Munich's Bayerisches Staatsorchester brings an eclectic mix of concert experiences, showcasing the rich diversity of orchestral and chamber music. From Thomas Guggeis's noteworthy interpretations to Vladimir Jurowski's compelling storytelling, the events promise a musical journey through time and emotion. With a series of concerts featuring rare symphonic works, intimate chamber performances, and powerful orchestral masterpieces, every musical taste finds its echo in this celebration of artistic expression and historical narratives.

A Symphony of Stories: Celebrating Music and Emotions in Munich

Experience an extraordinary journey through the rich tapestry of music and culture with the Bayerisches Staatsorchester's diverse array of events. From chamber concerts that explore nuanced interpretations of classic works to orchestral performances featuring groundbreaking compositions, this series showcases a remarkable lineup of talented artists and composers. Whether you're captivated by the emotional depth of a symphony or the intricate interplay of a chamber ensemble, these events promise to offer something for every music enthusiast. Join us in celebrating the timeless beauty and transformative power of music.

A Symphony of Events: Unveiling the Rich Tapestry of Music and Culture

The Bayerisches Staatsorchester is set to captivate audiences with a series of chamber and orchestral concerts in 2025. Featuring a wide range of performances from renowned artists, these events highlight the rich tapestry of classical music. From the innovative compositions of Dvořák and Kodály to the powerful symphonic works of Shostakovich and Strauss, each event promises a unique musical journey. With a lineup that includes the talents of Paweł Horodyski, Vladimir Jurowski, and Tarmo Peltokoski, music lovers are in for a treat as they experience the harmonious blend of traditional and contemporary works.

A Symphony of Chamber Music: Exploring Bayerisches Staatsorchester's Diverse Concerts

Munich plays host to a series of enthralling chamber and orchestral concerts organized by the prestigious Bayerisches Staatsorchester, showcasing timeless masterpieces and contemporary creations. From the UN:ERHÖRT Chamber concert to festival chamber performances, each event brings together celebrated artists and transformative music, offering audiences a chance to immerse themselves in diverse soundscapes. With performances spanning across notable venues like the Alte Pinakothek and Munich Residence, this concert series is a true testament to the enduring allure of classical music.

Munich's Musical Reverberations: A Journey Through Chamber and Orchestral Delights

The programme of the fifth 2024/2025 Academy Concert combines two composers from the German-Austrian late Romantic period, both known for their lavishly lush and at the same time contrapuntally
tight orchestral language, with two from the far north in Finland. In his second symphonic poem,
Richard Strauss expresses the life principle of a man constantly seeking new excitement, who is
driven solely by constant change, until in the end the “fuel is all gone”, and he no longer even resists his departure.

Academy Concert: Tarmo Peltokoski

Max-Joseph-Platz

5th Chamber Concert: Hindemith and Bartók

Allerheiligen Hofkirche

Dr. Arnold and Emma Bahlmann, DIBAG Industriebau AG, Rolf and Caroli Dienst, Vera and Volker Doppelfeld-Stiftung, Dr. Dierk and Veronika Ernst, Monika and Karl Ertl, Christa Fassbender, Dr. Joachim Feldges, Friends of the Nationaltheater, Dietlinde and Carl-Peter Forster, Oliver and Claudia Götz, Regina Hesselberger, Stefan and Maria Holzhey, Dirk and Marlene Ippen, Christine and Marco Janezic, Dr. Hans-Dieter Koch and Silvie Katalin Varga, Christof Lamberts, LfA Förderbank Bayern, Christiane Link, The Opera Foundation, A+Olivia Rogowski, Schwarz Foundation, Dr. Martin Steinmeyer, Georg and Swantje von Werz, Oliver and Kaori Zipse

Passion Concert

Allerheiligen-Hofkirche

EPSG:4326

Chamber Concert: Pfitzner und Brahms

Munich Residence

Swiss composer Frank Martin extracts six monologue-like passages from Hugo von Hofmannsthal’s reworking of the medieval, “Everyman. The play of the rich man's death”, which traces the psychological development of the title character – from realisation of his impending death to revolt and despair, through to final acceptance of death. Martin’s essentially tonal, but extremely individually enriched music nestles closely with the text, until it fades off consolingly in C major. Anton Bruckner’s Symphony No. 6 is is somewhat overshadowed by its more popular neighbours. The composer, a great admirer of Richard Wagner, pays homage to his idol with a quote from Tristan and Isolde in the finale. Vladimir Jurowski, taking a strictly chronological approach to the Austrian symphonist’s œuvre, interprets this complex, rhythmically striking piece, described by its composer as the “perkiest” of his symphonies, which will now be performed for only the fourth time in the history of the Musical Academy.

