Resound

RESOUND: Original sound at original venues

RESOUND 2024/25 presents great works of music in conjunction with a supporting programme that encourages a deeper understanding, re-listening and rediscovery of these masterpieces. Haydn's ‘Creation’, Bach's ‘St John Passion’ and Beethoven's ‘Eroica’ will be performed in the instrumentations of their premieres, Schubert's songs in orchestral versions by Brahms, Liszt and Reger. ‘Die Winterreise’ will be performed in a congenial version for tenor and string quartet. In cooperation with RESOUND, Danube Private University (DPU) invites academics such as Rüdiger Safranski, Christiane Druml, Giovanni Maio, Michael Maul and Karl-Josef Kuschel to give highly interesting introductory lectures.

Subscription:

Cat I: € 300,-

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

store@dacapo-klassik-jazz.at

www.dacapo-klassik-jazz.at

PROGRAMME AND DATES

Sun 13 October 2024 | 7 pm

Musikverein, Great Hall

Joseph Haydn

The Creation Hob. XXI:2

Oratorio for soloists, choir and orchestra

Theresa Pilsl | Soprano

Jan Petryka | Tenor

Florian Boesch | Bass

Orchestra Wiener Akademie

Martin Haselböck

This concert is also part of the Musikverein subscription.

Tue 12 November 2024 | 7:30 pm

Josephinum

Franz Schubert

Winterreise op. 89 D 911

Version for string quartet arranged by Thomas Koslowsky

Daniel Johannsen | Tenor

Atalante Quartet

Concert in co-operation with the Josephinum.

30 March 2025 | 7:30 pm

Hofburg Chapel

Johann Sebastian Bach

St John Passion

Passio secundum Johannem, BWV 245

(version from 1725)

In original vocal and instrumental instrumentation

Soprano: Johanna Falkinger | Hannah Fheodoroff

Alto: Alois Mühlbacher | Lucija Varsic

Tenor: Benedikt Kristjánsson | Sebastian Taschner

Bass: Matthias Helm | Stefan Zenkl

Orchestra Wiener Akademie

Martin Haselböck

Concert in co-operation with the Wiener Hofmusikkapelle

18 May 2025 | 7:30 pm

Konzerthaus, Great Hall

Ludwig van Beethoven

Coriolan Overture op. 62

Franz Schubert

Songs in orchestral versions

Ludwig van Beethoven

Symphony No. 3 in E flat major op. 55 ‘Eroica’

Thomas Hampson | Baritone

Orchestra Wiener Akademie

Martin Haselböck

An event organised by Concerts Pamplona.

RESOUND 2024/25

in cooperation with Danube Private University

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… Z UR 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)