RESOUND Beethoven: In the original sound at the original venues

In preparation for Beethoven Year 2020, we focus on this great master. All of Ludwig van Beethoven's symphonies and his other most important orchestral works and chamber music were first performed in Vienna under the composer's direction.  Most of the venues in which they were performed - the theatres and sumptuous halls in numerous Viennese palaces - survive to this day. They allow us to relive the atmosphere and sound of those premieres that took place some 200 years ago.
 

You can purchase our subscriptions for 2018/19 in four bookable variations (A/B/C/D) with the Jeunesse Musicale: 
Abo A | Abo B | Abo C | Abo D

Abonnement 4 concerts:
Cat I: € 290,-   
Cat II: € 240,-   
Bonusconcert: € 60,-

 


TERMINE RESOUND BEETHOVEN - MOZART - HAYDN


 4. November 2018 | Musikverein, Vienna, Großer Saal, 19:30  (A/B/C/D)


BEETHOVENS NINTH


Ludwig van Beethoven: Ouvertüre „Die Weihe des Hauses“, op. 124
Ludwig van Beethoven: "Tremate, Empi, Tremate“, Terzett für Sopran, Tenor, Bass und Orchester, op. 116
Ludwig van Beethoven: Symphonie Nr. 9 in d-Moll, op. 125

Sopran: Sumi Hwang
Alt: Stephanie Houtzeel
Tenor: Steve Davislim
Bass: Florian Boesch
Wiener Singakademie

Introductory lecture, Steinerner Saal, 18.30 : Univ. Prof. Birgit Lodes (Universität Wien)

*Also in the Abo des Wiener Musikvereins
21. Februar 2019 | mdw, Vienna, Joseph Haydn-Saal, 19:30  (A)
22.-24. Februar 2019 I Palais Lobkowitz, Vienna, Eroica Saal, 19:30  (B/C/D)


CONCERTO



Ludwig van Beethoven: Konzert für Klavier, Violine, Violoncello und Orchester (Tripelkozert), op. 56
Solisten: Alexej Lubimow, Ilia Korol, Pavel Serbin

Ludwig van Beethoven: Konzert für Klavier und Orchester Nr. 5 in Es-Dur,
op. 73
Solist: Gottlieb Wallisch, Klavier

Introductory Lecture 18:30 Uhr:
Presentation of historic pianos with Alexej Lubimow and Gert Hecher

 

21. & 22. March 2019 | St. Stephens Cathedral, Vienna 20:30  (21.3. A / 22.3. B/C/D)


TRES HORAS - Theatrum sacrum


Joseph Haydn: Die Sieben Worte unseres Erlösers am Kreuze (Orchesterfassung 1786)
Texte von Messià Bedoya (1737)

Speaker: Sebastian Koch
Projections and Portraits: Meinrad Hofer
Text and Dramaturgy: Matthias Henke

Introductory Lecture, 19:30:
Curhaus St. Stephan: Univ. Prof. Matthias Henke/ TP. Dr. Gustav Schörghofer SJ
23. und 24. Mai 2019 | Palais Schönburg (Garten), 18:30 Uhr (23.5. A/B / 24.5. C/D)


Garden concert followed by festivity at the castle


Wolfgang Amadeus Mozart: Gran Partita - Serenade Nr. 10 in B-Dur für 13 Bläser, KV 361

Party at the castle with music by Mozart, Beethoven, Schubert und historic dance class (tantzart.at)

In the case of rain the festivities will take place in the castle

 

**BONUSCONCERT**


23. November 2018 | Palais Lobkowitz, Vienna, Eroica Saal, 19:30 

Ludwig van Beethoven: Klaviersonate c-Moll, op. 111
Ludwig van Beethoven: Klaviertrio in B-Dur, op. 97 “Erzherzog-Trio”

Hanna Weinmeister, Violine
Bruno Weinmeister, Violoncello
Gottlieb Wallisch, Hammerflügel




RESOUND subscribers who also purchase the subscription series at the Musikverein  Musikvereinszyklus des Orchesters Wiener Akademie receive a complimentary ticket for the bonus concert on November 23 2018.
 
RESOUND Beethoven 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.
 

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


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.