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.

PROGRAM Alfvén: Som stjärnan uppå himmelen så klar Alfvén: Aftonen  Werle: Sonetto 292  Poulenc: Un soir de Neige   Petersson: Madrigal Nørgård: At tænde lys   Heise: I den frysende morgen Morales: Parce, mihi Domine Holmboe: Song at Sunset Storm: Evening Reflections Werle: Sonetto Trentacinque Ring: Se, nu stiger solen af havets skød  MEDVIRKENDE Mogens Dahl Kammerkor Mathias Heise, mundharpe Jonas Frølund, klarinet Jakob Lorentzen, orgel CPH Light Festival, lysdesign Mogens Dahl, dirigent Bemærk at der er unummererede pladser i Holmens Kirke, det anbefales derfor at komme i god tid! OM PROGRAMMET Mogens Dahl Kammerkor synger igen i år åbningskoncerten ved Copenhagen Light Festival. Koncerten er desuden et led i fejringen af 20-året for indvielsen af Mogens Dahl Koncertsal - og dermed også etableringen af Mogens Dahl Kammerkor, der hurtigt har markeret sig som ét af Nordens fremmeste vokalensembler.  Den svenske komponist Per Gunnar Petersson er aktuelt Composer in Residence ved Kammerkoret, og har skrevet flere værker til koret. Korsatsen, Madrigal, uropføres ved denne koncert.  Programmets to værker af den svenske komponist Lars-Johan Werle er korværker - med tekster af Petrarca - der veksler mellem det tonalt genkendelige og mere modernistiske (og teknisk udfordrende) i en ekspressivt kommunikerende stil.    Her i vinterens midte (få dage før Kyndelmisse) er en del af programmet centreret omkring netop vinteren, kulden, mørket og det lys, man længes efter:  Francis Poulencs Un Soir de Neige, lille kammerkantate for kor, er skrevet til Paul Éluard’s stærke tekster om vinter, der også ekkoer den eksistentielle vinter efter 1. Verdenskrig.  Per Nørgård, der døde i 2025, skrev også en stor mængde kormusik, men ved denne koncert opføres instrumentalværket At tænde lys i et arrangement for klarinet solo.  Harmonikaspilleren Mathias Heise, er en højt skattet samarbejdspartner for Mogens Dahl Kammerkor. Ved denne koncert optræder han også som komponist i værket I den frysende morgen for kor, mundharmonika og klarinet.  Vagn Holmboe efterlod sig en omfattende produktion af kormusik i en personlig og umiddelbar stil der af mange opfattes som særligt ”nordisk”, i Song at Sunset med tekst af Walt Whitman. Mogens Dahl Kammerkor har indspillet flere af Holmboes værker, og fejrer ved denne lejlighed den første release af flere..  Lyset påkaldes i den spanske renæssance komponist Christobal de Morales´ smukke og introverte Parce mihi Domine der tilføjer koncerten en tidløshed der samtidig peger mod nutiden ved mødet med  Mathias Heises akkompagnement. Et greb, saxofonisten Jan Gabarek tidligere har anvendt med stort held i mødet med tidlig musik. Herefter rundes koncerten af med en af de mest berømte danske salmer om dagens og lysets frembryden: Oluf Rings melodi til Jakob Knudsens udødelige tekst Se, nu stiger solen af havets skød.

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 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

MENUER 27. januar kl. 18.00 Bøffelmozzarella, bagte tomater og basilikum, olivenolie og balsamico Filet af dansk lokalt, bæredygtig fanget fisk i sæson, bagt med citronsaft, røget havsalt og olivenolie. Bagte Vildmose kartofler med legeret creme og citrus, porre vinaigrette 28. januar kl. 18.00 Grillet kejserhat, gomasauce, lola rossa, og krydderurtesalat Grillet bryst fra Rokkedahl frilandskylling med creme på grillet pimentos cous cous med persille og græskarkerner 31. januar kl. 18.00 Bagt filet af rødspætte, snitbønner, mousseline med hvid miso, og vild brøndkarse Medaljon af dansk kalvemørbrad, svampecreme og bagte rodfrugter

