The Bamberger Symphoniker invites you to embark on a remarkable musical journey this season, offering a series of concerts that explore themes of love, cultural heritage, and historical influences. From Roderick Cox's spirited New Year’s concert to the emotional explorations of Andrés Orozco-Estrada, and the innovative interpretations by Giovanni Antonini, this lineup is set to captivate audiences. The symphony's events promise a celebration of music’s power to connect, inspire, and transcend boundaries, with performances featuring renowned artists and evocative compositions.

Musical Celebrations: A Journey Through Love, Culture, and History with Bamberger Symphoniker

Join the Bamberger Symphoniker on a musical journey with their upcoming concert series, showcasing an array of classical masterpieces. From Jonathan Nott's late Romantic explorations to Jakub Hrůša's homage to Dvořák, Bertrand de Billy's French connections, and Christoph Eschenbach's Bruckner devotion, each event promises a unique experience. These concerts not only highlight the talents of renowned conductors and musicians but also celebrate the rich tapestry of cultural influences in classical music.

Bamberger Symphoniker: A Celebration of Musical Diversity

Experience the vibrant world of music and storytelling at Bamberg's Concert Hall in 2025. From captivating symphonic poems of Smetana to playful detective tales in 'The Carnival of Animals', to the thrilling orchestral mazes conducted by renowned maestros, this festival is a celebration of creativity and cultural heritage. Join us for an unforgettable journey through soundscapes that span across continents and centuries, leading you through emotions and narratives captured by the world’s most talented artists.

A Symphony of Stories: Bamberg's Cultural and Musical Festival

Embark on a captivating musical exploration with the Bamberger Symphoniker as they present a series of exhilarating concerts. From the profound symphonies of Mahler and Bruckner to the chamber music delights of Beethoven and Shostakovich, these events offer a rich tapestry of sound encompassing various styles and eras. Featuring renowned artists like Jakub Hrůša, Konstantin Krimmel, and Andrew Manze, each concert promises a memorable experience, whether it's the fusion of classical and techno or the poignant narratives in string quartets.

Bamberger Symphoniker: A Harmonious Journey Through Time and Culture

The Bamberger Symphoniker is set to thrill audiences in 2025 with an eclectic blend of classical and contemporary music. From the passionate conducting of Andrew Manze and Jakub Hrůša to the innovative video game scores led by Eímear Noone, this season promises a rich tapestry of sound. Featuring works from iconic composers like Grieg, Sibelius, and Mozart, alongside modern masterpieces, the orchestra is poised to captivate concert-goers across Germany and beyond. Join us as we explore the highlights of this dynamic and culturally resonant season.

A Symphony of Traditions: Bamberger Symphoniker's Unforgettable 2025 Lineup

The Bamberger Symphoniker is set to captivate audiences across Germany with a diverse array of concerts celebrating timeless classical masterpieces and innovative musical journeys. From the elegant compositions of Mozart and Beethoven to the enchanting sounds of video game music, this summer promises an unforgettable experience. Under the baton of world-renowned conductors like Bernard Labadie and Eímear Noone, these events offer an exceptional blend of artistry and emotion. Join us as we explore this musical odyssey across Würzburg, Bayreuth, Fürth, Bamberg, and more.

A Symphony of Seasons: The Bamberger Symphoniker's Summer Concert Series

Experience the grandeur of Brahms' symphonic masterpieces through an exclusive Brahms cycle at the Rheingau Music Festival, featuring renowned performances by the Bamberg Symphony Orchestra under Jakub Hrůša's direction. Join acclaimed artists like Jan Lisiecki, Renaud Capuçon, and Julia Hagen as they unravel the intricate beauty of Brahms' compositions, alongside the captivating sounds of Schubert at the iconic venues of Kurhaus Wiesbaden and Friedrich-von-Thiersch-Saal. This musical journey continues with celebrated conductor Manfred Honeck at the majestic basilicas of Bad Kissingen and Ottobeuren Abbey.

Brahms' Legacy Comes Alive: A Grand Musical Journey at the Rheingau Music Festival

The opportunity to play chamber music together is always a delight for us, as it allows our musicians to showcase their individual talents in smaller ensembles, far removed from the grand orchestral repertoire. This concert offers a magical blend of wind and string sounds with surprising pieces and humorous, playful antics – after all, music should be fun. Richard Strauss clearly shared this sentiment when he once remarked with a twinkle in his eye: "I just wanted the people in the concert hall to have a good laugh." He was referring to his delightful composition about the mischievous Till Eulenspiegel, which we now have on our music stands in a slightly different version: In 1954, Franz Hasenöhrl transformed the famous symphonic poem into a whimsical, grotesque chamber music piece – a series of jokes in several episodes for just five instruments. A playful spirit was also the guiding principle for Harald Genzmer, and his 1967 quartet is an impressive work brimming with experimentation and vitality. Franz Berwald's Septet, completed in 1828, is equally original and remarkable for its rich soundscape – and we can indulge our virtuoso musicality in daring, rollercoaster-like passages. We'll also stage a "futile serenade" with the cheerful "Serenata in vano" from 1914.

Chamber concert: Septet

Bamberger Symphoniker

Jakub Hrůša is not only one of the greatest conductors of our time: the charismatic Czech is also known for his cleverly conceived concert programs, opening up new perspectives on seemingly familiar works. At his concert, audiences can look forward to a truly prime example of this special art: Together with the Bamberg Symphony Orchestra, he will perform Beethoven's Pastorale and Richard Strauss's Alpine Symphony – two spectacular orchestral spectacles of nature that powerfully transcended the boundaries of what was musically possible at their time. In his monumentally orchestrated Alpine Symphony, Strauss demonstrates not only his stature as a composer but also his brilliant skills as an orchestrator, allowing the vast orchestra to shimmer and radiate in all its colors.

EPSG:4326

Bamberg Symphony Orchestra / Jakub Hrůša

Elbphilharmonie Hamburg

When fellows of the Joseph Keilberth Orchestra Academy perform chamber music together with musicians from the Bamberg Symphony, one can hear what it means to support young talents: intense, lively, at the highest level – and yet very close to the everyday life of a large orchestra. This is because the nuanced interaction in a small ensemble hones what is essential in an orchestra: attentive cooperation, breathing together, listening to every detail. The chamber concert is therefore not only a special musical experience, but also an important stepping stone in the training of the next generation of orchestra musicians. The audience can look forward to a wide-ranging programme of chamber music works – a true »carte blanche«, the exact content of which will only be announced shortly before the concert. We are particularly delighted to be working once again with the Bamberg Music School, where the concert will take place for the first time in its new festive hall – a beautiful venue for musical encounters and partnership-based promotion of young talent.

Chamber Concert with the Joseph Keilberth Orchestra Academy (Entry free!)

Bamberg Municipal Music School

For Beethoven, one thing was certain: “To play without passion is unforgivable.” That certainly won’t happen to us on our tour of Germany, which kicks off in Bamberg, because musical leaps of joy are guaranteed. With our principal conductor on the podium, we will devote ourselves to a multifaceted and sophisticated programme. Jakub Hrůša once beautifully pointed out that with us, “every little musical detail can become a miracle” – a notion that aptly describes our work together. Among other pieces, we will be performing Beethoven’s First Piano Concerto, which he premiered in Vienna in 1800 – a refreshing work with effective surprises, which will be brilliantly performed by the acclaimed pianist Lukas Sternath. We will also immerse ourselves in two marvellous orchestral nature spectacles with folkloric melodies: in Beethoven’s “Pastoral Symphony”, completed in 1808, we atmospherically portray various scenes in the countryside – such as an exuberant festival “of striking humour”, in which we playfully poke fun at the clumsy music-making of a village band. Even a thunderstorm rolls past – just like in Strauss’s magnificent Alpine Symphony, which premiered in 1915: with an impressive array of instruments including cowbells, organ, thunder sheets, wind machines and more than 60 motifs, the powerful soundscape of this symphonic mountain hike takes shape – an utterly joyful musical adventure for us.

Jakub Hrůša, Lukas Sternath

The game is on again: our popular Slam Symphony enters the next round. And so it’s time to get creative for another exciting competition between poets. This time, the theme takes us to the heart of Andalusia, where the story of Carmen is set – a temperamental and self-confident woman who wraps a handsome officer as well as a dashing bullfighter around her finger with her seductive arts, but deep down loves her freedom much more. A web of intrigue, passion and jealousy unfolds. All this amid the flair of bullfighting, cigarette factories and smuggling – and with music that is brimming with Spanish folklore. Rodion Shchedrin’s arrangement, created in 1967, lends the numbers from Bizet’s successful opera a fascinating modern sound – with lots of percussion instruments and a stirring drive. The familiar melodic earworms (such as the “Habanera”) remain, but in the kaleidoscopic splendour of this wonderful version they seem both familiar and tantalisingly unfamiliar. We look forward to hearing how the poetry slammers will illuminate the story of Carmen with their texts – and at the end, the level of applause will reveal which puns the audience liked best.

Slam Symphony

Childlike joy accompanied by pomp and lots of solo passages: the exciting programme conducted by François Leleux gives our woodwind players a chance to shine in two works. The charming Sinfonietta by English composer Ruth Gipps was composed in 1989 and is full of magical colours. While still a student, but already possessing enormous artistry, Richard Strauss composed his charming Serenade in E-flat major in 1881, in which the young Munich composer's enthusiasm for Mozart is clearly evident – and one of Mozart's works is also featured in this programme: In an interpretative interplay with our solo bassoonist Rie Koyama, we present his well-loved concerto for the slenderly upright woodwind instrument. Mozart wrote it in 1774 at the age of 18, which is why it also spreads youthful freshness. In Johann Nepomuk Hummel’s Opus 102 for oboe and orchestra, our guest conductor performs the solo part himself. It dates from 1824, begins with a melancholic introduction and then unfolds an airy theme that is the springboard for brilliant variations. The programme concludes with a magnificent piece by Ravel, whose 150th birthday is being celebrated by the music world this year. 

