The German clarinettist Sabine Meyer became internationally renowned at a young age when, as the first woman, she won the position of solo clarinettist with the Berlin Philharmonic under Herbert von Karajan. Since then, she has toured the world extensively. Now, she has decided to retire from her career, but will undertake a final farewell tour in 2025. For this concert, she is joined by two additional star musicians: Nils Mönkemeyer on viola and William Youn on piano. The evening's programme is framed by two works written for the ensemble of clarinet, viola, and piano – an ensemble for which Mozart was the first to compose a piece in 1786, significantly contributing to the establishment of the clarinet as a classical instrument. At the time, the clarinet was a relatively new instrument, but it quickly found its place as a fully integrated and widely used instrument in both orchestral and chamber music. Schumann’s Clarinet Trio was one of the last works he completed, and he himself wrote that he was inspired by the "picturesque and imaginative," but otherwise gave no indication of which fairy tales the work might allude to – this is for the listener to interpret. Max Bruch was a (late) Romantic composer who has since somewhat faded into obscurity, aside from his popular first violin concerto. Therefore, it is a great addition to the evening’s programme to include Bruch’s contribution to the clarinet trio repertoire. The work, written late in his career and dedicated to his son Max Felix, a young professional clarinettist, consists of 8 short movements. In these movements, Bruch explores various constellations of the three instruments, dressed in lyrical melodies and refined Romantic harmony. In between these two works, the three musicians will perform Bartók's Romanian Folk Dances for viola and piano, Ravel’s Une barque sur l’océan from Miroirs for solo piano, and a movement from Mendelssohn’s Sonata in E-flat major for clarinet and piano. PROGRAMME Robert Schumann (1810 – 1856): Märchenerzählungen (Fairy Tales) for Clarinet Trio Maurice Ravel (1875 – 1937): Une barque sur l’océan (A Boat on the Ocean) from "Miroirs" for solo piano Felix Mendelssohn-Bartholdy (1809 – 1847): Sonata in E-dur – 2nd movement ‘Andante’, for Clarinet and Piano Béla Bartók (1881 – 1945): Romanian Folk Dances for Viola and Piano *** Max Bruch (1838 – 1920): Eight Pieces, Opus 83, for Clarinet Trio

The young Japanese piano sensation Mao Fujita is only 25 years old, yet he has already attracted significant international attention. In recent years, he has made his debut with many of the world’s leading symphony orchestras and most renowned conductors. In 2023, he was awarded the Opus Klassik prize for his recording of the complete Mozart piano sonatas for Sony. On this occasion, Fujita will not be performing Mozart, but instead opens the evening with an early Beethoven sonata as the start of a rich and varied solo recital. Beethoven’s piano sonatas are among the great monuments not only of the piano repertoire, but of classical music as a whole. At his concert in Mogens Dahl Concert Hall, Fujita will perform Beethoven’s First Piano Sonata — a work that still draws inspiration from Haydn and Mozart, yet foreshadows the bold innovations to come. The piano sonata is a form that most composers have wished to explore. This includes Johannes Brahms, himself a highly accomplished pianist. It is therefore somewhat paradoxical that he wrote only three sonatas — all youthful works. His Sonata No. 1, opus 1, like Beethoven’s, is in four movements and was praised by Robert Schumann, who also recommended it to his publisher. It is a work that radiates youthful daring and a desire to display virtuosity, drama, and technical finesse. The programme also includes two shorter pieces by Richard Wagner: an early Albumblatt dedicated to Princess Metternich, and Franz Liszt’s famous transcription of Isolde’s Liebestod from the opera Tristan und Isolde — a tribute from friend and father-in-law. Alban Berg’s Variations on an Original Theme is not a typical work for the composer — its tonality and melodic development are distinctly classical in nature. The theme-and-variations form is a familiar one, which Felix Mendelssohn also embraced in his Variations sérieuses, comprising 17 variations on an original theme. PROGRAMME Ludwig van Beethoven (1770–1827): Piano Sonata No. 1 in F minor, Op. 2 No. 1 Richard Wagner (1813–1883): "Ein Albumblatt" WWV 94 Alban Berg (1885–1935): 12 Variations on an Original Theme for piano (1908) Felix Mendelssohn-Bartholdy (1809–1847): Variations sérieuses, Op. 54 *** Johannes Brahms (1833–1897): Piano Sonata No. 1, Op. 1 Richard Wagner / Franz Liszt: Isolde’s Liebestod

