RESOUND: Original sound at original venues

Our new subscription: RESOUND Bach+.
From November 2023 to April 2024, five concerts in the original sound at wonderful venues in Vienna!
Secure your subscription now with 5 concerts at a special price!


Cat I: € 280,-   
Cat II: € 210   
Youth subscription (age <26): € 90
Bookable ONLINE
And in our booking office:
Da Capo Shop
Seilerstätte 30, 1010 Wien
T: +43 1 513 1888


Subscription 5 Concerts:
Kat I: € 280,-   
Kat II: € 210,-   
Youth-subscription (age<26): € 90,-

You can book your subscritption online now!

And in our booking office:
Da Capo Shop
Seilerstätte 30, 1010 Vienna
T: +43 1 513 1888


SO, 12 November 2023 | 7:30 pm
Ehrbar Hall
Johann Sebastian Bach
Sonata I in G minor, BWV 1001 with piano accompaniment by Robert Schumann
Max Reger
Aria "O Mensch, bewein dein' Sünde groß" after the chorale prelude BWV 622 by J.S. Bach
Gustav Mahler
Suite from the orchestral works by J.S. Bach
Rondeau and Badinerie
Gavotte I and II
Frédéric Chopin
2nd Piano Concerto in F minor op. 21
Margarita Höhenrieder | fortepiano
Ilia Korol | Violin
Orchestra Vienna Academy
Martin Haselböck
10 am - 5 pm 4th Liszt Symposium of the Liszt Academy Raiding:
(Admission free with concert ticket)
SO, 17 December 2023 | 11:00 am
Musikverein, Great Hall
Johann Sebastian Bach
Christmas Cantatas
"Let God alone have my heart" BWV 169
Gloria in excelsis Deo, BWV 191
"Jauchzet Gott in allen Landen" BWV 51
Magnificat in D major, BWV 243
Johanna Falkinger | Soprano
Alois Mühlbacher | alto
Daniel Johannsen | tenor
Christoph Filler | bass
Vienna Singing Society
Orchestra Wiener Akademie
Martin Haselböck
Introductory lecture: 10:15 a.m. | Univ.-Prof. Dr. Lukas Haselböck
This concert is also part of the Musikverein subscription.


FR, 1 March 2024| 7:30 pm
Josephinum Vienna
Johann Sebastian Bach / Wolfgang A. Mozart
Prelude and Fugue in F major, KV 404a after BWV 882 for string trio
Wolfgang A. Mozart
Fantasy and Fugue in C major, KV 394 for piano
Johann Sebastian Bach / Wolfgang A. Mozart
Prelude and Fugue in C minor after BWV 526 for string trio
Ludwig van Beethoven
Symphony No. 3 in E flat major, Op. 55 "Eroica" in the version for piano quartet by Ferdinand Ries
Gottlieb Wallisch | fortepiano
Ilia Korol | Violin
Wolfram Fortin | Viola
Peter Trefflinger | Violoncello
Guided tour "Music & Medicine": 6:30 pm | Dir. Dr. Christiane Druml
17. März 2024 | 7.30 pm
Musikverein, Great Hall
Johann Sebastian Bach
St. Matthew's passionn, BWV 244

Teresa Wakim, Johanna Falkinger | Soprano
Reginald Mobley, Alois Mühlbacher | Altus
Benedikt Kristjánsson, Daniel Johannsen | Tenor
John Taylor Ward, Stefan Zenkl | Bass
Wiener Sängerknaben
Orchester Wiener Akademie & consort
Musica Angelica Baroque Orchestra & consort
Martin Haselböck
Introductiory lecture:  6:45 p.m. | Prof. Dr. Peter Wollny
This concert is also part of the Musikverein subscription.


27 April 2024 | 8:30 pm
St. Stephen's Cathedral Vienna       
Johann Sebastian Bach/Franz Liszt
Three arrangements:
Introduction and fugue from the cantata "Ich hatte viel Bekümmernis" (I had much sorrow)
Adagio from the 4th Violin Sonata
Out of deep distress I cry to you
Franz Liszt
"Weeping, lamenting, sorrow, trembling"
Johann Sebastian Bach
Chaconne in D minor for organ arranged by Arno Landmann
Franz Liszt
Prelude and Fugue on B-A-C-H
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.
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




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



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 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.