François Leleux, Rie Koyama

Apart from further performances at summer festivals, which only publish their programmes at a later date, our orchestra is a regular guest at the Kissinger Sommer. At the end of the season, we will be travelling on to Ottobeuren with our Honorary Conductor Manfred Honeck. The concerts in the basilica, a marvel of baroque sacred architecture, are always a celebration and are traditionally concluded with the ringing of bells. »I have taken this orchestra to my heart from the very beginning – I love it!« Manfred Honeck said this shortly after announcing that he would be our new Honorary Conductor. The chemistry between him and us is perfect. The programme includes two compositions that are in our orchestra’s core repertoire. In addition to Schubert’s »Unfinished«, the programme also features Brahms, who wasn’t able to finish a symphony until he was 43: a highly romantic masterpiece from the opening fateful conflict to the passionate overcoming in the finale – and including a melody that Brahms picked up in the Alps and embedded as a love greeting to Clara Schumann.

Guest in Bad Kissingen with our honorary conductor Manfred Honeck

Regentenbau

Ottobeuren Abbey

Johannes Brahms and the symphony genre – what was a long and difficult chapter for the composer has proven to be a great gift for musical posterity. His four symphonies, paired with other Brahms works, will be performed in a Brahms cycle at the Rheingau Music Festival over the next two years. The Fourth marks the final and climax of his symphonic output; he would subsequently compose only one more orchestral work: the Double Concerto – a "work of reconciliation" for his estranged friends Brahms and Joseph Joachim. The Bamberg Symphony Orchestra under the direction of Jakub Hrůša, along with our featured artist Renaud Capuçon on violin and Julia Hagen on cello, are ideally suited to interpret these masterpieces.

Renaud Capuçon, violin Julia Hagen, cello Bamberg Symphony Orchestra Jakub Hrůša, conductor

Friedrich-von-Thiersch-Saal

There was great uncertainty among composers: what could one still contribute to the symphony genre after Beethoven's Ninth? The self-doubting Brahms in particular struggled with this: "I will never compose a symphony! You have no idea how we feel when we always hear such a giant marching behind us," he wrote. How fortunate that Brahms ultimately gave the music world four magnificent symphonies, which we would like to present to our audience in an exclusive Brahms cycle spanning two years. We begin with the First, a dense work with numerous inner references, the initial draft of which culminated in the composition of the First Piano Concerto, which will also be performed this evening. How fitting that these two works - performed by Jan Lisiecki and the renowned Bamberg Symphony Orchestra under Jakub Hrůša - open our Brahms cycle.

Jan Lisiecki, piano Bamberg Symphony Orchestra Jakub Hrůša, conductor

Kurhaus Wiesbaden GmbH

Even if you have never played Tetris, you will most likely be familiar with the Russian folk song »Korobeiniki«, that served as soundtrack for the first video game with cult status and is indelibly linked to it. And since the success of such epic games as »Fortnite«, »Resident Evil« and »Horizon« at the very latest, it has become clear that video game music transcends the framework for which it was created. Like the soundtrack to famous films, the characteristic melodies are often familiar even to those who have never played the respective game. Under the baton of Eímear Noone, the Bamberg Symphony is now taking the video game scores from well-known titles to the Bamberg concert stage. The Irish composer and conductor has touched over 100 million people worldwide with her music for the online role-playing game »World of Warcraft«. She not only won the Hollywood Music in Media Award with her compositions, but also received five nominations for the Annual Game Music Awards 2014. Together with singer Aisling McGlynn, the orchestra will take the audience into strange new worlds, fusing the sound of a classical symphony orchestra with the sound of electric guitar, bass and drums. A journey through magical forests, post-apocalyptic civilisations and treacherous labyrinths – not only video game lovers will get their money’s worth on this special concert evening.

Video Games In Concert

Bamberg Concert Hall

»What comes from the heart goes back to the heart. This is the true theory of music, sought by all true lovers and connoisseurs at all times, and will be sought until the end of the world.« Thus it is written in the »Basic rules of tonal order« from 1755 – and our concert leads us right into the 18th century. For the first time, we welcome Bernard Labadie to the conductor’s podium – one of the world’s leading specialists in the music of that period, loved by audiences and the press for his moving interpretations. The Canadian artist’s chosen programme includes enchanting works: Mozart’s Funeral Music, composed in 1785 to mark the deaths of two Masonic brothers. The »Jupiter« Symphony fascinates with a whole range of emotions as well as the grandiose finale – and was quickly celebrated as the »highest triumph of instrumental composition«. With William Youn as soloist, we play Beethoven’s highly popular first piano concerto from 1795/96, a refreshing piece with festive glamour, passionate lyricism and an high-spirited dance gesture at the end. But rarely heard repertoire is also on the programme this week: one of the rediscovered works by the German-Bohemian composer Antonio Rosetti, who was born 275 years ago. Nils Mönkemeyer has discovered the brilliant viola concerto – a rhythmically captivating and melodically catchy piece. We are looking forward to Bernard Labadie’s individual interpretation, as he is known for his great musical flair, his enjoyment of the works, his energetic conducting and his attention to detail.

Guest in Fürth

Stadttheater Fürth

Guest in Bayreuth

Margravial Opera House

Guest in Würzburg

Würzburg Residence

»I love surprises and breaking with conventions, as long as they are subtle.« When it comes to developing dramaturgically sophisticated concert programmes, Jakub Hrůša always proves to be a creative mind and also enjoys experimenting. He is now combining two deeply profound musical creations: Charles Ives’ famous work from 1908 revolves around the question of existence. It ultimately remains unanswered in the room, and the magical piece ends on the exact same note with which Shostakovich»s Symphony No. 11 begins – so that the two compositions merge into one another impressively in our concert. The gripping symphony is subtitled »The Year 1905« and refers to the »St Petersburg Bloody Sunday« — but the work also reflects the just as tragic events of 1957 when it was written. Our Chief Conductor has selected the violin concerto by a composer who originated from his home town of Brno and had to seek refuge in exile in America: Korngold kept his head above water there by writing film music, which left traces in his violin concerto – for which we welcome Bomsori Kim as soloist. An exciting programme full of mesmerising undertow that is thought-provoking but also goes straight to the heart – especially through the conducting of Jakub Hrůša, who said of his favourite recipe: »It is important to find a balance in which you create with emotional charge and at the same time respect the craft. That’s when the best moments happen. And when the audience engages in this kind of valuable interaction, nothing stands in the way of happiness.«

Guest of the BRSO subscription

Gasteig HP8

With nearly 7500 concerts in more than 500 cities and 64 countries, the Bamberg Symphony regularly tours the USA, South America and Asia as cultural diplomats for Bavaria and all of Germany. Our guest appearances in Asia in particular have a long-standing tradition: the first trip to China took place in 1986, followed by a tour to Taiwan in 1990. In Japan, we have already played a total of 125 concerts on 15 tours. This year, we are travelling to Japan, Korea and Taiwan again, where in the spring of 2023 we celebrated sensational success in front of sold-out halls. However, as a travelling orchestra, we are particularly committed to minimising the environmental impact of our tours and guest performances. For this reason, our travel planning in the current season also includes several residencies with more than one concert in one place. In Taiwan and Korea, we will again stay a few days longer to present education projects on location. We are compensating for our carbon footprint with climate protection projects that have a local impact and a positive side effect on society and the environment. As we did in 2023, we will be supporting a reforestation project in Seoul.

Jakub Hrůša, Bomsori Kim

»My career feels a bit like the history of conducting: from a standing violinist to concertmaster and eventually with just a baton in my hand.« Andrew Manze was a celebrated baroque violinist in the early music scene for a long time, then decided in favour of the conductor’s podium – and is now also passionately immersing himself in the great romantic scores. He fell in love with music and his current profession at an early age: as a child, he simply plucked a branch from his parents’ garden and swung it to symphonies from the radio. Today, our guest conductor is known as a creative free spirit and exudes a lot of British charm. We are pleased that he is once again conducting one of his favourite programmes with us: Grieg wrote his famous piano concerto in 1868 as a newlywed – a very vivacious piece with memorable melodies and typical Norwegian rhythms, for which we welcome the young artist Lukas Sternath as soloist. There is also the colourful and compelling work »Transit Underground« by Swedish composer Tobias Broström, born in 1978. We will conclude with Sibelius’ Symphony No. 5, which he began in the middle of the First World War. It nevertheless carries a largely optimistic tone in a sea full of superb soundscapes – including the »swan theme«, sounding like film music. It will be a thrilling musical experience with Andrew Manze, because his overflowing joy in the compositions is inspiring and his impulses spark new ways of playing – and when everything works together in harmony, he is happy: »For me, the act of making music is everything. I love the magic when musicians come together, think about music and then something fantastic emerges.«

Andrew Manze, Lukas Sternath

Techno in the concert hall – what may seem odd at first glance turns out to be an innovative blend on closer listening. Pianist and producer Francesco Tristano, a Juillard graduate and bridge builder between classical and popular music, has worked with conductor Dzijan Emin to devise a concept that skilfully blurs the barriers between the genres. In an atmospheric concert experience, the familiar sound of a classical symphony orchestra blends with the avantgarde textures, sounds and rhythms of electronic music. And when the timeless works of Johann Sebastian Bach flow into the intricately woven compositions of Dzijan Emin and Francesco Tristano over the course of the evening, the gap between the musical worlds suddenly no longer seems so wide. At the climax of the concert evening, the electronic setup takes centre stage: in a new version of Francesco Tristano’s piano concerto, the dynamic interaction of the classical orchestra sound and electronic music reaches new heights. It finally culminates in the techno anthem »Strings of Life«, composed in the heart of Detroit, which has lost none of its expressive power even after almost 40 years.

