unfinished

For centuries, water has been an inexhaustible source of inspiration in music. Numerous composers have cast this ever-changing element into musical forms: from clinking ice, surging waves, and pouring rain to still, deep water and mysterious mist. The Göttingen Symphony Orchestra, together with the Göttingen Youth Symphony Orchestra, embarks on a journey of discovery into the musical world of water. And when the audience takes the plunge and joins in, everything flows.

Everything is flowing

Ballroom “Zum fidelen Anreischken” Duderstadt

Free Waldorf School Göttingen

A cello concerto cloaked in a symphonic cloak: At the very end, after many revisions and shortly before his death, Sergei Prokofiev called his Opus 125 "Symphonic Concerto." Quite appropriate, for it is so versatile, so humorous, and so powerful that it successfully combines the two genres. Alexey Stadler follows in the footsteps of none other than Mstislav Rostropovich, who played the solo part at the premiere in 1952. In the second half of the concert, the Stuttgart conductor Johannes Klumpp interprets a symphony by Antonín Dvořák, not from the new world, but still from the old: The Fifth, already in a style all its own and at least as valuable as its famous younger sister, premiered in Prague in 1879.