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 RESOUND 2020/21 with the Jeunesse Musicale

Abonnement 4 concerts:
Cat I: € 320,-   
Cat II: € 260,-   

 


DATES RESOUND 2020/21

September 24th 2020 | 19:30 
Wiener Hofburgkapelle

Gregorio Allegri
          Miserere mei Deus (Psalm 51)

Ludwig van Beethoven 
          Drei Hymnen für Männerchor (an Beethovens Grab gesungen)
          „Ach, erbarme Schöpfer“ (Text. Ignaz von Seyfried) 
          „Du, dem nie im Leben Ruhstatt ward (Text: Franz Grillparzer)
          „Reinige, Vater, mich“ (Text: Ignaz v. Seyfried)

Franz Liszt 
          Evocation à La Chapelle Sixtine

Wolfgang Amadeus Mozart 
          Missa C-Dur, KV 220 „Spatzenmesse“ 
                   Kyrie
                   Gloria

          Kirchensonate C-Dur für Orgel und Orchester, KV 278
                   Credo

          Offertorium „Sub tuum praesidium“, KV 198 
                   Sanctus
                   Benedictus
                   Agnus Dei
 
          Motette „Ave verum corpus“, KV 618

Solisten der Wiener Sängerknaben
Jan Petryka, Tenor
Günter Haumer, Bass
Wiener Sängerknaben
Chorus Viennensis


Introductory Lecture: 18:45 with Prof. Dr. Birgit Lodes in the chapel 
December 6th 2020 | 11:00 
Musikverein Vienna, Großer Saal

This concert is also part of the Musikverein subscription.

Johann Sebastian Bach
Magnificat D-Dur BWV 243
 
Georg Friedrich Händel
«Messiah» Oratorium 1. Teil für Soli, Chor und Orchester HWV 56
 
Theodora Raftis, Sopran
Patricia Caroline Nolz, Alt
Daniel Johannsen, Tenor
Christoph Filler, Bariton
Jeremy Joseph, Orgel
Chorus Sine Nomine



 

February 25th 2021 | 19:30 
Wiener Hofmusikkapelle

Joseph Haydn: Symphonie in Es-Dur, Nr. 22 („Der Philosoph") 
Johann Michael Haydn: Missa sub titulo Sancti Leopoldi (MH 837)
Johann Michael Haydn: Vesperae pro festo Sanctorum Innocentium (MH 548)
Joseph Haydn: Symphony in C-Dur, Nr. 58 („Maria Theresia”)
 
Wiener Sängerknaben
 
Introductory Lecture: 18:30 with Dr. Rotraut Krall in the chapel
June 8th 2021 | 19:30 
Musikverein Vienna, Großer Saal

This concert is also part of the Musikverein subscription.

Georg Friedrich Händel: Alexander’s Feast (Fassung der Uraufführung 1736 mit Concerto grosso und Orgelkonzert)
 
Sherezade Panthaki, Sopran
Guy Cutting, Tenor
Florian Boesch, Bass
Jeremy Joseph, Orgel
Wiener Singverein (Leitung: Johannes Prinz)

  
Introductory Lecture: 18:45 at the Musikverein with Dr. Julia Ackermann at the Musikverein, Steinerner Saal
 
You can purchase our subscriptions RESOUND BEETHOVEN with the Jeunesse Musicale

Abonnement 5 concerts:
Cat I: € 250,-   
Cat II: € 200,-   

 

DATES RESOUND BEETHOVEN
September 18th 2020 | 19:30 (NEW DATE)
Palais Lobkowitz, Eroica-Saal
 
Symphonie Nr. 6 in F-Dur, op. 68 „Pastorale"
Fassung für Streichsextett von Michael Gotthard Fischer, 1810    
Symphonie Nr. 5 in c-Moll, op. 67
Fassung für Streichquintett von Carl Friedrich Ebers, 1828
 
Anna-Maria Smerd und Aliona Kalechyts-Piatrouskaya, Violine
Wolfram Fortin und Tokio Takeutchi, Viola
Jörg Ulrich Krah und Bianca Riesner, Violoncello 



May 6th 2021 | 19:30 (NEW DATE)
Musikverein Wien, Brahms-Saal
 
Franz Liszt Präludium und Fuge über den Namen B-A-C-H S 260

Symphonie Nr. 9 in d-Moll, op. 125
Fassung für zwei Klaviere von Franz Liszt, 1853
 
Eduard Kiprsky und Alexey Zuev auf zwei historischen Flügeln (Rönisch und Streicher, um 1870)

 

September 20th 2020 | 19:30 Uhr (NEW DATE)
Palais Lobkowitz, Eroica Saal (bei Schönwetter im Hof)

Oktett für Bläser, op. 103
Symphonie Nr. 7 in A-Dur, op. 92

Fassung für Nonett von Wenzel Sedlák, 1816
 
Bläser des Orchesters Wiener Akademie
(Leitung: Hermann Ebner)


APRIL 21st 2021 | 19:30 (NEW DATE)
Medizinische Universität Wien, Van Swieten Saal
 
Symphonie Nr. 1 in C-Dur, op. 21
Fassung für Flöte, Violine und Klavier von Johann Nepomuk Hummel, 1825
Symphonie Nr. 8 in F-Dur, op. 93
Fassung für Klavier zu vier Händen von Carl Czerny, 1827
Symphonie Nr. 4 in B-Dur, op. 60
Fassung für Flöte, Violine, Violoncello und Klavier von Johann Nepomuk Hummel, 1825
 
Charles Brink, Flöte
Elisabeth Wiesbauer, Violine 
Jörg Ulrich Krah, Violoncello 
Erich Traxler und Mikayel Balyan, Hammerflügel

 

March 4th 2021 | 19:30 (NEW DATE)
Medizinische Universität Wien, Van Swieten Saal
 
Symphonie Nr. 2 in D-Dur, op. 36
Fassung für Klaviertrio von Ludwig van Beethoven, 1806
Symphonie Nr. 3 in Es-Dur, op. 55 „Eroica"
Fassung für Klavierquartett von Ferdinand Ries
 
Gottlieb Wallisch, Hammerflügel
Ilia Korol, Violine
Wolfram Fortin, Viola
Philipp Comploi, Violoncello
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.