Club Symphony: Technophonic

Remarkable leaps and bounds for the chamber music playing that our orchestra members love: Borodin was actually a full-time chemist and physician, but his passion for music constantly rekindled, including from 1859 in Heidelberg – where he composed his romantic string sextet in D minor. Some time later, he returned to Russia and the work was lost. It did not turn up for almost 100 years until it was finally discovered in an antiquarian bookshop. And it may still be missing something, as it consists of just two movements – one of which seems to shimmer like Mendelssohn’s »Midsummer Night’s Dream« and the other is laced with folk songs from Borodin's homeland. Dvořák’s sextet, premiered in 1879, also bubbles along folkloristically, which has to do with its chronological proximity to his famous »Slavonic Dances« and emphasises his image as a »Bohemian musician«. Although this was only one aspect of his multifaceted personality, Dvořák loved the cheerful and colourful environment around him, where people liked to celebrate festivals. His work quickly became one of the classics of the genre – and also inspired Schönberg to write his string sextet »Verklärte Nacht« in 1899. It is based on a poem by Richard Dehmel, saying: »There is a glow around everything, you drift with me across a cold sea, but a warmth of your own flickers from you into me, from me into you.« Schönberg found a poetic voice here that reflected his aesthetic stance – and an impressive love story that defied the moral standards of the time. He created a late romantic musical world for this – and the composition is one of his most popular pieces of chamber music today.

Chamber concert: String sextet

Spiegelsaal Der Harmonie

»Mahler is a must!« That was absolutely clear to Jakub Hrůša when our journey together began in 2016 – as his late Romantic music is »genetically very close« to both him and ourselves. We have already performed five of his symphonies together in recent years. This programme includes the enchanting »Blumine« movement, which Mahler erased from his autobiographical first symphony and described himself as a »blissful infatuation«: he wrote it in 1884 as a young conductor when he had a crush on a soprano. However, his affection was not returned – and a year later, the »Lieder eines fahrenden Gesellen« (»Songs of a Travelling Companion«) emerged from his emotional misery. Together with Konstantin Krimmel, we embark on the restless wanderings of the lovesick artist. After that we say: Not only Mahler is a must. For some time now, Jakub Hrůša has also been working more intensively on Bruckner, as he has recognised that only an orchestra that »really loves this music enough« will be able to make it work. He described the phase in which we immersed ourselves in the Symphony No. 4 in the 2018/2019 season as a »blissful experience with Bruckner« – and it was deepened even further: In the 2020 pandemic, we recorded our Chief Conductor’s personal take on all three versions of the work for a phenomenal and award-winning recording. In this programme, the »Romantic« is performed in the 1878/1880 version – first in Bamberg, as is traditional, of course. Then we will once again become »travelling companions« ourselves and present the works in two of the best halls in Europe: in the Concertgebouw in Amsterdam and (for the 10th time already!) in Hamburg’s Elbphilharmonie – where we have come to love and appreciate the inspiring acoustics.

On Tour: Concertgebow Amsterdam

The Concertgebouw

The things you find when cleaning ... the »Rheinische«? Sounds like an insurance policy. But it’s music by Robert Schumann. And he actually composed it standing up – at a table. Perhaps so that he could dance better? Cleaner and professional polisher Malte will make your ears sparkle. You are in for lively sounds and incredible stories with all the highs and lows from the lives of Clara and Robert Schumann. Guaranteed to be cheerfully dust-free!

Family concert: MALTE SWEEPS UP! SCHUMANN CAUGHT BY SURPRISE

A concert with impressive string quartets – because our orchestra members love to regularly step out of the big orchestra apparatus and work intensively on works close to their hearts as chamber musicians. And the first one is a real piece of work, according to contemporaries even »as incomprehensible as Chinese«, to which the composer rumbled the words »Cattle! Donkeys!«: Beethoven’s magnificent fugue op. 133 – a highly unique late work from 1825 that goes to the limits of what was possible, with monumental architectural structures and, despite some friendly tunes, with enormous inner tensions. One of the pieces to be rediscovered in this programme comes from the beloved homeland of our concertmaster: Ilian Garnetz grew up in a creative environment – and was awarded the title of »Artist of the Moldavian People« as a music mediator and representative of his country. Now, together with his fellow musicians, he would like to introduce the Bamberg audience to the fourth string quartet by his former violin professor and composer Boris Dubosarschi. It was influenced by the work of Shostakovich – with which the concert ends on a stirring note: His string quartet No. 8 was composed in 1960, during which he reflected on the destruction of the city of Dresden during the war in 1945. It expresses his shock at this and was published »in memory of the victims« of that time. However, Shostakovich felt that this subjective work of confession with its own quotations from his pieces could also be dedicated to his own commemoration – and also mentioned that it was »of such a pseudo-tragic nature that I shed many tears while composing it.«

Chamber concert: String quartet

On Tour: Elbphilharmonie Hamburg

Jakub Hrůša, Konstantin Krimmel

»I’m happy about every listener, regardless whether they are musically trained or not. Concert halls are not museums and everyone can love music. I feel like an entertainer. And people notice that.« Krzysztof Urbański once said this in an interview – and he really is a charming entertainer on the conductor’s podium. No surprise, as the friendly Pole first wanted to be a dancer and then a football player as a kid before discovering his passion for conducting. He has been mixing up the classical music scene with his distinctive style for many years now. He particularly loves his guest performances with us and we are happy that he will be holding the baton again – in an emotionally charged programme that he has meticulously prepared as he always does. He has a strong affection for Shostakovich’s Symphony No. 5, with which the composer silenced his critics for a short time in 1937 – a typically ambiguous work with which he wanted to portray the »becoming of the personality«, in other words »the individual human being with all his feelings and doubts«. Before that, things are no less turbulent: with Alina Ibragimova as soloist, Sibelius’ brilliant violin concerto is performed. According to the composer’s wife, he was »on fire the whole time« during its composition. And you can hear this in the piece with its majestic melodies and sparkling action – including in the finale, which a critic humorously called a »polonaise for polar bears«, while Sibelius described it as a »danse macabre«. A programme that is perfectly suited to the temperament of Krzysztof Urbański, who once said: »I simply can’t do anything about this energy that slumbers inside of me. I just do what I feel.«

Krzysztof Urbański, Alina Ibragimova

Oh no! Someone broke into the concert hall overnight and stole the shiny flute from our flutist’s personal locker! Who on earth could have done it? When Ruby Red finds a letter in a bottle on the banks of the Regnitz on her way to rehearsal, the whole thing becomes clear: a pirate has written to take revenge on a Bamberg sailor who stole his golden treasure from him years ago. That’s why the pirate stole everything that glitters and twinkles in Bamberg. Even the flute! Ruby and her friends try to find a solution so that the flutist can get her flute back. But how does one calm down an angry pirate? Perhaps with a musical treasure? Find out how the story ends! Our seat cushion concerts, developed by our education team, take place in the concert hall directly on stage. People of all ages make themselves comfortable on cushions, close to all the action, and are invited to listen, watch and join in.

Cushion concert: Ruby Red and the pirate with the golden treasure

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

Dominant alpha males or sensitive organisers: conductors are very different – and one might think that the profession has been around forever. Compared to many others, however, it is still relatively young: it only emerged in the 19th century. Before that, only one of the players or the composer himself made a few hand gestures from the piano. But during the Romantic period in particular, the ensembles became larger and larger and the scores became more complex. A person was now needed to coordinate everything in order to avoid chaos. Mendelssohn is regarded as the first conductor in today’s understanding of the term, who set the standard as Gewandhauskapellmeister. He was followed by other big names in Leipzig, including Arthur Nikisch, Wilhelm Furtwängler, Bruno Walter, Kurt Masur and Herbert Blomstedt. Since 2018, Andris Nelsons has been holding the strings together there – but he also loves conducting our orchestra, and we are delighted that he is coming back to Bamberg. Because he is a phenomenon: he lives, breathes and loves music – and celebrates this with an unmistakable trademark of virtually painted lines, conveying strong emotions. The programme he has chosen combines dance works from East and West – after all, music is a wonderful means of building bridges across borders: His Latvian compatriot Arturs Maskats wrote an exciting tango in 2002, while Carlos Simon wrote the colourful »Four Black American Dances« in 2022. There is also a beguiling feast for the ears with Rimsky-Korsakov’s caleidoscope about the storyteller Scheherazade – and Andris Nelsons will certainly conduct again in the same way as he once mentioned in an interview: »Ultimately, you have to follow your heart, that’s where the impulse comes from.«

Andris Nelsons

»A very nice change!« This is how our concertmaster Bart Vandenbogaerde describes his performances as a soloist or in small ensembles. The Belgian showed an enormous musical talent from an early age and quickly fell in love with the violin. He has been playing in our orchestra since 2013 and, according to him, feels »very much at home« in Bamberg. In this chamber concert, he and pianist Margarita Höhenrieder will perform inspiring works that embody the spirit of late Romanticism and the fin de siècle. It begins with a stroke of genius by 23-year-old Richard Strauss: his only violin sonata was composed in 1887 and is a milestone full of sparkling tonal colours, which the Munich-born composer mastered so congenially. Gabriel Fauré was living in vibrant Paris at the time, where his opus 13 was premièred in 1877: The composition impresses with an energetic opening movement with original themes, a fantastic Andante in a swinging barcarole rhythm, an ethereal Scherzo and a whirling finale. The concluding pieces, which originate from the homeland of our concertmaster, are characterised by equally virtuoso upswings:  Eugène Ysaÿe was a legendary violinist for whom a number of composers wrote pieces - and about whom it was said: »The birds sing, he plays the violin!« But the Belgian musician wrote impressive music himself, including the Mazurkas published in 1884: In these brilliant pieces, intimate music-making alternates with passionate eruptions. This will be an enchanting chamber concert, not least because Bart Vandenbogaerde plays the music on a very special instrument - a violin made by the famous Italian violin maker Guarneri del Gesù in 1742.

