RESOUND: Original sound at original venues

In the season 21/22 we would like to welcome you to original sounds in originals venues like the Imperial Court Chapel, the Jesuit Church Vienna, the Golden Hall of Musikverein Wien and the St.Stephen's Cathedral. 

Get your subscription now:

5 CONCERTS for a special reduced price (youth discounts available).

You can purchase our subscriptions RESOUND 2021/22 with the Jeunesse Musicale: 

Abonnement 5 concerts:
Cat I: € 320,-   
Cat II: € 250,-   
Youth: € 90,-

 


DATES RESOUND 2021/22

October 10th 2021 | 19:30 
Jesuit Church Vienna

Franz Liszt: Heiligenlegenden

Der Hl. Franz von Paula auf den Wogen schreitend – Legende für Orchester, R 440/2
An den Hl. Franz de Paula - Gebet für Männerchor, 3 Posaunen, Pauken und Orgel, R 671
Die Vogelpredigt des Hl. Franziskus – Legende für Orchester, R 440/1 
Cantico del Sol di San Francesco - für Bariton, Männerchor und Orchester, R 479
Cantantibus Organis – Antifonia per la festa di Sta. Cecilia. R 481
Die heilige Cäcilia - Legende für Mezzosopran, Chor und Orchester, R 480
Die Glocken des Strassburger Münsters - für Bariton, Chor und Orchester (Gedicht von H. W. Longfellow), R 482

Tomasz Konieczny, Bariton
Stephanie Houtzeel, Mezzosopran
Chorus Viennensis
Chor Ad Libitum
Orchester Wiener Akademie
Martin Haselböck

Introductory Lecture: 18:30 with Univ.Prof. Dr. Michele Calella
November 1st 2021 | 19:30
Musikverein Vienna, Großer Saal

This concert is also part of the Musikverein subscription.

Wolfgang A. Mozart:
Sinfonie Es-Dur, KV 543
Requiem d-Moll, KV 626
 
Miriam Kutrowatz, Sopran
Sophie Rennert, Alt
Johannes Bamberger, Tenor
Christoph Filler, Bass
Singverein der Gesellschaft der Musikfreunde
Choralschola der Wiener Hofmusikkapelle
Orchester Wiener Akademie
Martin Haselböck

Introductory Lecture: 18:45 with Dr. Thomas Leibnitz

 

December 4th 2021 | 19:30 
Musikverein Vienna, Großer Saal

This concert is also part of the Musikverein subscription.

Johann Sebastian Bach:
Weihnachtsoratorium, Kantaten I - III, VI
 
Theodora Raftis, Sopran
Reginald Mobley, Altus
Samuel Boden, Tenor
José Antonio Lopez, Bass
Chorus sine nomine
Orchester Wiener Akademie
Martin Haselböck


Introductory Lecture: 18:45 with Univ. Prof. Dr. Stefan Gasch 
March 18th 2022 | 19:30 
Imperial Court Chapel

Die Gebrüder Haydn
 
Michael Haydn: Missa Sancti Leopoldi, MH 837
Joseph Haydn:
Konzert für Orgel und Streicher, Hob. XVIII/7
Cantilena: „Mutter Gottes mir erlaube“ für Sopran, Streicher und Basso Continuo
Wolfgang Amadeus Mozart:
Vier Kirchensonaten für Streicher und Orgel
Michael Haydn:
Vesperae pro festo Sanctorum Innocentium for Soli, Chor and Orchester, MH 548
 
Wiener Sängerknaben
Orchester Wiener Akademie
Martin Haselböck

  
Introductory Lecture: 19:30 with Dr. Rotraud Krall

 

23. Juni 2022 | 20:30
St. Stephen's Cathedral Vienna
 
Joseph Haydn:
„Die Schöpfung“ - Oratorium für Soli, Chor und Orchester, Hob. XXI:2
 
Sherezade Panthaki, Sopran
Jan Petryka, Tenor
Florian Boesch, Bass
Chorus sine nomine
Orchester Wiener Akademie
Martin Haselböck

Inroductory Lecture: 19:30



 
You can purchase our subscriptions RESOUND BEETHOVEN with the Jeunesse Musicale: 

Abonnement 3 concerts:
Cat I: € 150,-   
Cat II: € 120,-   
Youth: € 50,-

 

DATES RESOUND Liszt

10. Oktober 2021 | 19:30 Uhr
Jesuit Church Vienna

This concert is also part of the Resound 2021/22 subscription.

