Bamberger Symphoniker

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»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.«

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»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.«

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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.

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»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.«

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»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.

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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.

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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.