Chamber concert: Violin Piano

We are delighted that John Storgårds will be our guest again this season, as he is a highly valued member of our orchestra family. In addition to his regular appearances in Bamberg as a conductor, he was active in other roles last summer: as part of the jury in our Mahler Competition. As a conductor, he is known for his creative instinct in arranging programmes and will guide us through his rich selection of works with a keen sense of rhythm: We start with a waltz from a rarely heard gem – Shostakovich’s operetta, first performed in 1959, which revolves around everyday life in a Plattenbau housing estate. Poulenc could be a real »rascal« – as evidenced by his concerto written in 1932, despite some of its elegiac tones. We are pleased to welcome two young pianists, Lucas and Arthur Jussen, for their debut in Bamberg. The concert will also feature the Symphony No. 3 by Ukrainian composer Victoria Polevá: this haunting piece was written in 2003 and at times creates powerful sonic massifs, but is otherwise characterised by a melancholy tone. This austere mood suits our guest conductor wonderfully as a transition to the initially very pensive nature of Shostakovich’s Symphony No. 6 – which, however, then ends in a sarcastic circus frenzy.  This is sure to be a moving experience, as the press raved about our cordial collaboration with the likeable Finn on the podium: »John Storgårds allowed for highly emotional, exuberant, free and joyful music-making, which the superb Bambergers savoured to the full. Everything was just right – a great moment!«

John Storgårds, Lucas & Arthur Jussen

The king of the animals, a lion, has taken a little nap after lunch and suspects no harm. But when he wakes up, he is struck by sheer horror. His precious crown has disappeared! Just one day before the grand animal carnival, the most important day of the year when the great ruler wants to be seen by his animal subjects. One thing is certain: the crown must be returned! Juri Tetzlaff has been one of the best-known and most popular faces on children’s television channel KiKA since 1997. He has also been a passionate presenter of concerts for children since 2001. Now he has revitalised a true classic of the genre with a version of his own lyrics. Tetzlaff transforms Camille Saint-Saëns’ »Carnival of Animals« into an exciting detective story, which he himself narrates in his usual exciting style. Enjoy an entertaining hands-on concert with a tricky murder mystery and breathtakingly beautiful music!

The Carnival Of Animals

Fascinating expedition: Thanks to Jakub Hrůša, we and our audience regularly get to enjoy gems from the rich treasure trove of Bohemian music repertoire. He loves to bring the stories to the stage that the composers from there have set to music so ingeniously. Smetana in particular was a master of symphonic poems, and in this programme we play no fewer than three of them. They were all composed decades before his famous cycle »Má vlast« and are far too rarely heard in Germany. Based on literature by Shakespeare, Schiller and Adam Oehlenschläger, they revolve around different characters: »Richard III«, »Wallenstein’s Camp« and »Haakon Jarl«. They were inspired around 1860 by an encounter with Franz Liszt – who once praised Smetana with the words: »Here you have the composer with the true Bohemian heart, the artist gifted by God.« To set the mood for these dazzling tone poems, we also present two richly nuanced works: firstly Stravinsky’s magnificent wind symphonies, in his words a »ceremony in which different groups meet in short litany-like dialogues«. Our Chief Conductor has chosen these pieces, first performed in 1921, because he loves the sound of our wind section so much – and is thus able to present them in a perfect light. There is also a work from the pen of the Czech modernist composer that Jakub Hrůša has long been fond of and therefore always wants to draw attention to: together with the accomplished pianist Jan Bartoš, we will perform Martinů's imaginative fifth and final piano concerto from 1958 – a charming example of the emotional power of his music.

Jakub Hrůša, Jan Bartoš

»Listen carefully to all folk songs! They are a treasure trove of the most beautiful melodies and open your eyes to the nature of different cultures.« Robert Schumann once noted these wise words in his collection of »Musical House and Life Rules« – and Jakub Hrůša loves to rummage through the various treasure chests of late Romanticism with its manifold folkloristic styles. He constantly includes pieces by his beloved composer Dvořák on the programme – even the lesser-known ones, as he sees him as an artist »who is always interesting, in every work«. And so we now have the rarely performed »Heldenlied« to discover: a tone poem from 1898, which grippingly revolves around different moods from happiness to sorrow.

Public moderated rehearsal

This will be an emotionally powerful chamber concert centred around works that are close to the hearts of our four orchestra musicians. One of the composers will be on the podium himself: Gabriele Campagna has been a member of the Bamberg Symphony since 2022, but the violinist is a multi-talented musician who not only plays several instruments, but also passionately composes. His »Three Pieces« for string quartet are brand new and exciting music. Janáček’s magnificent first string quartet is entitled »Kreutzer Sonata« after Tolstoy’s novella, also taking a bow to Beethoven’s work of the same name and, in his words, revolving around »a woman, desperate, grief-stricken, exhausted to death«. He composed it in just one week in 1923 with almost searing vigour, driven by his love for Kamila Stösslová, 38 years younger than him: »note for note« fell »into his pen, glowing«. As a wonderful interlude, there is composing women’s power: the exciting artist Caroline Shaw was explicitly inspired by Haydn’s outstanding last string quartet in 2011, from which she quotes and catapults the whole into the musical world of the 21st century with »ludicrous, delicate, colourful transitions« – until a fading cello solo symbolises only the »memory of fragments of an old melody«. Finally, the dramatic quartet sounds of Schubert’s famous piece from 1824, a year of sorrow for him. It took its thematic material and name from his song of the same name to a poem by Matthias Claudius – and the central variations follow the poetic dialogue between »Death and the Maiden«. A thoroughly harrowing work, but as Schubert once said encouragingly: »Whoever loves music can never be completely unhappy.«

Happy 85th birthday on 20 February 2025! We wish this to our Honorary Conductor, for whom one thing is for sure: »Music gives you youth, freshness and lots of new beginnings.« Christoph Eschenbach always leaves an impression with his unmistakable aura: he is not a podium matador by any means, but rather comes across at times like a Buddhist monk with his convincing gestures and penetrating eyes full of warm-heartedness. A conductor who prefers silence rather than many words – and one who sees himself as a »musician among musicians«. This results in captivating interpretations with a great sense of mutual understanding, including such works close to his heart as in this year’s programme: Christoph Eschenbach once said that Bruckner was one of his »greatest treasures«. He discovered his love for Bruckner’s music while listening to a radio programme as a boy. And it still fascinates him to this day, so he explores the fascination of Bruckner’s first work with us – this »cheeky little fellow«. It is truly a great blessing that we have been able to come together with such a charismatic artistic personality for such a long time. It is like a longstanding and very close love affair that is constantly being revitalised – also with Saint-Saëns’ »Organ Symphony«: this powerful piece was recorded with Christoph Eschenbach and our orchestra at the Bamberg Cathedral back in 1987 for an audio release. We have every reason to be excited about how the work will sound together with our house organist Christian Schmitt on the concert organ our audience loves so much – after all, our Honorary Conductor remains curious in his old age: »I want to still be conducting when I’m 100, because I might be able to discover even more at the age of 99 than I can at the moment.«

Christoph Eschenbach, Christian Schmitt

How is the house built? When are the roof, walls and floors added? And will the structure be able to support itself? These are the questions of an architect – but they can also be the questions of conductors when they approach musical structures with their very own style and passion. It is therefore hardly surprising that Bertrand de Billy, who was already fantasising about becoming a conductor at the age of four, once said: »If it hadn’t worked out with music, I would probably have been an architect.« From an early age, he carefully observed the movements of conductors – whether from the choirboy's perspective or as an orchestral musician. Today, he conducts numerous renowned orchestras himself. His specialities include classics and key works of the 20th century and, as a native of Paris, time and again declarations of love for French music. With us, he combines Gershwin and Ravel, two composers who knew each other well and both absorbed the other’s idiom. Ravel’s dazzling piece »Daphnis et Chloé« is a fairytale story about two foundlings, which premiered in the French metropolis in 1912. Gershwin’s pulsating piano concerto also has something to do with the city of love: although it was composed in 1925 in the jazzy melting pot that is New York, large parts of it were later woven into the film »An American in Paris«. As a congenial sound designer, Bertrand de Billy will work with us and the pianist Kit Armstrong to delicately emphasise the different currents and similarities of the compositions like a musical architect: Because he never wants to be an overbearing chef d'orchestre, but simply to be an artist among artists: »The fulfilment of creating something together is indescribably beautiful.«

Guest in Erlangen

Heinrich-Lades-Halle

Bertrand de Billy, Kit Armstrong

»Listen carefully to all folk songs! They are a treasure trove of the most beautiful melodies and open your eyes to the nature of different cultures.« Robert Schumann once noted these wise words in his collection of »Musical House and Life Rules« – and Jakub Hrůša loves to rummage through the various treasure chests of late Romanticism with its manifold folkloristic styles. He constantly includes pieces by his beloved composer Dvořák on the programme – even the lesser-known ones, as he sees him as an artist »who is always interesting, in every work«. And so we now have the rarely performed »Heldenlied« to discover: a tone poem from 1898, which grippingly revolves around different moods from happiness to sorrow. For one of the most famous violin concertos from 1878, which we have long had on our wish list, we welcome Ray Chen, a gifted virtuoso: he loves playing with us and can now immerse himself in the emotions alongside our orchestra – because the often emotionally fragile Tchaikovsky always wanted to express »all the agony and ecstasy of love« in his music. For fans of sophisticated melodic works, we conclude with a large load of these: the Symphony No. 5 by Martinů, one of Jakub Hrůša’s favourite composers, revels in his typical soundscapes – with a rich array of colours, yearning parts, pulsating rhythms and hymn-like pathos.

Jakub Hrůša, Ray Chen

Guest in Cologne

Museum Ludwig

»Sweet melancholy is the true nature of true love.« This quote by Novalis is an excellent reflection of our relationship with Jonathan Nott: since the turn of the millennium, he held the musical reins together from the podium for 16 years as our Chief Conductor in over 650 always original concerts both in Bamberg and on tour. On his departure, he said somewhat melancholically: »When we all – orchestra and conductor – achieve a result together, then we are influenced by each other. And even if we never see each other again: All the musicians of the Bamberg Symphony  are a part of my life.« Fortunately, he has been returning regularly as a guest ever since – and this year’s programme is the start of a concert series with him over the next few seasons, which will also take us to places that were the centres of the chosen musical period. It once again bears his unmistakably individual and highly dedicated handwriting: After all, the English maestro honed our musical profile for musical modernism particularly intensively and lastingly during his time. Now it’s a concentration on two related works that were premiered together in Vienna 120 years ago – with each of the two composers conducting their own piece: Zemlinsky conducted his orchestral fantasy »The Mermaid« based on the well-known fairy tale by Hans Christian Andersen. His former student, then brother-in-law and friend Schönberg performed his tone poem »Pelléas et Mélisande«, based on Maeterlinck’s wonderful drama – which Jonathan Nott has long held dear to his heart. There is no doubt, therefore, that he will be a safe guide through these two works, revelling in late Romanticism.

