Name: Dresden Music Festival
Start: 2026-06-13T19:30:00
Location: Palace of Culture

Vilde Frang

Alain Altinoglu

Frankfurt Radio Symphony Orchestra

Inviting Finnish conductor Dalia Stasevska guarantees beaming faces in both the orchestra and the audience. And a concert program that is never run-of-the-mill. Here, then: this year's celebrated composer, Maurice Ravel, in dialogue with the master of Polish modernism, Witold Lutosławski. Maurice Ravel is represented by two of his most dynamic works: "La valse," this grotesque lament for the Viennese waltz, which here spirals into the abyss with greater speed and intoxication. And the Piano Concerto in G major, with its jazz elements, entirely in keeping with the fashion of the 1930s. Breathless as the times themselves, this music is a relentless, frantic pursuit. Joining the hr-Sinfonieorchester at the piano is the Frenchman Bertrand Chamayou, for whom Ravel's music has been part of his DNA since his early days at the conservatory. Ravel himself was a regular guest in New York jazz clubs, and so Chamayou knows: This music should sound "like a great, ingenious improvisation." Rigor, yes; brittleness, no—that is the ideal of the pianist whose CD recordings of Ravel's complete piano works were hailed ten years ago as "his masterpiece" (FonoForum) and "a sensation" (Stereoplay).

La valse

Alte Oper

Two clarinet works by Bartók, imbued with the richness of Hungarian and Romanian folk music, encounter the exuberant early piano quartet by his Hungarian friend Brahms. Construction, contrast, and surprising hints of jazz meet youthful energy, romantic ambition, and the spirit of the "Hungarian Dances." Bartók's "Contrasts" was the first work with which the Hungarian exile presented himself to the American public in 1940. Commissioned by the legendary Benny Goodman, it was Goodman's jazz background that inspired Bartók to compose the piece. When Brahms once sent his Hungarian friend Joseph Joachim the score of his piano quartet with the "Rondo alla Zingarese," Joachim readily admitted that the Hanseatic composer had surpassed him on his own turf.

Bartók Contrasts

Hessischer Rundfunk

When Ton Koopman plays the organ, anything is possible. Expect the highest level of ornamentation, verve and imagination, and fingers so nimble you wouldn't expect from a musician who's just turned 80. And what else can you expect? Magnificent music by Handel and Haydn, Koopman's secret star. "In Holland, Haydn is much more popular than Mozart because he's creative and witty," says Ton Koopman, the early music specialist both on the keyboard and on the conductor's podium. Haydn is also more difficult to play; you have to practice properly. "But it's beautiful music, and we have to promote Haydn. He deserves it!" Thus, his Symphony No. 80 is on the program, a work of the greatest wit, at times bizarrely humorous, always full of contrasts – a typical Koopman symphony. In this "Baroque+" program, the ever-so-sharp Dutchman contrasts Haydn with Handel: Handel's concertos are also virtuosic and original – and, with Ton Koopman at the organ, of a truly special, agile quality.

Handel & Haydn

Three times Shostakovich, and three times a completely different facet: first in a thrillingly exhilarating orchestral overture, then in the powerfully fresh sonic shower of the Second Piano Concerto with its warm, jewel-like middle movement, and finally in the Fifth Symphony, which triumphs in an almost surreal way. Kahchun Wong, who in 2016 became the first Asian to win the prestigious Mahler Competition of the Bamberg Symphony, takes the podium of the Frankfurt Radio Symphony Orchestra for the first time. He will delve deep into Shostakovich's world, together with a pianist who knows his way around it like few others. "I'm addicted to Shostakovich's music, to this raw power," says Boris Giltburg, whose CD recording of the Shostakovich piano concertos is among the best currently available. What Giltburg observes for himself also defines the listening experience: "This is music that makes you tremble.

Pure Shostakovich

The encounter of diverse musical worlds is the hallmark of the Music Discovery Project, with which the hr-Sinfonieorchester fills the Jahrhunderthalle (Centennial Hall) once a year, captivating audiences time and again. This year's guests are the Berlin folk band Mighty Oaks. In times when music is produced cleanly and smoothly, and many musicians work with samples from the internet or rely on artificial intelligence, Mighty Oaks counter this ubiquitous perfectionism with songs that, with their subtle, deliberate twists and turns, are the exact opposite. Everything is played by hand with an honest directness that cannot be faked. Mandolin, tambourine, and banjo complement the usual instruments of drums, guitar, and bass, along with their three-part harmonies. This is why they are sometimes compared to the great Mumford & Sons. Their songs deal with the love of nature, friendship, and other very personal themes.