Franz Liszt: Heiligenlegenden I

Der Hl. Franz von Paula auf den Wogen schreitend – Legende für Orchester, R 440/2
An den Hl. Franz de Paula - Gebet für Männerchor, 3 Posaunen, Pauken und Orgel, R 671
Die Vogelpredigt des Hl. Franziskus – Legende für Orchester, R 440/1 
Cantico del Sol di San Francesco - für Bariton, Männerchor und Orchester, R 479
Cantantibus Organis – Antifonia per la festa di Sta. Cecilia. R 481
Die heilige Cäcilia - Legende für Mezzosopran, Chor und Orchester, R 480
Die Glocken des Strassburger Münsters - für Bariton, Chor und Orchester (Gedicht von H. W. Longfellow), R 482
 
Tomasz Konieczny, Bariton
Stephanie Houtzeel, Mezzosopran
Chorus Viennensis
Chor Ad Libitum
Orchester Wiener Akademie
Martin Haselböck 

Introductory lecture: 18:30 with Univ.Prof. Dr. Michele Calella


26. Oktober 2021 | 19:30 Uhr
Ehrbar Hall
 
LISZT Heiligenlegenden II
 
Erste Elegie - für Violine, Klavier, Harfe und Harmonium, R 471
Angelus - für Harmonium
St. Christoph - Legende für Bariton, Oberchor, Klavier, Harmonium und Harfe, R 483
Der 137. Psalm - für Mezzo, Oberchor, Violine, Klavier, Harfe und Harmonium, R. 493
Ave maris stella - für Bariton und Orgel
Jeanne d’arc au bûcher - Scène dramatique für Mezzosopran, Klavier und Harmonium, R 586 (Erstaufführung)
Zweite Elegie - für Violoncello, Klavier und Harmonium, R 472 (Erstaufführung)
Santa Cecilia – für Mezzo und Harmonium
 
Thomas Hampson, Bariton
Sofia Vinnik, Mezzosopran
Chorus sine nomine
Joris Verdin, Harmonium
Gottlieb Wallisch, Klavier
Tina Zerdin, Harfe
Ilia Korol, Violine
Philipp Comploi, Violoncello 

Introductory lecture: 18:30 with Martin Haselböck

 

28. Oktober 2021 | 19.30 Uhr
 Ehrbar-Hall
 
Franz Liszt
Orpheus – Symphonische Dichtung für zwei Klaviere, R. 360
Ludwig van Beethoven
Symphonie Nr. 9 d-Moll op. 125
(Fassung für zwei Klaviere von Franz Liszt, 1853)

Eduard Kiprsky, Hammerflügel
Alexej Zuev, Hammerflügel


 


RESOUND brings the most important orchestral works of the composer back to the magnificent theatres and concert halls of their premieres, performed on the instruments from the time of their origin. Numerous concert series in Vienna, international tours as well as complete recordings of the orchestral works and piano concertos made in the venues of their premieres lead us to the anniversary year and allow supposedly familiar works shine completely anew.

Concert halls form more than just the outer frame of musical events. Their architecture and acoustics directly shape the sound and the audience's perception of the music. This shows just how specifically the sonic character of Beethoven's symphonies are defined by the original venues where they were first performed. These were often smaller than modern halls, but also more reverberant, giving the music far more intensity and volume.

Martin Haselböck and Orchester Wiener Akademie perform on period instruments, using the same number of musicians and in the halls in which the composer himself performed his music.  Orchestra layout, choir placement (often in front of the orchestra), even the position of the audience - all contribute to experiencing anew a performance style that is much different from that of today.

Inspired by the research of Prof. Dr. Stefan Weinzierl (Berlin Technical University) and Prof. Dr. Birgit Lodes (University of Vienna), among others, conductor and orchestra could build on a wealth of experience that has thoroughly changed how Beethoven's works are interpreted.

The goal of RESOUND Beethoven is to transform performances of this supposedly familiar music into a surround-sound experience that is full of freshness and authenticity.
 

Extreme Transparenz bei "Resound Beethoven"

...das Eingangsmotiv unglaublich klar disponiert, die Streicher reagieren mit einem fast kammermusikalisch anmutenden, samtigen, feinen Klang. Gerade sensationell gelingen im Folgenden leise Stellen und Crescendi; aber auch viele Instrumentalsoli aus dem Orchester nimmt man plötzlich viel bewusster wahr… ZUR KRITIK

RBB Kultur | 21. Jan 2019

Harmonische Finesse und Schönheit

…aber gleichzeitig mehr Gesang, der die harmonische Finesse und Schönheit des Umrisses ständig hervorhebt und die Symbiose zwischen dem Klavier und dem Orchester verwirklichen will. Deshalb scheint alles hier so natürlich und in perfekter Harmonie mit dem Charakter dieser Musik zu sein.