Jonathan Nott

Don't miss it – because in this concert in our popular organ series, a phenomenal artist unleashes a musical firework: our guest is the American Nathan Laube, who holds a professorship at the Eastman School of Music in New York and is also a consultant for organ studies at the Royal Birmingham Conservatoire. As a famous organist, he performs internationally in renowned concert halls and loves to engage his audiences and inspire them for the organ world. The programme is very romantic with outstanding works: His varied recital begins with a vibrant play of colours – in the concert overture written around 1885 by the blind composer Alfred Hollins. César Franck wrote an epic tone poem with orchestral effect with his Fantasie aus den drei Stücken für große Orgel in 1878 for the official opening of the first concert hall organ in France. Nathan Laube then also demonstrates his outstanding virtuosity with two arrangements of significant piano works. Mendelssohn wrote his glowing »Variations sérieuses« in 1841 with »true passion«: In the course of the work, a highly original theme is increasingly harmonically veiled and the expressive range is constantly widened. Liszt pointed far into the future with his »Harmonies Poétiques et Religieuses« – and the piece »Funérailles« from this monumental cycle is also one of his most tragic compositions. The programme concludes with a highlight from the oeuvre of French composer Maurice Duruflé: with his three-movement organ suite, he created a milestone of the 20th century – and the finale toccata is still one of the most technically demanding pieces ever written for this instrument.

Orgelkonzert: Nathan Laube

»To play without passion is unforgivable.« Beethoven famously said – and under the spirited conducting of Jakub Hrůša, emotionally moving concerts happen regularly. In this programme, we delve into the depths of two moving pieces: We start with Beethoven’s last piano concerto, with which he opened the door wide for the incipient Romantic period. He wrote this popular masterpiece at a time of unfavourable circumstances, when Vienna was occupied by the Napoleonic troops. It was premiered in 1811 and features revolutionary, upbeat passages as well as a rich variety of complex emotions. As soloist we welcome the young South Korean artist Seong-Jin Cho, one of the most remarkable pianists of his generation. Our Chief Conductor is always in his element with Martinů’s colourful pieces. He has loved the visionary power of this composer since his childhood and is now President of the International Martinů Circle. The composer was an exceptionally prolific man – and with the Symphony No. 4 we are interpreting one of his impressive instrumental masterpieces: it was written in exile in America in 1945 and reflects his joy over the end of the war as well as his longing for his homeland with folkloristic episodes. Martinů’s Fourth is one of those fascinating pieces that fulfils what Jakub Hrůša once said about the appeal of his Czech compatriot: »It’s wonderful to play Martinů. He is one of those composers who speak directly to everyone – musicians and audience alike. As soon as you put his music on the programme, it’s a success.«

Jakub Hrůša, Seong-Jin Cho

An exciting journey of discovering the wide-ranging world of the Baroque era: the programme features a hand-picked selection of chamber music from the 17th and 18th centuries, some of which are rarely heard works filled with virtuosity, colours and melodic expression. And there is a marvellous foray into some of the European courts of this era. The influence of the Dresden court lutenist Sylvius Leopold Weiss, for example, reached far beyond Saxony: Wilhelmine, the music-loving Margravine of Bayreuth, also arranged for his harmonious compositions to be performed in her palace. When Telemann presented his series of quartets at the royal court in Versailles, the musical world there was at his feet – as the elegant and engaging dance movements were his fervent homage to the most elegant court in Europe at the time. It was said of Karl Kohaut that he was a »must-hear« when visiting Vienna. He was regarded as a gifted player of the lute in Haydn’s circle, but also composed himself – often with a preference for folk idioms. Michel Lambert was not only famous as a singer in the Parisian salons in the age of Louis XIV, but was also widely popular for his marvellous melodies, which were published widely as instrumental works. At the end of the Baroque picture book, we hear wonderful variations on the »Follia« tune, a stirring dance in triple metre that was a popular hit in Europe at that time: it was performed constantly in the streets, whether sung, whistled or stomped. Vivaldi’s magnificent version is a true showdown between the instruments.

Chamber concert: strings flute baroque lute

»Music should touch the heart!« Giovanni Antonini is a phenomenal artist who succeeds in realising this credo of 18th century composers. The Italian conductor likes to indulge in the emotional worlds that the works tell us about, immersing himself in the effects and emotions. A musician who has his own language in the midst of all the performers, whose signature is unmistakable and who breathes a lot of fresh air. His energy is truly infectious – and when asked where he gets it from, he once replied in an interview: »I get it from the music. Even after a concert, which was exhausting and tiring, I’m always tired in a positive sense, that’s the difference. And so on the day after, I’m ready for a new musical adventure. And of course there is also my great love for music!« However, he is not only a fiery spirit, but also a sharp-witted analyst. He is particularly well-known for his innovative and sophisticated approaches to the baroque and classical repertoire – and we love to regularly and intensively explore this historical approach with him. This time he takes us into Mozart's adventure world: his last two symphonies are on the programme. In between, there is another »musical adventure«, which Giovanni Antonini has rarely done recently, but which he is happy to do with us: as an accomplished recorder player, he himself takes on the solo part in Telemann’s original instrumental concerto. Our audience is in for a wonderful musical stroll through the colours and temperaments of the 18th century – where the point was always to »delight the connoisseurs and lovers of music«.

Giovanni Antonini

Guest in Weikersheim

Tauberphilharmonie Weikersheim

Love is one of those things: on the one hand, it is the most beautiful thing in the world, heaven on earth, the fulfilment of all our longings. Yet it is also often complicated, sometimes even exhausting – and unfortunately often the cause of great sorrow. Love is also the central theme of our internationally sought-after guest conductor's wonderful wish list for his programme in Bamberg: the native of Colombia, who will be Cologne’s new General Music Director from 2025, brings plenty of South American temperament and charisma to the stage in his performances. Andrés Orozco-Estrada wanted to become a musician from an early age – even though he pursued a second vocation for football for some time, seeing himself as a kind of »conducting goalkeeper«. In any case, »dealing with people« was and remains important to him to this day. In addition to works from his home country, the Viennese classical and modern periods, he is particularly fond of the romantic repertoire. And one hobbyhorse he likes to ride from the conductor's podium is the downright musical frenzy of the »Symphonie fantastique«, which revolves around the love of an artist for an unattainable actress. Debussy’s Faun is not really happy either, as the sensual piece only indulges in memories of beautiful nymphs. Christiane Karg interprets Mahler’s at times world-wearisome »Rückert-Lieder« – where at one point it says: »I live alone in my heaven, in my love, in my song!« Highly emotional pieces full of highs and lows perfectly suited to Andrés Orozco-Estrada – who, together with the orchestra musicians, always wants to »bring out every little detail«, but »ultimately wants to go about his work not only with a lot of intelligence, but also with a lot of heart«.

Andrés Orozco-Estrada, Christiane Karg

»Where to sow love, joy as love grows up.« Shakespeare already knew this – which is why we are setting off a lovingly put together musical firework at the turn of the year: it bears the stamp of our guest conductor, who is convinced that »we can understand ourselves and our feelings better through music«. Roderick Cox found his way against all odds: he grew up in a single-parent home in Macon, a small town in Georgia. There was no money to buy an instrument or go to concerts – until a foundation helped him out and he eventually got access to a classical music training programme. Today, he is a strong champion of young African-American artists from underrepresented social backgrounds. And he attracts international attention with his well thought-out concert programmes. In his debut on our conductor’s podium, he would like to showcase the range of US-American music – a fascinating mixture, sparkling like champagne. And although the pieces all originate from his home country, they also deal with more global themes and their expressive power is boundless nonetheless. The musical sparklers and possibly a few more sparking encores add a festive flair, but hopefully also remind us all how invaluable the power of music is for love and peace – in the words of Roderick Cox: »Classical music is not just an art to make us feel good, but it should also inspire social thinking, point the finger at injustice, support our freedom and connect people with each other.«

New Year's Concert with Roderick Cox

New Year's Eve Concert with Roderick Cox

»I love conducting so much that I absolutely have to do it.« Ruth Reinhardt realised this when she was 16 and her career today proves her right. Born in Saarbrücken, she completed her studies in Zurich, Leipzig and New York – and is now one of the up-and-coming female conductors who regularly perform with orchestras around the world. The young artist is especially praised for her versatility, her dynamic performances, her musical intelligence and her unorthodox choice of works. Her Bamberg debut is also a proof of this, as she leads us through some exciting repertoire: two pieces by Paul Hindemith – a modern composer who is particularly favoured by our guest conductor – set the scene. His provocative Ragtime from 1921 combines a Bach fugue with jazz elements, while the symphony »Mathis der Maler« portrays the inner and outer struggles of an eminent Renaissance artist in a colourful way. In between, the musical journey goes back 150 years to the Viennese classical period: to the time of Haydn, who liked to combine the highest standards with humour and popular elements in his symphonies. At the request of our solo cellist Marius Urba, a concerto for cello and wind orchestra composed in 1980 will also be performed, a wild ride through various genres: it was written by Friedrich Gulda, who was regarded as an enfant terrible in the classical music business. The audience is in for a colourful concert with a wide variety of ingredients and flavours. But as Ruth Reinhardt once said about her musical experiments, which might just come from a hot and sizzling witch’s kitchen – and have become her trademark: »I always like concert programmes that have contrasts!«