Academy Concert: Vladimir Jurowski

UN:ERHÖRT - Chamber concert of the Hermann-Levi-Akademie

Alte Pinakothek

Chamber Concert: Wind Quintets from Two Centuries

The young conductor Thomas Guggeis, having sensationally jumped in for his mentor Daniel Barenboim in Berlin and now the General Music Director at the Oper Frankfurt, makes his “academic” debut with the Bayerisches Staatsorchester and presents us a symphonic rarity. Alexander Zemlinsky’s Fantasia for Orchestra, Die Seejungfrau (The Mermaid – based on Hans Christian Andersen’s fairytale), conducted by the composer at its 1905 world premiere in Vienna. The composer’s unhappy relationship with his pupil Alma Schindler, who after a passionate affair left him for Gustav Mahler, is reflected in this powerfully sonorous portrayal of the mermaid’s fate. Perhaps because of this personal background, Zemlinsky decided not to perform the piece. It was thought to be lost and was not performed for almost seventy years. Mendelssohn’s Overture to the Fair Melusine is also based on the world of water spirits and tells the story of a close relative of the mermaid. Aigul Akhmetshina also sings of the coming and going of love. Ernest Chausson’s Poème de l’amour et de la mer op. 19 links the story of a love affair with the atmosphere of the sea.

Academy Concert: Thomas Guggeis

All peace is followed by war, behind all happiness awaits disaster. Tragedy also shares this universal view, and in his grand opera “Les Troyens”, Hector Berlioz presents it in the face of two women: Cassandra and Dido lose their personal happiness, as it has no place in the struggle between the peoples and heroes, and ultimately lose their life. In the first part of “The Trojans” the seeress Cassandra proclaims the fall of Troy. Being the only one to do so, none believe her. With her entire people, she falls victim to the Greeks’ stratagem. In the second part, Berlioz puts Dido, Queen of Carthage, at the centre of the piece. Her love for the Trojan hero Aeneas turns to hate when he leaves her to found a new Troy.  Berlioz wrote the libretto loosely based on Vergil’s Aeneid. He went his own way with the music, which was never performed in its entirety while the composer lived, to produce grand opéra, spectacular choirs and ballets, along with new form experiments. Les Troyens remains a challenge for musical theatre to this day, and is indeed one of the monumental conceptual pieces of the previous century.

Les Troyens

Nationaltheater

6th Chamber Concert: Polyphony from Five Centuries

Two magnificent orchestral works from two very different periods – Joseph Haydn’s Farewell Symphony and Dmitri D. Shostakovitch’s Symphony No. 8. Both are characterised by a dichotomy of sorrow and rebellion. The members of the royal court orchestra at Esterházy Palace wanted to go home to their families after a long summer season. The Prince, however, would not release them. Haydn struck a subversive note of protest for the welfare of his fellow musicians, by having one instrument after another fall silent and withdraw at the end. The Prince, as lore has it, understood the message and gave in. Shostakovich found the courage not to sing songs of jubilation at the end of the Second World War, but instead lamented the deaths of millions and loss of personal freedom under the Stalinist regime. “All that is dark and ignominious will disappear, all that is beautiful will triumph,” Shostakovich explained in a newspaper article. The dictator heard a threat in the contradiction between the music and the asserted expression, and promptly had all performances of the piece banned. His instinct did not fail him. Today, Shostakovich&#39;s Symphony No. 8 is considered a, “tragedy of the present” (Ivan Martynov), and has lost none of its topicality.

Bayerisches Staatsorchester

26 - 27 Apr, 2025

Academy Concert: Tarmo Peltokoski

May 18, 2025

6th Chamber Concert: Polyphony from Five Centuries

Feb 10 - May 26, 2025

UN:ERHÖRT - Chamber concert of the Hermann-Levi-Akademie

2 - 3 Jun, 2025

Academy Concert: Vladimir Jurowski

Jul 3, 2025

Festival Chamber Concert: Holzbläser-Oktett

26 - 27 Apr, 2025

Academy Concert: Tarmo Peltokoski

Apr 6, 2025

5th Chamber Concert: Hindemith and Bartók

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