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 2019/2020 in two bookable variations (A/B) with the Jeunesse Musicale: 
Abo A | Abo B

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

 


DATES RESOUND BEETHOVEN 

October 3rd 2019 | 19:30 (Abo A)
October 4th 2019 | 19:30 (Abo B)

Österreichische Akademie der Wissenschaften, Festsaal

MÄLZELS MECHANISCHER TROMPETER

Franz Schubert: Symphonie Nr. 1 in D-Dur, D 82
Zwei Märsche für den Mechanischen Trompeter:
       Ignaz Josef Pleyel: Jubelmarsch
       Jan Ladislav Dussek: Braunschweig Marsch
 
Ludwig van Beethoven: Symphonie Nr. 7 in A-Dur, op. 92
 
Introductory Lecture: 18:30 in the concert hall
November 23rd 2019 | 19:30 (Abo A and B)
Aula der Wissenschaften, Jesuitensaal


BEETHOVEN: THE PIANO CONCERTS I

Franz Schubert: Ouvertüre im italienischen Stil in C-Dur, op. 170
Ludwig van Beethoven: „Soll ein Schuh nicht drücken“ Arie für Sopran und Orchester, WoO 91
Ludwig van Beethoven: Rondo für Klavier und Orchester in B-Dur
Wolfgang Amadeus Mozart: Rezitativ und Rondo „Ch‘io mi scordi di te?“ für Sopran, Klavier und Orchester, KV 505
 
Ludwig van Beethoven: "Erste Liebe, Himmelslust" Arie für Sopran und Orchester WoO 92
Ludwig van Beethoven: Konzert für Klavier und Orchester Nr. 1 in C-Dur, op. 15
 
Chen Reiss, Sopran
Gottlieb Wallisch, Klavier
 
On the restored Beethoven piano by Conrad Graf from the Beethovenhaus Baden
 
Introductory Lecture: 18:30 in the concert hall

 

February 14th 2020 | 19:30 (Abo A)
Palais Niederösterreich, Landtagssaal



BEETHOVEN: THE PIANO CONCERTS II
  
Ludwig van Beethoven: Ouvertüre „Die Geschöpfe des Prometheus“, op. 43
Ludwig van Beethoven: Konzert für Klavier und Orchester Nr. 2 in B-Dur, op. 19
 
Ludwig van Beethoven: Konzert für Klavier und Orchester Nr. 5 in Es-Dur, op. 73
 
Ronald Brautigam, piano
---------------------------------------------
 
Sa., 15. Februar 2020 | 19:30 Uhr (Abo B)
Palais Niederösterreich, Landtagssaal

BEETHOVEN: DIE KLAVIERKONZERTE III
 
Ludwig van Beethoven: Ouvertüre zu „Coriolan“, op. 62
Ludwig van Beethoven: Konzert für Klavier und Orchester Nr. 3 in c-Moll, op. 37
 
Ludwig van Beethoven: Konzert für Klavier und Orchester Nr. 4 in G-Dur, op. 58
 
Melvyn Tan, Klavier
 
Introductory Lecture: eatch at 18:30 in the concert hall

March 10th März 2020 | 19:30 (Abo A)
Musikverein Vienna, Großer Saal

This concert is also part of the Musikverein subscription.

BEETHOVEN/SCHUBERT
 
Ludwig van Beethoven: Konzert für Violine und Orchester in D-Dur, op. 61
 
Franz Schubert: Große Symphonie Nr. 8 in C-Dur, D 944
 
Benjamin Schmid, Violine
---------------------------------------------
 
May 12th 2020 | 19:30 (Abo B)
Musikverein Vienna, Großer Saal

This concert is also part of the Musikverein subscription.

PROGRAM OF THE CONCERT OF April 30th 1870
 
Franz Liszt: Chor und Marsch der Kreuzritter aus der Hl. Elisabeth
Franz Schubert: Symphonie Nr. 7 in h-Moll, D 759 „Die Unvollendete“
Franz Schubert: Ballettmusik aus „Rosamunde“ D 797
 
Drei Chöre:
       Robert Schumann: „Der Traum“ op. 146 Nr. 3
       Johann Herbeck: „Es ritt ein Jäger wohlgemut“
       Felix Mendelssohn-Bartholdy: Der 43. Psalm „Richte mich, Gott“ op. 78          Nr. 2, MWV B 46

Ludwig van Beethoven: Fantasie für Klavier, Chor und Orchester in c-Moll, op. 80 „Chorfantasie“
 
Ronald Brautigam, Klavier
Singverein der Gesellschaft der Musikfreunde in Wien
 
Introductory Lecture: eatch at 18:45 at the Musikverein, Steinerner Saal
 
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.
 

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

 

 

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.

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.