Ruth Reinhardt, Marius Urba

The baton is the instrument of the star conductor – and can easily go missing: Be it due to damage, as in Toscanini's infamous tantrums – or simply by mistake. This was the case with Joana Mallwitz, who once hurled her baton into the audience. With a pencil, she then continued happily through the score. Whether with or without a baton, the debut of this sympathetic artist is eagerly awaited. At a young age, the score of Schubert's »Unfinished« was her »favourite book« and the initial spark for her career ambitions. She found her studies »heavenly«, became Europe’s youngest female General Music Director at the age of 27 and is now the new Chief Conductor of the Konzerthausorchester Berlin, succeeding Christoph Eschenbach. She loves to put together programmes based on dramaturgical considerations and gut feeling – and always explores them with her own personal signature. Her typical, cleverly and lovingly composed blend of recipes between the familiar and the new are like exciting expeditions. For Bamberg, her musical menu includes dance pieces: It starts with the lively momentum of the 1985 work »The Chair-man Dances« by John Adams. Pablo Ferrández is the soloist in Dvořák’s cello concerto, which has to do with the composer’s great childhood love – and Rachmaninov wrote a heartbreaking song of tears with his »Symphonic Dances«. We can truly look forward to Joana Mallwitz’s inquisitive gaze: she is known for her combination of glowing passion and technical precision – and for her willingness to take risks, because: »Music always saves you! That’s why it’s the best thing you can do!«

Guest in Fulda

Fulda City Palace

Joana Mallwitz, Pablo Ferrández

Guest in Nuremberg

Meistersingerhalle

Chamber concerts are very popular with our orchestra musicians, allowing them to showcase new flavours and put individual instruments in the spotlight. Now, there is a wonderful rendezvous with the horn – about which the »Ideen zu einer Ästhetik der Tonkunst« (»Ideas on the Aesthetics of Music«) as early as 1784 stated that it was »humanly conceived as a sensitive soul for almost all societies«. Many composers were inspired by the instrument with its snail shape and distinctive sound to create music – including Mozart, whose horn pieces were all written for the virtuoso Joseph Leutgeb. He first played in the Salzburg court orchestra, but soon moved back to his hometown of Vienna. Due to his somewhat simple-minded character, however, he was often the target of Mozart’s witty remarks, who sometimes notated the pieces he wrote for him in different colours or added mocking remarks to the score. One result of this humorous friendship was the horn quintet from 1782, a work with lots of inventive humour and thematic imagination. The second composition was written by Brahms, who once disparaged the horn as a »brass viola« – yet he probably only meant this tongue-in-cheek, as it was his favourite instrument, especially in his youth. This may be why he wrote the poignant horn trio in 1865 as a mourning piece, shortly after his mother's death. It is characterised by a romantic sense of nature and hunting scenes, but also by mournful lamentations. His close friend Clara Schumann raved about the »extremely interesting work« with its opening movement, which is »very rich in engaging melodies«, its »beautiful« Adagio and its finale, which »is full of life«.

Chamber concert: Strings Horn Piano

Cushion Concert: Ruby Red and the pirate with the golden treasure

A whole range of stops will be pulled out once again: This time, an experienced and acclaimed organist will be our guest at the keys and pedals of our concert organ, much loved by the audience. Together with strings from the Bamberg Symphony, he will present several works that are wonderfully fitting for this Advent Sunday. The first part is dedicated to baroque music: after three touching solo pieces by Bach, a long-lost concerto for organ and violin by Vivaldi is performed – a particularly melody-laden example of his boundless artistry. In the second part, Tomaž Sevšek offers a foray into other musical realms – including a work composed in 1951 by his compatriot Primož Ramovš, whose numerous organ pieces have only rarely been performed in Germany to date. Portuguese composer João Pedro Oliveira is a versatile and award-winning composer: »Persistent Particles« from 2021 experiments with the tonal and technical possibilities of the organ in a fascinating manner. Schumann rented a pedal keyboard for his grand piano in 1845, which gave him and his wife Clara »much delight«. One of the results was the intimate study for pedal piano – in which Schumann expressed his spiritual and compositional affinity with Bach. The French composer Alexandre Guilmant expressed his fondness for the German Romantic composer in his atmospheric work »Final alla Schumann« in 1893.

Organ Concert: Tomaž Sevšek

Christmas is just around the corner, and the appropriate music can really get us into the festive spirit during the Advent season. Nobody knows this better than the brass quintet of the Bamberg Symphony: at today’s St Nicholas concert, the musicians bring both big and small sounds to life with such ease, making them dance through the air and inviting us all to join in. Be there when they present their instruments together with music mediator Karin Meissl and make the Bamberg concert hall ring with Christmas cheer!

St Nicholas concert

»Anyone who preserves the ability to see beauty will never grow old.« These words by Franz Kafka are wonderfully fitting for our esteemed Honorary Conductor, who has been a legend on the podium for a long time. Whilst he is approaching the age of 100, he still has a passion for meticulous attention to detail. He also has a congenial way of passing his positive energy on to the audience with his music. When asked what his secret is, he answered: »The love of music. It’s like a fire that you can’t put out – it inspires me, it challenges me.« And he added very sympathetically: »I’m an ordinary old man, but when you’re in love at the same time, it releases unexpected power reserves.« Herbert Blomstedt is a master of the art of interpretation, and his deeply human and keen spirit is unmistakable. As a sovereign connoisseur of the work in question, he always gives them a very personal interpretation. His characteristic trademarks are small but precise gestures or caressing hand movements. Added to this comes the charisma of an artist who is completely at peace with himself, who no longer needs to prove himself to anyone and performs with unwavering joy. In his self-created programmes, he likes to focus on unknown repertoire from his Swedish homeland – but in keeping with the motto that »old love never dies«, he regularly returns to his musical favourites. And with the two symphonies by Beethoven and Brahms, he will once again endeavour to achieve exactly what he so desires in his role as conductor: »If I can move people’s hearts, then I am happy.«

Herbert Blomstedt

Every year at the beginning of Advent, »Bread for the World« opens the nationwide fundraising campaign with a festive church service, which will take place in Bamberg this year. We get into the mood for this special occasion with a festive evening to support the fundraising campaign. The motto of the campaign, »Sowing change«, is the leitmotif of the evening, during which Petr Popelka will perform excerpts from Tchaikovsky’s »Nutcracker« and selected Advent songs with our orchestra and Bamberg choir singers.

"Sowing change" BENEFICIAL EVENING for Bread for the World with Dr Eckart von Hirschhausen

There are impressive careers that one can only imagine at first. But they sometimes become reality: Petr Popelka’s love of music blossomed when he was a small child. He first formed a musical partnership with the double bass and played in the Staatskapelle Dresden for ten years. He composed on the side to keep his inner balance – but his fervent desire to conduct eventually grew stronger and stronger. And then everything went very quickly: he put his double bass bow aside and is now one of the most inspiring artists of the new generation of conductors, for whom mutual respect is always important when working together. Since this season, he has been Chief Conductor of the Wiener Symphoniker, but other orchestras are also courting the rising star. Fortunately, the likeable musician is already one of our recurring guests: we share the Bohemian soul with the Prague-born conductor – which is why it was »love at first note« when he made his debut in Bamberg in 2022. We are now looking forward to explore the dazzling scores of Schubert, Strauss and Ravel with him, as well as Christian Gerhaher’s current favourite songs, which are far from the usual vocal cycles. Petr Popelka is known for his varied programmes and also for bringing each piece to life with his unique, emotional and refreshing interpretations. He loves the passionate working relationship between him and our musicians, as he once emphasised: »There really is a great open-mindedness in the orchestra – and a willingness to give the best. I feel incredibly comfortable!«

Petr Popelka, Christian Gerhaher

Mozart wrote in a letter to his father that death is »the true, best friend of man« – which for Manfred Honeck is a »profound and significant statement«. The internationally sought-after conductor is known for his unmistakable and trend-setting style – and is also a charismatic and passionate artist who loves emotional depth: »If I had the choice between technical precision and emotional music, I would always choose the music.« The former violist of the Vienna Philharmonic Orchestra, who once began his conducting career as Claudio Abbado’s assistant, has been a regular guest of ours for more than 30 years. This led to an intimate friendship – and as a result, he is now officially performing his first concert as our new honorary conductor. We are delighted to be performing one of his favourite programmes with him on Eternity Sunday, which is very moving and will certainly give food for thought: The equally »mysterious and divine moments« in Mozart's last work – the otherworldly beautiful requiem from 1791, which the composer worked on until his early death at the age of just 35 and was unable to complete. Manfred Honeck breaks the ritualistic confessional music abruptly at precisely that point after eight bars in the »Lacrimosa« – and complements and combines it in an incredibly comforting way with other poignant sound creations, texts from powerful biblical passages, letters by Mozart, poems, Gregorian chorales and the urging ringing of bells.