Resmusica.com
Res Musica | 24. Jul 2018

RESOUND Beethoven Vol. II: Symphonie Nr. 7, Wellingtons Sieg

"(...) Dank dem frischen Spiel der Musiker und dem leidenschaftlichen Dirigat Haselböcks, kommt bei diesem ambitionierten Projekt zu keiner Zeit der gefürchtete Mief des verbohrt Musealen auf. Vielmehr weiß man sich hier sofort näher am damaligen Wiener Beethoven-Klang als jemals zuvor!"

Bernhard Blattmann | CLASS:aktuell | 31. Jan 2016

So hat man Beethoven noch nicht gehört


Der Kurier
| 05. Oct 2014

Concerto

 

 

Ludwig van Beethoven's piano concertos have been featured as part of RESOUND since 2013, performed on historical pianos by soloists Ronald Brautigam, Melvyn Tan, Alexander Lubimov, Alexander Melnikov, Robert Levin and Gottlieb Wallisch.

'...every nook and corner contains flashes of the unexpected, the unconventional...the transparent sound of the fortepiano reveals things that all too often remain concealed with the modern piano.'
Die Presse, Helmart Dumbs, October 2014
Concerto (PDF, 202 KB)

 

 

Missa Solemnis


In 2020, we will perform Beethoven's greatest sacred work several times together with well-known solosists and the Czech Philharmonic Choir Brno.
Available for selected dates from July 2020.

 

Mass in C major, op. 86


In October 2020 we will perform Beethoven's Mass in C major with the Vienna Boys Choir and the Chorus Viennensis.
Available for selected dates from October 2020.

The Nine Symphonies


The recording of all symphonies and numerous other orchestral works by Martin Haselboeck and his Orchester Wiener Akademie has been completed. Vol. 8 with Symphonies 5 and 6 will be released in November 2019, the entire box in spring 2020 (ALPHA).

'As for the symphony, Haselböck draws from his period instrumentalists a performance that is as sonically
satisfying as it is vital and well-proportioned. It also has a strong dance feel to it, as befits the ballroom ambience.'
Richard Osborne, Gramophone UK, March 2016

At the same time as the performance and recordings of Beethoven's symphonies in the original concert rooms, Martin Haselböck and his orchestra have already interpreted the cycle completely in Europe, Asia and America. For 2020, the orchestra will offer the complete cycle (in four or five concerts) or solo concerts with selected symphonies and concerts.
The Nine Symphonies (PDF, 581 KB)

Fidelio

 

 

The distinguishing feature of this version of Fidelio, planned for 2020, not only is that the orchestral sound benefits from the period instruments and insights gained from the successful RESOUND BEETHOVEN series, but also that the edition prepared by Haselböck/Sturminger restores the lines of the libretto banned by the contemporary Viennese censors and couples the revolutionary ending of the opera's first version (Leonore) with the final version of Fidelio. Thus we now have a version following the original dramaturgical intentions of Beethoven, without the meddling hand of the Metternich censors. This version can only be heard and seen with this production, which, dramaturgically, follows the version staged by Haselböck/Sturminger in 2008.
 
Conductor: Martin Haselböck
Director: Michael Sturminger
Musical assistant: Istvan Matyas
Costumes: Renate Martin
Stage: Andreas Donhauser
 

Prometheus/ Egmont


It is no coincidence that Beethoven and Goethe were both interested in these subjects. Both were followers of the liberal ideas that ignited a wide movement around 1800 in the wake of the French Revolution. The story of the rebellious Titan Prometheus was also embraced by contemporaries such as Lord Byron and Shelley. The Prometheus Myth has continued to fascinate in countless forms and versions from ancient times to this day, from Aischylos and Ovid, through Goethe, Shelley and Lord Byron to Kafka.
In order to do justice to the wealth and complexity of source material, Christopher Hampton has assembled a text-collage that, intertwined with Beethoven's music, tells the multi-faceted story of the theft of fire and incarnation. Egmont is mainly told in the poetry of Grillparzer and original quotations from Goethe's play, contrasted with reflective texts from Goethe's diaries and historical sources. We have fashioned a selection of numbers from the ballet together with Christopher Hampton's texts into a new context.
Prometheus/Egmont (PDF, 1.016 KB)