(photo: Peter Adamik)

Karajan Academy

Ton Koopman and students of the Karajan Academy

Ton Koopman is a doyen of the Early music scene, and is more than happy to share his knowledge with the younger generation. The conductor, harpsichordist and organist already worked with the students of the Karajan Academy in 2017. This season, he returns to present a programme full of variety with them, ranging from Johann Sebastian Bach’s Orchestral Suite No. 2 with the famous “Badinerie” as its finale, and Wolfgang Amadeus Mozart’s Concerto for Flute, Harp and Orchestra, to symphonies by Bach’s son, Carl Philipp Emanuel, and Joseph Haydn.

Scholars of the Karajan Academy

Ton Koopman conductor

Mathieu Dufour flute

Marion Ravot harp

Academy V

Johann Sebastian Bach

Orchestral Suite No. 2 in B minor, BWV 1067

Wolfgang Amadeus Mozart

Concerto for Flute, Harp and Orchestra in C major, K. 299

Mathieu Dufour flute, Marion Ravot harp

Carl Philipp Emanuel Bach

Symphony in G major, Wq 183 No. 4

Joseph Haydn

Symphony No. 98 in B flat major

In Zusammenarbeit mit der Esterházy Privatstiftung – Wiederholung des Programms im Schloss Esterházy in Eisenstadt am 26. Mai 2019

Dates and Tickets

Sun, 03 Mar 2019, 20:00

Chamber Music Hall | Introduction: 19:00

Serie KA


Karajan-Akademie der Berliner Philharmoniker e.V.

Herbert-von-Karajan-Straße 1

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The extremely appealing combination of flute and harp has stimulated numerous composers – including Wolfgang Amadeus Mozart. In actual fact, however, he was anything but a supporter of the flute, as we learn from a letter he wrote to his father in February 1778 from Mannheim: “And, as you know, I am quite inhibited when I have to compose for an instrument which I cannot endure.”

The two flute concertos on which Mozart was working then showed the instrument, however, in all its glory, and give reason to assume that Mozart quickly reconciled with the unloved instrument as soon as it was played by an excellent musician secure in his or her intonation. This was also the case when he got to know a French aristocrat in Paris one month later who – thus Mozart reported to his father this time – “plays the flute incomparably”. As the count’s daughter, moreover, played “the harp magnificently”, the plan for a work for the two instruments ripened in Mozart. His concerto for flute, harp and orchestra, alive with French esprit, is at the centre of this Karajan Academy concert conducted by Ton Koopman; the soloists are the Philharmonic principal flutist Mathieu Dufour and the French harpist Marion Ravot.

The varied programme begins with Johann Sebastian Bach’s Orchestral Suite No. 2 with the famous “Badinerie” as its final movement; in this work, too, the flute plays an almost soloistic role. After the break, Bach’s son Carl Philipp Emanuel and Joseph Haydn will have their say, each with a symphony. While one of them was an essential trailblazer for the classical era with an unusually experimental language of sound for the time, Haydn is considered one of the fixed stars of this epoch of music history, not least with his 12 “London symphonies”. One of them, No. 98 in his symphonic oeuvre, will be played to round off this multi-faceted concert.

(photo: Peter Adamik)

Ton Koopman (photo: Foppe Schut)