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

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

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

At this year’s traditional All Saints’ Concert, the Mogens Dahl Chamber Choir will celebrate the light of hope that can only be seen in darkness. Classical music began in the Middle Ages as an attempt to imitate the heavenly song of angels, and the belief that eternity holds a music beyond understanding has always offered comfort and inspiration. The programme for this concert is drawn from that tradition — a musical reflection on life and death in the light of eternity. Bach’s music was a major inspiration for Johannes Brahms, who in 1877 dedicated his choral work Warum ist das Licht gegeben dem Müseligen to the great Bach scholar Philipp Spitta. The entire motet turns around the profound question: “Why?” — If God is almighty and merciful, why is there so much suffering in the world? The piece concludes with a chorale text based on Simeon’s Song of Praise, as paraphrased by Martin Luther. Here, the struggle has ended, and the weary soul finds rest and comfort in the belief that death does not have the final word. Herbert Howells composed his Requiem for unaccompanied a cappella choir (occasionally divided into double choir) in 1933 for King’s College, Cambridge. The music of the English composer Howells is far more intricate than much other choral music of the period, which still largely followed the Austro-German tradition that had dominated English music for two centuries. His long, unfolding melodies are seamlessly woven into richly layered textures. The harmonic language is modal, chromatic, and frequently dissonant; the overarching style is free, impassioned, and impressionistic — altogether giving Howells’ music a distinctly visionary quality. The concert concludes with Gabriel Fauré’s radiant Requiem in D minor from 1893: a Romantic masterpiece that gently and confidently sings of eternal peace and the song of angels, with luminous melodies and pure harmonies. PROGRAMME Johannes Brahms (1833–1897): Warum ist das Licht gegeben dem Müseligen, Op. 74 No. 1 (1878) Herbert Howells (1892–1983): Requiem (1936) G. Fauré (1845–1924): Requiem, Op. 48 (1887) Performers: Mogens Dahl Chamber Choir Organ: Jakob Lorentzen Violin: Jon Gjesme Viola: Iben Teilmann & Ida Speyer Grøn Cello: Henrik Brendstrup & Øystein Sonstad Double Bass: Katrine Øigaard Conductor: Mogens Dahl

The Ébène Quartet is arguably the most sought-after string quartet of the moment, and their tour repertoire is nothing short of impressive. The ensemble maintains an awe-inspiring level of performance, characterised by an almost electric presence on stage and a constant pursuit of connection with the audience. The programme opens with Mozart’s String Quartet No. 15, part of the set of six quartets, Opus 10, dedicated to his friend and mentor Joseph Haydn. While Haydn is often referred to as the father of the string quartet, Mozart can be seen as the composer who, inspired by Haydn’s own quartets, evolved the genre in ways that paved the path for Beethoven’s groundbreaking contributions. Haydn and Mozart held deep mutual admiration, and Haydn notably praised the six quartets of Opus 10 for their assured musicianship and unparalleled thematic richness. The evening concludes with Johannes Brahms’ String Quartet No. 2, composed in 1873. Brahms wrestled for many years with the form before feeling ready to publish and perform his quartets. He is said to have measured his efforts against Mozart’s six “Haydn” quartets, all while feeling overshadowed by Beethoven’s pioneering legacy in the genre. Only with his first and second string quartets did Brahms feel he had finally succeeded. There is, in other words, a clear line of connection between the quartets of Mozart and Brahms — a line that leads us toward Claude Debussy’s String Quartet, composed in 1892 when Debussy was 31 years old. Just twenty years separate the works of Brahms and Debussy, yet their musical language reveals an entirely different world. Debussy’s quartet (which the Ébène Quartet has recorded) is overtly impressionistic in its free treatment of tonal relationships. One of Debussy’s composer colleagues even remarked on a discernible Russian influence, particularly in the first two movements. The string quartet, as a form of expression, has continued to inspire and challenge composers to this day. This evening, we experience both its origins and a beautiful, vital step along its ongoing journey. PROGRAMME W.A. Mozart (1756–1791): String Quartet No. 15 in D minor, K. 421 Claude Debussy (1862–1918): String Quartet in G minor, Op. 10 *** Johannes Brahms (1833–1897): String Quartet in A minor, Op. 51 No. 2

