Philharmonic Concert in Kölner Philharmonie 2018

Annual Symphony Concert at Kölner Philharmonie

Thursday, 22 February 2018 at p.m.

Kölner Philharmonie


MUSIC AT THE COURT OF THE CZAR
 
Oleg Poliansky, piano
 
Cologne New Philharmonic Orchestra
Volker Hartung, conductor
 
Giuseppe Verdi
Overture to „La forza del destino“ (The Force of Destiny) (1862)

Serge Rachmaninoff
Piano Concerto No. 1 F sharp-Minor Op 1 (1890–91, rev. 1917)


INTERMISSION
 
Mikhail Glinka
Overture from: „A Life for the Czar“ ("Zion' zap carjack") (1834–36, rev. 1837)

Peter Iljytch Tchaikovsky
Libidinous ozero op. 20 (1875/76)
„Swan Lake Suite“

 
Cologne New Philharmonic Orchestra
Volker Hurting, conductor

… and Virtuoso Encores!


Tickets are available at: Köln-Ticket


Volker Hartung's recordings on Spotify & iTunes

Volker Hartung Jury Member at Hongkong International Music Festival 2016

As Jury Member of the wonderful Hongkong International Music Festival & Competition
from 21 to 27th August 2016.

It was a great experience and connected me to wonderful new friends!


OleBohn


Rubbing shoulders with new friends at HKIMF: Jury Members Prof. Ole Bohn and Dean Anderson

EliseuSilva.web

with Eliseu Silva, Violin

ThomasMiller.web

with Thomas Miller from Denver, Colorado, USA

CoPrincipal.web

with Ana Filomena Silva from Porto and Xiao Mu, Hongkong, two amazing Cellists

Andreij.web

with Andrei Bugrinov, Pianist and Professor from St.Petersburg

JoergLieser.web

with Jörg Lieser from Staatstheater Saarbrücken

Chinaman.web


Group

Recordings of Volker Hartung on Spotify & Apple Music

Dear Friends,

After a quarter century of recording legacy of my performances
with the Cologne New Philharmonic Orchestra and other
internationally renowned ensembles I am now deciding to make
the best of them available to the world and distribute them
digitally via different media platforms, before others do, some
of them even unauthorized and in dubious editions.

I do to this in order to honor the excellent performances of
many young talented artists, who once were members of our
beloved Orchestra or are still today. So I took great pains to
mention all important participants and soloists on the various
tracks, whose recording sometimes were made in the early
beginnings of the Symphonic Formation of the Cologne New
Philharmonic Orchestra/ Junge Philharmonic Köln back in 1990.

Who is interested to look into the variety of recordings from
Baroque, Classical, Romantic periods up to 20th century
masterworks, World Music, Tango and Film Music, should get
him/her accustomed to
www.spotify.com or Apple’s iTunes-music-store. There, you can choose among the JPK Musik label
and listen to the different tracks, many of them free of charge.

Several generations of young artists and virtuoso players have
spent their time with this orchestra, made it their home and
were traveling around the world. You were with me in the daily
quest for good music and unforgettable life experiences.
Many of them regard these times as the greatest periods of
their lives.

My constant struggle for and with this Orchestra was full of
drama, adventure and suspense and gave a feeling of
fulfillment and achievement few others can share.

The testimony and my greatest investment to this day are
these recordings, which will testify the amazing intensity, which
my young orchestra was providing to the composer, the public
and to myself each time it entered a great stage.

My wonderful teacher and Idol Sergiu Celibidache once said:
»records are Pancakes and should not be made«, but he allowed
them to be taped in his later years, when, fortunately, his live
concerts were recorded. Like Günter Wand, who on the peak of
his career only allowed his award-winning albums being
produced from his live recordings.
The credo of the two great conductors is also mine and so I
present to you mostly live recordings, which may be partially
less perfectly played, but are lively and incomparably more
authentic than Studio recordings, which are typically spliced
together from hundreds of different takes, which is why many
of these products seem lifeless and even cold.

The listener who is interested in a real concert experience, will
find in our recordings the exciting atmosphere which was
palpable, as we played in mostly sold out concert halls, as for
example in Hamburg's fabulous Laeisz-Hall or the beautiful
Kölner Philharmonie. Some of these recordings were made
during our annual concert throughout Europe, within the
unique acoustics of the Romanesque churches and basilicas,
which provided ideals surroundings for slow movements of
baroque music.

From now on every month new albums will appear on various
Internet platforms, and will be announced via my website
www.volkerhartung.com or on facebook.
In order to achieve the best sonic results, they were all newly
edited and remastered from the original sources, some of them resulting in State-of-the-art 24-bit / 48 high-end albums resulting in unparalleled listening experience.
You can enjoy like me, what my sound engineer Holger Siedler
of the
THS Tonstudio Dormagen achieved in remastering them
and could gain in sonority with his golden ears, his enormous
expertise and his patience.

Volker Hartung

Lutosławski in China

Volker Hartung has the honor to perform the great music of Polish composer Witold Lutoslawski with the Zheijang Symphony Orchestra in Huangzhou, China on May 9, 2014.

In his Five Songs (1956–57) and Muzyka żałobna, his »Funeral Music« for strings (1954-58) Lutosławski introduced his own brand of twelve-tone music, marking his departure from the explicit use of folk music.
Lutosławski's twelve-note techniques were completely different in conception from Arnold Schoenberg's tone-row system although Muzyka żałobna does happen to be based on a tone row.

Witold Lutosławski remains that rare composer with a distinctly defined, individual style in his works, despite differences in his various periods and constant development of his musical language. He found his path among aesthetic crossroads of the 20th century's second half, and pursued it with determination and a refined, evolving artistic sensibility.

For Maestro Hartung he, like no other composer of his time succeeded in finding a synthesis of form and content, intellect and emotion. He belonged to no "school" of composition, did not succumb to trends and fashions. While not upholding traditions or joining avantgarde revolutions, he was both avantgarde and traditional and holds an enduring place among the 20th century's great composers.

And so Hartung puts his »Funeral Music« in this concert at the side of Anton Bruckner, who seems congenial to Lutoslawski's aesthetic sensibility and spiritual attitude of his work.

-----

Volker Hartung conducts on May 9, 2014, the Zhejiang Symphony Orchestra in Hangzhou, China with a program of works by European composers.

1814-1914-2014

Europe - a continent of turmoil before and after the historical fact of three murderous wars , mirrored in the music of three composers from three different eras and countries of origin, the German Bach 's son Johann Christian Bach , whose Concerto for Double Bass and String Orchestra is played by the Chinese soloists Xu Li.
At the beginning the famous " Funeral Music for Strings ,"by Polish composer Witold Lutoslawski in memory of Bela Bartók , which was created in 1954.

The second half of the concert is devoted to one of the greatest works of the Austrian composer Anton Bruckner, whose mighty 4th Symphony in E Flat Major will be heard.


program:

Witold LUTOSLAWSKI
Funeral Music for String Orchestra

Johann Christian Bach
Concerto for Double Bass and Orchestra in C Minor
Soloist: Xu Li, Bass

Anton BRUCKNER
Symphony No.4 in E-flat Major " Romantic "


more:

Music-Sales Concert Calendar

www.volkerhartung.com

Hansen Edition performances