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  • 20.06.2026, 19:30, Christoph-Probst-Gymnasium, Gilching Master of Romanticism

  • 25.04.2026, 19:00, Philharmonie, Essen Organ Fireworks

  • 04.04.2026, 15:00, Bechstein Center, Hamburg Between Longing and Storm

  • 08.02.2026, 19:00, Villa Wahnfried, Bayreuth Paths to Wagner

  • 07.02.2026, 19:00, Wittelsbach Castle, Friedberg Paths to Wagner

  • 06.09.2025, 19:00, Boat Rental, Augsburg Operetta Evening

  • 27.06.2025, 19:00, atelier29, Hainfeld Konstantin Lukinov Recital

  • 08.05.2025, 20:00, Basilica of Saint Willibrord, Echternach Goldberg Variations

  • 12.04.2025, 15:00, Bechstein Center, Hamburg Bach and Shostakovich Mirrored

  • 23.11.2024, 19:00, Richard Strauss Institute, Garmisch-Partenkirchen A Word of Love

    "I like the alternative program, too

    Soprano Alexandra Steiner Steps In for the Recital at the Institute

    Garmisch-Partenkirchen — The theme of love was the focus of GaPa-Klassik’s second subscription chamber concert of the season. The program was designed to showcase not only the works of Richard Strauss (1864–1949) but also to introduce the lesser-known Peter Cornelius (1824–1874) as a song composer. “I had long hoped for an evening featuring works by these two composers here in our institute’s hall,” revealed Dr. Dominik Sedivy, director of the Strauss Institute (RSI) and artistic director of the concert series. However, he had to announce that soprano Cathrin Lange, who had put together and rehearsed the chamber concert with her vocal partner Maximilian Lika (bass-baritone) and pianist Konstantin Lukinov, had fallen ill. The program was subsequently adjusted.

    It was thanks to singer Alexandra Steiner (soprano) that the recital wasn’t a complete washout. She performed part of her own repertoire, including songs by Franz Liszt (1811–1886) set to poems by Victor Hugo—sung in French—as well as his “Loreley.” At the last minute, however, she had rehearsed Cornelius’s duets with Lika. The final song, the duet “Zu den Bergen hebet sich ein Augenpaar,” was particularly beautiful. With great artistic flair—perhaps a bit too much—Lika interpreted Cornelius’s love songs, Op. 4/1–3, which, as he admitted, were a discovery not only for the audience but also for himself. The wide vocal range of this bass-baritone—much in demand on opera stages—with his beautifully deep tone, was perfectly suited to these songs. The first part of the recital featured “Five Songs, Op. 32” by Strauss—well known to the audience.

    The soprano also proved herself as a lieder singer, particularly with her Strauss repertoire, the “Six Songs, Op. 17.” She mastered the high notes with ease and also executed a breathy pianissimo. In general, both artists had adapted well to the small hall after the intermission. There was much applause for Lukinov’s accomplished piano accompaniment. He captured every interpretive nuance and, especially with the Strauss songs, “sang” the songs to their conclusion through his playing, just as the composer had intended. This evening would have deserved a few more listeners.”

    (Garmisch-Partenkirchner Tagblatt, Nov. 28, 24)

  • 15.11.2024, 19:30, Wittelsbach Castle, Friedberg Master of Romanticism

  • 31.10.2024, 20:00, Friedenskirche, Cologne-Mülheim Bruckner Symphonies

  • 26.10.2024, 20:00, St. Martin, Dudelange Bruckner Symphonies

  • 19.10.2024, 19:00, Congress Centre, Augsburg Great Masters and new Paths

    Photos: Pascal Warner / Twentyseven Production

  • 29.09.2024, 18:00, Historic Town Hall, Wuppertal Organ Fireworks

    “Hansjörg Albrecht opens Wuppertal's ‘Orgel-Akzente’ with a spectacular Concert

    Wuppertal · Albrecht is one of the few artists who are internationally recognized as both a concert organist and a conductor.

    The renowned organ virtuoso Hansjörg Albrecht opened the “Orgel-Akzente” season on Sunday at the Historische Stadthalle in Wuppertal with a spectacular concert. Albrecht is one of the few artists who are internationally recognized as both a concert organist and a conductor. For this evening, he had selected three well-known and beloved orchestral works with “catchy melodies”: Handel’s “Music for the Royal Fireworks,” Vivaldi’s “The Four Seasons,” and Mussorgsky’s “Pictures at an Exhibition.” “The organ is the only instrument that can hold its own against an orchestra,” Albrecht said in his opening remarks, and then masterfully brought an entire orchestra to life through his playing.