Marianna Shirinyan is one of Denmark’s most beloved pianists, known for her vibrant and virtuosic playing. She performs worldwide as both a soloist and chamber musician. Together with Swedish cellist Torleif Thedéen — another of the Nordic region’s most distinguished soloists — she has formed a true power duo. For this concert, they present an exceptionally engaging programme. Dmitri Shostakovich is always a fascinating acquaintance, and here his music takes a new turn. His five piano preludes from 1919–21 are performed in a striking arrangement for piano and cello by composer Lera Auerbach (b. 1973). The American composer Samuel Barber wrote his Sonata for Cello and Piano at the age of just 22, marking his major breakthrough. Echoes of Brahms can be heard in this powerful work, which earned Barber both a Pulitzer travel grant and a prize from the American Academy in Rome. Edvard Grieg also wrote a Sonata for Cello and Piano, composed after a pause in his output due to illness and work pressures. The material draws on several of his earlier pieces, including a funeral march written in memory of Rikard Nordraak. A completely different sonic world awaits the listener in the music of Toru Takemitsu. Widely regarded as the most significant Japanese composer of his generation, Takemitsu merged traditional Japanese music with Western avant-garde techniques. His exploration of tone colour is central, using unconventional playing techniques and microtonality — heard here in the cello part — to extraordinary effect. Orion, his only work for cello and piano, is a reworking of an orchestral piece inspired by the symbolic significance of the three stars in Orion’s Belt. Finally, the programme includes two early works for cello and piano by Anton Webern, composed in a distinctly Romantic idiom — from before his later turn to atonality. PROGRAMME Dmitri Shostakovich (1906–1975): 5 Preludes (arranged by Lera Auerbach) Samuel Barber (1910–1981): Cello Sonata Anton Webern (1883–1945): Two Pieces for Cello and Piano *** Toru Takemitsu (1930–1996): Orion Edvard Grieg (1843–1907): Cello Sonata

Once again this year, Mogens Dahl Chamber Choir closes the annual Copenhagen-based Golden Days Festival. Golden Days is a cultural-historical festival that explores themes of history, science, and culture. The 2025 edition of the festival is themed “Love,” and in response to this, Mogens Dahl Chamber Choir presents a beautiful programme of love-themed music by Johannes Brahms. There are few singers who have not performed Brahms’ choral music. He was an immensely prolific composer in the genre, and his choral works are of the highest artistic quality. The two collections Sieben Lieder, opus 62 and Fünf Gesänge, opus 104, are both written for unaccompanied choir and contain some of Brahms’ most beloved choral pieces – including Waldesnacht (in opus 62). While Sieben Lieder is written in a light folk-song style—though not true folk songs—Fünf Gesänge is more complex, composed later in life when Brahms had definitively chosen a life of bachelorhood and was reflecting on lost youth, the approaching autumn of life, and its inevitable end. The Liebeslieder, opus 52, consists of 18 short movements for four voices and piano four-hands. The texts are drawn from G.F. Daumer’s collection of folk songs and love poems. This flamboyant work may have been composed during the early realisation of Brahms’ deep longing for Clara Schumann — a love that was never fulfilled. Between the three choral collections, pianists Rikke Sandberg and Kristoffer Hyldig will perform Brahms’ Waltzes, opus 39, composed during his time in Vienna. According to Brahms himself, the waltzes were written both as a tribute to the genre that was so beloved in Vienna, and while his thoughts were filled with “Vienna and pretty girls.” Here, the hope of love’s fulfilment still lives on. PROGRAMME JOHANNES BRAHMS (1833–1897): Sieben Lieder, Op. 62 (1873–74) Waltzes, Op. 39 for piano four-hands, Nos. 1–8 (1865) Fünf Gesänge, Op. 104 (1888) *** Waltzes, Op. 39 for piano four-hands, Nos. 9–16 Liebeslieder, Op. 52 (1869) Performers: Mogens Dahl Chamber Choir Piano: Rikke Sandberg and Kristoffer Hyldig Conductor: Mogens Dahl