Once again this year, Mogens Dahl Chamber Choir presents exquisite performances of Handel’s seemingly indestructible classic Messiah, in collaboration with the outstanding British ensemble, the Orchestra of the Age of Enlightenment, and a lineup of international soloists. For Mogens Dahl and his Chamber Choir, performing Messiah has, over the years, become a journey — a process of gradually drawing closer to the essence of the work. The choice of the renowned Orchestra of the Age of Enlightenment was a natural one. Since its founding in 1986, this British orchestra has been driven by a curiosity to approach music in new and more open ways. Their name reflects this spirit, inspired by the Enlightenment’s relentless desire to question, explore, and discover. The orchestra performs on period instruments, closely matching those used at the time the works were composed—an essential step toward achieving a more authentic sound. This approach is mirrored by the Chamber Choir, which performs with a far smaller ensemble than is often heard today. Historical sources suggest that just 32 singers took part in the original Dublin performance in April 1742. Even in Handel’s own lifetime, Messiah was performed in a variety of versions, shaped by circumstances and experience. As such, it is nearly impossible to know precisely what a performance would have sounded like in Handel’s day. One must let the music speak — and with this performance, Mogens Dahl Chamber Choir and the Orchestra of the Age of Enlightenment come as close as possible to an authentic Messiah. PERFORMERS International soloists Mogens Dahl Chamber Choir Orchestra of the Age of Enlightenment Conductor: Mogens Dahl

Once again this year, Mogens Dahl Chamber Choir presents exquisite performances of Handel’s seemingly indestructible classic Messiah, in collaboration with the outstanding British ensemble, the Orchestra of the Age of Enlightenment, and a lineup of international soloists. For Mogens Dahl and his Chamber Choir, performing Messiah has, over the years, become a journey — a process of gradually drawing closer to the essence of the work. The choice of the renowned Orchestra of the Age of Enlightenment was a natural one. Since its founding in 1986, this British orchestra has been driven by a curiosity to approach music in new and more open ways. Their name reflects this spirit, inspired by the Enlightenment’s relentless desire to question, explore, and discover. The orchestra performs on period instruments, closely matching those used at the time the works were composed—an essential step toward achieving a more authentic sound. This approach is mirrored by the Chamber Choir, which performs with a far smaller ensemble than is often heard today. Historical sources suggest that just 32 singers took part in the original Dublin performance in April 1742. Even in Handel’s own lifetime, Messiah was performed in a variety of versions, shaped by circumstances and experience. As such, it is nearly impossible to know precisely what a performance would have sounded like in Handel’s day. One must let the music speak — and with this performance, Mogens Dahl Chamber Choir and the Orchestra of the Age of Enlightenment come as close as possible to an authentic Messiah. PERFORMERS International soloists Mogens Dahl Chamber Choir Orchestra of the Age of Enlightenment Conductor: Mogens Dahl

Information om menuer m.m. offentliggøres i tættere på eventet.

PROGRAM Sjostakovitj: Strygekvartet nr. 3 Bent Sørensen: Phantasmagoria *** Brahms: Klaverkvintet OM MUSIKKEN Som indledning på programmet opfører Den Danske Strygekvartet Sjostakovitj’s Strygekvartet nr. 3, skrevet i 1946 og præsenteret som en ”krigskvartet”, som en kommentar til den nylige fredsslutning. Denne Tredje Kvartet har fem satser, og har tilsyneladende haft en særlig plads hos Sjostakovitj selv. Han beskrev den selv som ét af sine fineste værker, som han ifølge vidner blev særligt berørt over når han hørte den spillet. Forfald og forgængelighed har i mange år fascineret Bent Sørensen og været inspirationskilde for mange af hans værker. Værket Phantasmagoria (Drømmesyn eller spøgelsesscene) er skrevet til Trio con Brio i 2007, og er bl.a. inspireret af et gotisk stemningsbillede af en natlig ruin, hvor det i forvejen reducerede bygningsværk yderligere sløres af det natlige mørke. I musikken afspejles dette ved en uhåndgribelighed, som et fragmenteret musikalsk skyggespil i fem satser. Efter pausen finder musikere fra de to ensembler sammen i Johannes Brahms’ Klaverkvintet fra 1864 der står som noget af den ypperste kammermusik, han har skrevet. De fire satser udgør et hele af næsten symfoniske proportioner, hvor de enkelte satser i glimt viser inspirationen fra både Schubert og Beethoven.