    In his own transcription of George Frideric Handel’s “Music for the Royal Fireworks,” he began the overture so powerfully, almost forcefully, that one felt as though one could hear timpani accompanying the fanfares. He then transitioned into a delicate, transparent dialogue between the instrumental sections. The Bourrée rang out with a lively tempo, dance-like and delicate, while the third movement, “La Paix,” was dignified and majestic—here one could hear the woodwinds and strings of the orchestral suite. Following blaring trumpet calls, the concluding minuets ended with dance-like dialogues and the very highest “flute notes.” The audience was equally impressed and thrilled, for they had never before experienced Handel’s popular work in Wuppertal in this way. Albrecht, who performs in the world’s greatest concert halls, was enthusiastic about the organ at the Historische Stadthalle. “It is one of the most interesting and beautiful concert hall organs there is,” said the experienced organist, who was performing at the Johannisberg for the first time. “The connection between the space and the instrument is phenomenal here,” Albrecht said with genuine enthusiasm.

    In Antonio Vivaldi’s “The Four Seasons,” which he performed in an arrangement by Heinrich E. Grimm, the organist brought all the musical motifs of the work to life. Spring arrived with vivid sounds: the organ evoked violent spring storms at a rapid tempo, bubbling streams, chirping birds, and gently rustling leaves. It made the summer heat shimmer, and the distant rumble of thunder, flashes of lightning, and hailstorms became musically palpable. Then the organ presented peasant dances, hunting horns, and autumnal melancholy. The organ “painted” winter with snow showers, but also with the cozy warmth of a crackling fireplace.

    The connection between the space and the instrument is phenomenal

    After the intermission, 52-year-old Hansjörg Albrecht impressed the audience with another organ transcription of his own composition. He performed “Pictures at an Exhibition” with great virtuosity. Modest Mussorgsky composed it in 1874 as a piano cycle. On the organ, however, Albrecht played the full orchestral sound that Maurice Ravel had given to the “Pictures” in 1922. On three manuals and the pedal, he let the images pass by, making the organ shimmer and flicker or resound vehemently in staccato. Promenades, an old castle, children at play, and a witch appeared; during “The Gates of Kiev,” bell chimes could even be heard—they came from above, from the organ’s upper register. Program music at its finest, performed on a single instrument—it was truly spectacular.

    After a long round of applause, Albrecht delighted the enthusiastic audience with a brilliant and sonically powerful organ improvisation on the theme of “water.” Here, he once again showcased all the facets and possibilities of this magnificent, excellently maintained organ. A rare moment that the organist himself clearly enjoyed immensely.”

    (Westdeutsche Zeitung, Oct. 1, 24)

  • 28.09.2024, 18:30, St. Gebhard, Konstanz Bruckner Symphonies

    “Anton Bruckner Honored with an Organ Transcription

    Hansjörg Albrecht draws a whole symphony of incredible intensity from the Gebhard organ

    Konstanz — Transcriptions make musical works playable without requiring a large ensemble. Hansjörg Albrecht, an internationally renowned transcription specialist and organist, is particularly drawn to Bruckner: To mark the 200th anniversary of Bruckner’s birth, he has published Bruckner’s entire symphonic oeuvre (nine symphonies) for organ, explaining: Bruckner was both a Romantic symphonist and an organist, allowing symphonic and organistic elements to shine through in chorales and soaring motivic developments. Unfortunately, he never put to paper a single one of his great organ improvisations from that time—the very pieces he loved to perform in the reverberant acoustics of large churches and halls across Europe, and for which he was famous.

    As part of the “Organ Autumn” festival, Gebhard’s cantor, Martin Weber, had invited Hansjörg Albrecht to perform a transcription of Bruckner’s Symphony No. 4, the “Romantic.” Albrecht immediately developed a passionate connection to this “Council organ,” now ten years old. The monumental score, with its lavish wind section, seemed somehow to have been waiting for just such an arrangement, in which even the smallest motifs for flute, horn, trombone, or strings were reworked into organ register colors. The organ, which was also played with particularly powerful resonance, blended perfectly with Bruckner’s intention to glorify God through sonic grandeur: Despite the organ’s sacred timbre, the horn motifs audible throughout the work came across as calls of nature, their crescendos into sublime hymns reflecting Bruckner’s romantic “heavenly expanses” in all four symphonic movements.

    The fact that this was not a typical organ concert but an organ-symphony concert featuring a single work lasting well over an hour made it somewhat exhausting and demanding. Being able to watch the organist on the big screen as a quasi-conductor became something truly special. One can only imagine how dizzying it must be to synthesize such a complex score for just two playing hands and feet. Albrecht masterfully brought the “Concert Hall Symphony” to life without a symphony orchestra and, in this transcription, gave the playful elements a chance to shine. The applause from the church—which, unfortunately, was not very well attended—clearly demonstrated the recognized value of the symphony, now transformed into an organ work. Albrecht himself once described the multifaceted composer Anton Bruckner: “What a crazy guy he was!”