Manfred Honeck: Mozart's Requiem

Sir Yehudi Menuhin once said about the power of vocal music: »In singing, we humans are creative and creative beings of sound. We have the ability to animate our world and our actions through singing, to give love, joy, hope and confidence, but also to sing the pain from our souls.« Last season, we experienced how much our audience loves to take part in a concert and to sing surrounded by an enthusiastic crowd – and we also love such enthusiastic and spine-tingling events. That’s why, after the great success of the sing-along concert, there is now a sequel, turning listeners into performers. Regardless of whether you already sing in an ensemble or just like to sing alone in the shower: we are again offering the stage for concentrated vocal power, a strong feeling of togetherness and lots of moments of happiness. Everyone is cordially invited to join in a huge choir of over 1,000 people and sing selected numbers from Handel’s popular oratorio »Messiah« at the top of their voices as well as wonderful Christmas songs in preparation for the festive season. They will be superbly supported by popular Bamberg-based professionals from the Bavarian Radio Choir and, of course, by our orchestral musicians – and Howard Arman will once again provide the musical finishing touches with his likeable style of witty and humorous announcements. It is guaranteed to be an unforgettable experience with lots of fun, a catchy tune or two and balm for the soul – after all, Friedrich Schiller wrote the famous line in his poem about the »power of song«: »Every sorrow’s wrinkles disappear as long as the magic of song prevails.«

SING-ALONG CONCERT with the CHOIR OF THE BAYERISCHE RUNDFUNK

We celebrate the anniversary of a format that we, as well as the participating writers and our audience, love: The »Slam Symphony« returns for the 10th time – and the composition it revolves around this season is ideally suited to creative imagination of the word acrobats: Under the baton of Taichi Fukumura, who came second in our Mahler Competition in 2023, we delve into the Nordic world – which is characterised by stories from times long forgotten, poems and ballads as well as mythical figures. Edvard Grieg loved the country of the fjords and often worked obsessively in ivy-covered huts such as his lonely summer house »Troldhaugen«, which translates as »Hill of the Trolls«. The music to »Peer Gynt« is his signature work – based on Henrik Ibsen’s dramatic model, which he created with the help of Norwegian fairy tales: a story about a dreamer who uses fantastical tall tales to avoid reality and only realises late in life that only love will save him. Grieg’s setting describes this path of the »Faust of the North« with musical images of wild, romantic fantasticism. We can truly look forward to seeing how our award-winning poetry slammers put these stories into text.  The day before, schoolchildren will be able to enjoy this musical programme, presented by Marko Simsa.

When the young fellows of our Joseph Keilberth Orchestra Academy play chamber music together with musicians from our orchestra on this afternoon, it will be the best example of how we prepare the young orchestra musicians of tomorrow for the job: Listening to each other in a small ensemble is essential for the large community of the symphony orchestra. And what could be a better way to learn than performing? In other words, we can look forward to a colourful programme of great works from the chamber music literature. A surprise concert, so to speak, as some of the scholarship recipients have only just been appointed to our orchestra, meaning that an exact programme can only be announced a few weeks before the concert. We are looking forward to a »carte blanche« that will certainly not disappoint.

Chamber Concert of the Joseph Keilberth Orchestra Academy

»Yes, just love him, love him so much – but don’t forget that he achieved poetic freedom after years of study, go back to the foundation of his work, don’t prove his genius through the last symphony!« Schumann said this about Beethoven – and it is indeed the case that the Symphony No. 4, which Jakub Hrůša has chosen for this programme, is often treated somewhat like a Cinderella among the nine symphonies. Quite wrongly, because it is an equally masterful composition: it stands in B flat major, which is an expression of the »yearning for a better world« according to the symbolism of musical keys of a certain Mr Schubart, and is characterised by a friendly tone with many wonderful ideas. Our Chief Conductor combines it with an equally neglected piece from the pen of his beloved composer Dvořák. We will be playing the fascinating piano concerto together with the acclaimed pianist Daniil Trifonov: the wide-ranging work was premiered in Prague in 1878 and features a magnificent richness of deeply felt inspirations. We will first present the programme in Bamberg, but then also in Linz – and also travel to the birthplace of Jakub Hrůša, where we have something to celebrate: 1924 was the first time that the »Year of Czech Music« was celebrated.

On Tour: Brucknerhaus Linz

Brucknerhaus

»Yes, just love him, love him so much – but don’t forget that he achieved poetic freedom after years of study, go back to the foundation of his work, don’t prove his genius through the last symphony!« Schumann said this about Beethoven – and it is indeed the case that the Symphony No. 4, which Jakub Hrůša has chosen for this programme, is often treated somewhat like a Cinderella among the nine symphonies. Quite wrongly, because it is an equally masterful composition: it stands in B flat major, which is an expression of the »yearning for a better world« according to the symbolism of musical keys of a certain Mr Schubart, and is characterised by a friendly tone with many wonderful ideas. Our Chief Conductor combines it with an equally neglected piece from the pen of his beloved composer Dvořák. We will be playing the fascinating piano concerto together with the acclaimed pianist Daniil Trifonov: the wide-ranging work was premiered in Prague in 1878 and features a magnificent richness of deeply felt inspirations. We will first present the programme in Bamberg, but then also in Linz – and also travel to the birthplace of Jakub Hrůša, where we have something to celebrate: 1924 was the first time that the »Year of Czech Music« was celebrated. It goes without saying that we have to be there, and our luggage includes the two pieces that were played at the opening concert of the year-long festival in Brno – on the occasion of Josef Suk’s 50th birthday and Janáček’s 70th birthday. In other words, music by two more of our Chief Conductor’s favourite artists: The magnificent autobiographical tone poem »Zrání« and the sparkling orchestral rhapsody »Taras Bulba«.

On Tour: Janáček-Theater Brno

Janáček Theatre

Jakub Hrůša, Daniil Trifonov

»Wherever you go, go with all your heart.« True to this saying, we are travelling on winding paths again – after all, we are Bavaria’s cultural ambassadors in the world. It gives us great pleasure to be touring across Europe to distribute musical calling cards from our wide-ranging repertoire to audiences elsewhere – who may well be curious. Jakub Hrůša once said that he loves it when people »really come with an open heart and are open to experiencing something completely new – and then relate it to what they already know«. At the request of the exceptionally gifted pianist Daniil Trifonov, this time the tour takes us to numerous places in Central Europe, to concert halls that we haven't performed in for a long time. In our suitcases we bring those exciting works that we have presented to our esteemed Bamberg audience for a long time – and although we are now travelling around for a while, we will of course always return to our beloved »home port« on the Regnitz later on.

On Tour: Lisinski-Saal Zagreb

Koncertna dvorana Vatroslava Lisinskog

On Tour: Cankarjev Dom Ljubljana

Cankarjev dom

On Tour: Konzerthaus Wien

Wiener Konzerthaus

On Tour: Stefaniensaal Graz

Congress Center

Off to the next round: this is the starting signal for our extremely popular organ series – and our »Queen of Instruments« shines in all its glory with its almost 6,000 pipes after a recent general refurbishment. The first concert of the season will feature two young prizewinners of prestigious competitions: firstly, we have a programme rich in connections by organist Julian Becker. He performs together with our concertmaster Ilian Garnetz: with the violin sonata in C minor composed around 1720, the two show how Bach’s complex world of sound and musical ideas can be performed.

Organ Concert: Julian Becker and Aleksanteri Wallius

Which instruments can be played to express emotions? And are there pieces that just touch everyone? These and many other questions are at the centre of our first family concert this season. Through various pieces of music, we take you on a very unique journey through the world of musical emotions. The concert will be hosted by Tobias Krell, known as »Checker Tobi« from his shows on ARD and various other channels. In our family concert, we invite him to join us on stage as presenter, and he will explore the topic of feelings in music together with you. The programme of the concert will be conducted by Katharina Wincor, who won 3rd prize in our conducting competition THE MAHLER COMPETITION 2020 at the Bamberg Concert Hall. Join us and experience this interactive and fun concert for the whole family!

Music – The Ultimate Language Of Feelings

A splendidly interwoven sound tapestry! The chamber concerts do not require a conductor – because our musicians love to count on each other in a smaller setting. This programme starts with string playing and a key work of the string quartet genre. Ravel’s piece was premiered in 1904 and is an inspiring example of the vibrant spirit in France at that time – where Cocteau advised the young avant-garde: »Cultivate what the public accuses you of, because that’s exactly what you are.« This is exactly what Ravel, as a »master of musical masks«, did in his only string quartet: he veiled the traditional norms of composition in his own characteristic way and created music that is refined and relatable – which may be peculiar, but nevertheless captivates with its grandiose sound effects and deep emotional worlds. Schubert’s Octet then takes us right into the heart of Romanticism: it was written after a difficult phase in his life, which he sought to »make as beautiful as possible« through his imagination. And so, exactly 200 years ago, he wrote the opulent work in a true creative frenzy, with which he wanted to »pave his way to the great symphony« – and indeed, it widens the intimate chamber music sound to the limits of the orchestral. One of the emotional highlights is the Adagio, a »song without words« typical of Schubert with an elegiac melody and a flow of notes passing by. The finale begins with sombre sounds, but it then develops passionately – and leads to a spectacular conclusion to this gripping milestone, about which a contemporary wrote: »Mr Schubert’s composition is worthy of the author’s recognised talent, full of light, pleasant and intriguing.«

Chamber Concert: Quartett Oktett

Gorgeous late-romantic soundscapes – featuring works by Josef Suk and Leoš Janáček, who are among Jakub Hrůša’s favourite composers. It is thus a matter of the heart for him to regularly introduce audiences to pieces by these fascinating composers that are still relatively unknown outside the Czech Republic. The captivating »Asrael« Symphony already delivered proof of how well this works – and Josef Suk is also being celebrated this year on the occasion of his 150th birthday with an imposing musical autobiography: the programme includes his tone poem »Zráni«, finished in 1917, revolving around human maturity and elevating love to the core aspiration of our existence. Even the conductor of the premiere was absolutely enthusiastic, as he is said to have kissed the score in front of the concert audience and exclaimed in honour of Smetana’s famous cycle: »A second fatherland!« Janáček’s grandiose work was composed at virtually the same time – the scoring of a story about a Cossack culminating in a marvellous apotheosis. Jakub Hrůša fell in love with this composition, as he explained in an interview: »'Taras Bulba' is at the centre of my musical life. I didn't choose it, it just so happened. It was the first work and I’m still in love with it.« The brilliant »Paganini Rhapsody« by Rachmaninov from 1934 – who once answered the question »What is music?« in his typically poetic language: »That which goes from heart to heart, love.« – is also an emotional companion to the two Bohemian pieces.