Billetsalget åbner d. 1. november kl. 12.00 En jubilæumsbillet giver adgang til alle fire koncerter! Ved køb af forsalgsbillet inden d. 17. november, vælges en fast siddeplads ved alle koncerter i Mogens Dahl Koncertsal.  Ved køb af billet efter d. 17. november, tildeles de bedste ledige pladser på købstidspunktet og du modtager senest indenfor 7 hverdage billetterne til de enkelte koncerter inkl. pladsreservation. De sendes til samme mailadresse som du har brugt ved købet. Evt. ønsker til pladsering kan anføres i købsprocessen. Har du spørgsmål til billetter eller billetkøb kan du kontakte United Tickets for support her

PROGRAM Stravinskij: Suite Italienne, arr. for strygekvartet Britten: Solosuite cello nr. 3 —- Schubert: Strygekvintet i C-dur OM MUSIKKEN Stravinskij’s Suite Italienne udsprang af musik til balletten Pulcinella, baseret på musik af barokkomponisten Pergolesi. Stravinskij skrev flere versioner af denne charmerende musik, fx for kammerorkester, for klaver og cello samt en version for klaver og violin. Ved denne koncert altså også i en version for strygekvartet. Johann Sebastian Bachs 6 solo suiter for cello var banebrydende og er stadig værker som enhver cellist må tage livtag med. Det gælder også for de komponister, der vælger at skrive et sådant værk for instrumentet. Den engelske komponist Benjamin Britten skrev tre solo suiter, og suite nr. 3 er direkte inspireret af Mstislav Rostropovitj’s opførelse af Bachs cello suiter. Brittens værk har 9 satser, hvoraf fire bygger på russiske melodier. Brantelid og Den Danske Strygekvartet forenes efter pausen i Franz Schuberts Strygekvintet i C-dur, skrevet i 1828, kun to måneder før komponistens død. Besætningen er usædvanlig, en strygekvartet med en ekstra cello. Selvom det er Schuberts eneste værk for denne besætning, er resultatet blevet én af hans fineste kompositioner overhovedet, og et absolut hovedværk i kammermusiklitteraturen. Tragisk er det derfor at Schubert aldrig selv hørte værket, der først blev opført i 1850

PROGRAM Werle: Sonetto 292 Poulenc: Un soir de Neige  Whitacre: Lux Aurumgue  Heise: I den frysende morgen    Holmboe: Song at Sunset        Nørgård: At tænde et lys      Werle: Sonetto Trentacinque                            Petersson: Deep in Europe Ring: Se, nu stiger solen af havets skød Bemærk at der er unummererede pladser i Holmens Kirke

PROGRAM Brahms: Cellosonate i e-mol Boismortier: Sonate for to celli Albeniz: Cuba & Sevilla – arr. For to celli *** Mendelssohn: Klavertrio op. 66 OM MUSIKKEN Johannes Brahms’ Cellosonate nr. 1 markerer på flere måder et vendepunkt for komponisten. Det er hans først sonate for to instrumenter (klaver og cello) der er bevaret, og samtidig lægger han en mere rebelsk side af sig selv væk. I Cellosonaten vedkender Brahms sig i høj grad sin gæld til store fortidige komponister som fx J.S. Bach, samtidig med at han i de tre satser anvender former og teknikker der var udbredte i barok og renæssance, fx fuga. I andensatsen er det desuden indflydelse fra Mozart og Schubert, der mærkes. Joseph Bodin de Boismortier var en særdeles produktiv barok-komponist, der imidlertid har været en relativt sjælden gæst på koncert-repertoiret i nyere tid. Ved denne koncert opføres en sonate for to celli, hvilket heller ikke er nogen gængs besætning. To celli får vi desuden at høre i et arrangement af to af satserne fra den spanske komponist Isaac Albéniz’ klaversuite Suite Española. Albéniz var selv klavervirtuos, komponist og dirigent, og i sine kompositioner inddrog han, især i klaverværkerne, spansk folkemusik. Mange af disse – ofte relativt korte – satser er blevet folkeeje, også udenfor Spanien. Den helt klassiske klavertrio afrunder denne aften med Mendelssohns Klavertrio nr. 2 opus 66. Mendelssohn skrev kun to klavertrioer, men begge regnes for højdepunkter, ikke kun i Mendelssohns produktion, men i kammermusikken i det hele taget. Flere af temaerne i denne trio danner basis for temaer i senere værker af Johannes Brahms.