Music Discovery Project 2026

Culture and Congress Center Jahrhunderthalle GmbH

Chamber music icons in the former Rothschild orangery. The Frankfurt Radio Symphony Orchestra (hr-Sinfonieorchester) presents three captivating trios by Shostakovich, Rachmaninoff, and Schubert at the premiere of its "Chamber Flicker" series in the historic pavilion in Frankfurt's Günthersburgpark. An early stroke of genius by the young Shostakovich meets a musical gem from the late Schubert and Rachmaninoff's melancholic "Trio élégiaque No. 1." Shostakovich was just 17 when he composed his Piano Trio, which was only published from his posthumous manuscripts in 1983. Schubert's Piano Trio is one of his last and most mature works, which, according to Robert Schumann, swept over the musical scene of the time "like an angry apparition from heaven."

Trio élégiaque

Orangerie

What does a river sound like? How does music march? And who plays what in the orchestra? In this concert for grades 3 and 4, students embark on a musical journey of discovery together with solo bassoonist Theo Plath and the hr Symphony Orchestra. The centerpiece is Robert Schumann's "Rhenish Symphony"—a work that is like a musical travel diary full of impressions. Inspired by his move to the Rhineland, Schumann incorporated images of nature, experiences, and moods—sometimes festive, sometimes dreamy. The instruments are introduced piece by piece, their roles in the orchestra explained—and, of course, experienced live. An interactive excursion right into the world of classical music: vivid, engaging, and full of listening fun for young ears!

Schumann's Orchestral Excursion

A program perfectly suited to the "Quick & Classy" taste. Featuring the late, intimately warm Clarinet Concerto by the Viennese Classical composer Mozart and the Third Symphony by the German Romantic composer Schumann, brimming with the vibrant life of the Rhineland. Schumann's blissful mood gave rise to captivating symphonic soundscapes, a musical reflection of the new impressions he received after moving to the Rhine. These soundscapes will be brought to life by the young French-British conductor Stephanie Childress and the hr-Sinfonieorchester, just as hr-Solo Clarinetist Tomaž Močilnik will bring Mozart's soulful atmosphere and musical nuances to life. What touches the heart is joy for one.

Heart & Joy

At the beginning of June, the Frankfurt Radio Symphony Orchestra (hr-Sinfonieorchester Frankfurt), with its solo clarinetist Tomaž Močilnik and the young French-British conductor Stephanie Childress, will open the Weilburg Castle Concerts. The program presented will perfectly suit the summer festival, featuring the late, intimately warm Clarinet Concerto by the Viennese Classical composer Wolfgang Amadeus Mozart and the 3rd Symphony by the German Romantic composer Robert Schumann, imbued with the spirit of the Rhineland.

Weilburg Castle Concerts

Schloss Weilburg

A finale with two masterpieces. Who doesn't know and love Schubert's only piano quintet with its famous variation movement on the "capricious trout"? The song's cheerful tone imbues the entire quintet with an aura of carefree musical joy, to which its bright, luminous sound also contributes. In stark contrast, this is preceded by Brahms's long-matured, final piano quartet, which reflects deep biographical conflicts. It is among the most impressive chamber music of the Romantic era. When he sent the final version to his publisher, Brahms once jokingly suggested that the edition of the score should include a picture of the composer "in a Werther costume"—an allusion to Goethe's despairing suicide victim, as well as a reflection on the lingering effects of his more than 20-year-long turmoil in his love triangle with Clara and Robert Schumann.

Trout Quintet

A timeless classic, yet a work that electrifies anew each time: that's Bartók's Violin Concerto No. 2 – especially when it's performed with such dynamism as by Vilde Frang. A powerhouse of a completely different kind: the last symphony of the most classical of the Romantics. With the Symphony No. 4, chief conductor Alain Altinoglu continues his Brahms series with the Frankfurt Radio Symphony Orchestra, revealing the composer's transparent, sonically fresh side. The Fourth Symphony: a work like a Rubik's Cube, every moment bringing new perspectives, everything in constant flux. It's a clever symphony, and one where every detail matters. How different, then, is Bartók's Violin Concerto, especially the finale: intoxicating, dance-like and wild, with bucolic fury, yet so perfectly attuned to the instrument's capabilities – it's no wonder it's one of the most frequently performed and most popular violin concertos of the 20th century.

Brahms 4

Following the season finale in Frankfurt, the hr Symphony Orchestra, under the direction of chief conductor Alain Altinoglu, will perform at the Dresden Music Festival in June. The program at the Kulturpalast in the Saxon capital will include Brahms's Symphony No. 4 and Bartók's Violin Concerto No. 2, featuring violinist Vilde Frang.