Jakub Hrůša, Behzod Abduraimov

»I love Czech music, and I want to share what I love with other people creatively.« Jakub Hrůša once said this in an interview, and this programme is another wonderful example thereof. The pleasure of listening is also complemented by an artist from his homeland: Ivo Kahánek is the soloist in the much too rarely performed piano concerto by Dvořák – the very composer who is always close to our Chief Conductor's heart, as he put it: »This music is like mother’s milk for me.« The symphonic piano concerto from 1876, packed with folklore, flourishes from the way the pianist and orchestra toss the thematic balls to and fro in a captivating and supple way. Before this, there is a likewise endearing piece to set the mood and thus even a double anniversary: Smetana was born in the Czech Republic in 1824 and the premiere of his comic opera »The Two Widows« took place in Prague in 1874 under his baton – a work that is set somewhere in Bohemia on an aristocratic estate and features a sparkling overture. Finally, we delve into the world of Beethoven, whose compositions are (not only) part of Jakub Hrůša’s core repertoire. Schumann described his Symphony No. 4 from 1806 as a »slender Greek maiden between two Northland giants«, as it was composed between the courageous »Eroica« and the glorious Fifth. It is a friendly work with enchanting melodies, as Beethoven was madly in love with a young noblewoman at the time – which is why a contemporary commented: »While writing this symphony, his heart must have nearly burst with joy.«

Jakub Hrůša, Ivo Kahánek

Guest at Markgräfliches Opernhaus Bayreuth

A colourful bouquet of musical pieces that are simply enjoyable, well-known melodies and a few folk tunes to sing along to: That’s the mix for this special »Cantabile« chamber concert. In close cooperation with the Alzheimer Stiftung Bamberg e. V., the programme and concept of the concert have been specially tailored to the needs of people with dementia. However, the concert is open to all people who are unable to visit a regular concert due to a disability or impairment. We welcome you and your accompanying persons to the Hegelsaal of the Bamberg Concert Hall for a diverse musical morning, moderated by Martin Timphus, violist and member of the Bamberg Symphony’s education team.

"CANTABILE" Light classical music for people with disabilities or impairments

»As artists, we can show our love with music.« These words were spoken by Sir Simon Rattle – and our audience is in for a treat as the collaboration between the top Bavarian orchestras continues. This time the Bavarian Radio Symphony Orchestra will be conducted in our concert hall by its new Chief Conductor, whose personal style is characterised by charisma and complete humanity – and who likens a harmonious relationship between conductor and orchestra to a good marriage. With our Munich colleagues, it was certainly love at first sight. In this concert by the Bavarian ensemble, the Bamberg audience is treated to a programme of Sir Simon Rattle’s choice. It bears his typical signature, as it includes a broad spectrum of rarely heard repertoire.

BRSO with Sir Simon Rattle

»If music be the food of love, play on!« William Shakespeare once wrote – and in the same spirit, Jakub Hrůša, as our musical »chef de cuisine«, has once again put together sumptuous treats for our audience that unmistakably carry his personal signature. And we start off with a delicacy: With Brahms’ concerto, composed in 1887, which is much more than just a small appetiser – and also follows a quote by Adelbert von Chamisso, that says: »Love is not a solo. Love is a duet.« For the two celebrated soloists Vilde Frang and Sol Gabetta, it was a heartfelt wish to perform this double concerto together at some point – and they will certainly add their artistic flavours to blend into a »giant eight-stringed violin« in accordance with the composer’s wishes. The musical menu also features works by two other favourite composers of our Chief Conductor: Martinů’s Symphony No. 3, which he wrote in 1944 while in exile in America, contains echoes of the folk music of his Czech homeland, as well as skilfully processing the zeitgeist of that time – and, most importantly, indulging in great emotions. After this mighty symphony, we serve Dvořák’s »Scherzo capriccioso«, because Jakub Hrůša loves to break with the conventions of a traditional concert programme time and again. The name already suggests a playfully tossed-together dish and this imaginative, lavishly orchestrated and skilfully crafted scherzo from 1883 is not so little, but it is still a charming nightcap: it is one of the many captivating works from Dvořák’s pen to win people’s hearts by storm.

Jakub Hrůša, Vilde Frang, Sol Gabetta

We’re off to the »Golden City«! It gives us great pleasure to regularly travel with our Chief Conductor to his beloved city of Prague – where he studied and began his career as an internationally esteemed conductor. This year, we are guests at the prestigious Dvořák Festival for a residency – because the audience loves Jakub Hrůša’s captivating interpretations. The opening concert already includes two of his favourite works: Dvořák’s wistful cello concerto, about which he said: »Think of a boy who is in love – that’s the content.« His popular symphony »From the New World« is also highly emotional and has been described as an »expression of his love for his homeland from afar«. On the second evening, we celebrate Smetana’s 200th birthday: the three pieces »Richard III«, »Wallenstein’s Camp« and »Haakon Jarl« tell of love, heroism and suffering.

On Tour: Holešovice Prague OPEN AIR

Rudolfinum

»This must be love!« These words were heard at the joyous announcement that the journey with Jakub Hrůša will continue for several more wonderful years. And he sums it up perfectly, because our Chief Conductor is completely happy with his »friendly and harmonious home«: he loves the city Bamberg, the amicable atmosphere in the orchestra and the whole team behind the scenes, the magnificent hall and the enthusiastic audiences – who return his love in such a way that the concerts with him have been constantly sold out for years. And since fate has been particularly kind to this close relationship since 2016, Jakub Hrůša has fittingly included the Beethoven symphony on the programme for our season opener, with its world-famous tones revolving around the much-invoked Fatum – and about which it was said early on that it is a »living image of great passion«. This symphonic blockbuster is combined with favourites from the heart of our Chief Conductor: With compositions from his and our Bohemian homeland, which he regularly familiarises us with on our journey together. And in doing so, we are always moving on to lesser-known repertoire. Dvořák's Violin Concerto, for example, is not heard very often, even though it is in no way inferior in quality to the great Romantic concertos of his colleagues: it is »original, full of cantilenas and written for accomplished violinists« – including Isabelle Faust, whose wish it was to play the solo part with us one day. However, before that, we should first congratulate this year's birthday boy, Smetana: With his fascinating tone poem »Wallenstein's Camp«, which for Jakub Hrůša is a »fantastic opener« for concerts – which makes the piece a perfect opening for the new season themed »What we love«.

Guest at the Beethovenfest Bonn

Beethovenhalle

Season opening in Bamberg

 We’re off to the »Golden City«! It gives us great pleasure to regularly travel with our Chief Conductor to his beloved city of Prague – where he studied and began his career as an internationally esteemed conductor. This year, we are guests at the prestigious Dvořák Festival for a residency – because the audience loves Jakub Hrůša’s captivating interpretations. The opening concert already includes two of his favourite works: Dvořák’s wistful cello concerto, about which he said: »Think of a boy who is in love – that’s the content.« His popular symphony »From the New World« is also highly emotional and has been described as an »expression of his love for his homeland from afar«. On the second evening, we celebrate Smetana’s 200th birthday: the three pieces »Richard III«, »Wallenstein’s Camp« and »Haakon Jarl« tell of love, heroism and suffering.

On Tour: Rudolfinum Prague

Summer, sun, festivals – we love this buzzing time and the magical bonding moments when hearts beat to the rhythm of music. Our first trip of the new season takes us to the heartland of bagpipes: there’s a lot happening in the Scottish capital Edinburgh in August, with its winding alleys virtually bursting at the seams as there's culture on almost every corner. Right in the centre of it all for classical music fans: the prestigious Edinburgh International Festival, founded in 1947 – and where we have a short residency this year.

On Tour: Edinburgh International Festival

The Usher Hall

The current motto there is »Rituals That Unite Us«, so it’s all about the rituals intended to bring people closer together again – which fits in perfectly with our love theme. We are performing in Edinburgh with a programme of our choice: from Bamberg we bring our favourite pieces with us as musical calling cards. These include our widely acclaimed spotlight on Hans Rott’s First Symphony – and the exciting love triangle between this artist, who died young, and the two masters Bruckner and Mahler. We have also recently explored the close friendship between Brahms and Dvořák – and are playing two important works by these brilliant composers. As a monumental finale, our last concert in Edinburgh will feature a larger portion of Czech music together with the local Festival Chorus – with poignant compositions by Dvořák and his son-in-law Josef Suk.

Sommer, Sonne, Festivals – wir lieben diese pulsierende Zeit und die magischen Momente der Verbundenheit, bei denen die Herzen im Takt der Musik schlagen. Unsere erste Reise in der neuen Saison führt uns in die Hochburg des Dudelsackes: In der schottischen Hauptstadt ist im August jede Menge los, Edinburgh mit seinen verwinkelten Gassen platzt fast aus allen Nähten, denn quasi an jeder Ecke findet Kultur statt. Mittendrin für die Klassik-Fans: Das renommierte Edinburgh International Festival, welches 1947 gegründet wurde – und bei dem wir in diesem Jahr eine kleine Residenz haben. Das aktuelle Motto lautet dort »Rituals That Unite Us«, dreht sich also um Rituale, welche die Menschen einander wieder näherbringen sollen – was hervorragend zu unserer Liebes-Thematik passt. Wir gastieren in Edinburgh mit einem Wunschprogramm: Als musikalische Visitenkarten bringen wir aus Bamberg unsere Lieblingsstücke mit. Dazu gehört unser umjubelter Fokus auf die erste Symphonie von Hans Rott – und die damit verknüpfte und sehr spannende Dreiecksgeschichte zwischen diesem jung verstorbenen Künstler und den beiden Meistern Bruckner und Mahler. Die enge Freundschaft zwischen Brahms und Dvořák haben wir in letzter Zeit auch intensiv ausgelotet – und spielen zwei bedeutende Werke dieser genialen Tonschöpfer. Zum monumentalen Abschluss gibt es in unserem letzten Konzert in Edinburgh mitsamt dem dortigen Festival Chorus noch eine größere Portion tschechischer Musik – mit ergreifenden Kompositionen von Dvořák und seinem Schwiegersohn Josef Suk.

For this special concert, the shuttle taxi will run from the Georgendamm underground car park at the usual times and the concert bus will run after the end of the concert.

Jakub Hrůša conducts Bruckner, Mahler and Rott

A summery musical evening with conductor Krzysztof Urbanski and soloist Kian Soltani at the Plassenburg in Kulmbach.

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Bamberg Symphony Orchestra / Jakub Hrůša

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