Gábor Tarkövi Trumpet, Tamás Velenczei Trumpet, Georg Hilser Trumpet, Guillaume Jehl Trumpet, Martin Kretzer Trumpet, Sarah Willis Horn, Christhard Gössling Trombone, Olaf Ott Trombone, Thomas Leyendecker Trombone, Jesper Busk Sørensen Trombone, Stefan Schulz Trombone, Alexander von Puttkamer Tuba
Prélude, Aria et Gigue for organ
Old Hundreth for brass and organ
Suite for brass and organ (arr. Martin Wagemann)
Wunderbarer König (Wonderful King), Festive Chorale for organ, trombones and tuba from 66 Chorale Improvisations
Prelude and Fugue in D major BWV 532
Canzon in echo duodecimi toni from Sacrae Symphoniae
Évocation II and Évocation III for solo organ
Sonata XV a 12 (arr. for brass by B. Thomas)
Tres Jubilationes for organ and brass
12:00 | Philharmonie - Karl-Schuke-Orgel
“Women in Latvia”, says Iveta Apkalna, “can paint corridors, wallpaper, repair cars and TV and radio cables.” It should come as no surprise, therefore, that in the Latvian star organist’s home country “it’s mostly women sitting at the organ” – just the opposite of Germany. “As a student in Stuttgart I was one of three or four women among some 50 men. But that’s only natural, because organ playing is really taxing work, both physically and mentally.”
Iveta Apkalna, who has won numerous prizes, now appears in major concert halls all over the world – from Vienna and Budapest to Luxembourg and Moscow. At the Berlin Philharmonie, joined by the Berlin Philharmonic Brass Ensemble, she will offer a festive programme, including chorale variations on the Old Hundredth by Naji Hakim, Olivier Messiaen’s successor at the Église de la Sainte-Trinité in Paris, as well as suite for brass arranged by Martin Wagemann from music by Handel, containing an aria from the oratorio Samson and another from the Ode for the Birthday of Queen Anne, complemented by two movements from the Royal Fireworks Music.
The programme also includes works by three composers who have made major contributions to the expansion of the organ repertoire in the 20th century: Sigfrid Karg-Elert’s Wunderbarer König, Petr Eben’s Tres Jubilationes and Thierry Escaich’s Évocations II and III. Eben has referred to the organ as his “destined instrument”, and in writing for it he has found his most important source of inspiration in Gregorian chant. And of course no concert in the Philharmonie’s organ series could be complete without an obligatory piece by Bach...