    (Südkurier, Oct. 1, 24)

  • 21.09.2024, 19:30, Fugger and Welser Adventure Museum, Augsburg Takuro Okada: Renaissance - start again

  • 21.09.2024, 12:00, Cathedral, Oslo Bruckner Symphonies

  • 18.09.2024 – 19.09.2024, 19:00 / 09:00 - 13:00, Cathedral, Bergen Bruckner Symphonies / Masterclass

  • 14.09.2024, 19:00, Concert Hall, Stavanger Bruckner Symphonies

  • 01.09.2024, 19:00, atelier29, Hainfeld Great Masters and new Paths

  • 31.08.2024, 20:00, St. Martin, Dudelange Bruckner Symphonies

  • 01.08.2024, 20:00, Cathedral, Altenberg Bruckner Symphonies

  • 14.07.2024, 16:00, St. Bavo Cathedral, Haarlem Bruckner Symphonies

  • 10.07.2024, 20:30, Basilica of Constantine, Trier Bruckner Symphonies

  • 18.06.2024, 20:05, Cathedral, Mainz Bruckner Symphonies

  • 09.06.2024, 18:30, City Church, Bayreuth As in Heaven

  • 03.05.2024, 18:00, Unterwittelsbach Castle, Aichach Konstantin Lukinov Piano Recital

    “Konstantin Lukinov works his magic on the piano at Sisi's Castle

    With confidence, artistic freedom, and passion, the pianist captivated the audience at Sisi Castle in Unterwittelsbach. He presented an exclusive program of piano music.

    Concert pianist Konstantin Lukinov presented an exclusive program of piano music during an evening at Sisi Castle in Unterwittelsbach (Aichach). The concert began with the English Suite No. 3 by the young Johann Sebastian Bach: abstract art music seemingly tailor-made to showcase deeply passionate virtuosity. Bach, in all his heart-wrenching emotional range. But there were still more highlights to come.

    Lukinov traced Bach’s emotions down to their finest nuances—relaxed, intuitive, serene, delicate, and powerful—while delightfully exploiting the grand piano’s full range of tonal colors and sounds, including subtle use of the pedal. Skillfully rendered polyphonic lines, sparkling nuances of touch—that is freedom, that is passion, both technically and artistically.

    The pianist demonstrates technical mastery and a joy in music

    The “Waldstein” Piano Sonata, or Sonata No. 21, is an incredible masterpiece by Ludwig van Beethoven. This outstanding piano piece combines a perfect blend of classical music and rich emotions. Its popularity lies in its perfect balance of emotion and technique, which allows the listener to appreciate both the joy of the music and the composer’s skill. Innovative and emotionally charged, Beethoven’s piano piece is an excellent example of classical music at its finest.

    Pianist Lukinov also delivered a truly breathtaking interpretation of Schumann’s "Kreisleriana" in the Sisi Hall. The Life and Opinions of the Tomcat Murr, published by E. T. A. Hoffmann in 1820, remains timelessly relevant to this day. It inspired Robert Schumann in April 1838 to compose his piano cycle "Kreisleriana", which many of his contemporaries regarded as his most significant piano work.

    In his interpretation, pianist Lukinov focused on achieving the greatest possible clarity in these eight very distinct fantasies. Lukinov played with rich nuance and subtlety, demonstrating the finest technical precision, and thus succeeded in bringing out the fantastical elements very clearly. Far from any noncommittal elegance or the limitations of Romantic thought, he imbued the music with a sense of spontaneity.

    Before Schumann, the pianist also performed Wolfgang Amadeus Mozart’s Piano Sonata No. 18. At the end: long, well-deserved applause."

    (Aichacher Nachrichten, May 7, 2024)

  • 18.04.2024, 18:00, Unterwittelsbach Castle, Aichach Talistrio: Schubert / Haydn

  • 04.02.2024, 17:00, Cathedral, Braunschweig Evensong: Coronation Music

  • 03.02.2024, 17:00, St. John's Church, Halle (Westf.) Evensong: Coronation Music

    “Halle (WB). The performance of "Coronation Music" for choir and organ at St. Johannis Church is an impressive concert experience.

    The Carl Philipp Emanuel Bach Choir of Hamburg Performs at the Haller Bach Days

    Improvising to Excellent Choral Music

    Because this festive concert is also a church service, Director of Church Music Friedemann Engelbert has lit the altar candles especially for the occasion. The renowned Carl Philipp Emanuel Bach Choir from Hamburg is performing at St. Johanniskirche and is forced to improvise. Since the scheduled organist, Kerstin Wolf, is unable to perform due to illness, Artistic Director Hansjörg Albrecht is taking over the organ part. That he has mastered his art to perfection had already become clear the previous Friday during the Goldberg Variations. Brazilian choir director Luiz de Godoy steps in as conductor. It is a true joy to witness his clear, expressive, and spirited conducting. With great intensity, the 35-year-old leads the large ensemble precisely through the demanding program. Evensong is a combination of evening and night prayers in the Anglican Church. On special occasions, the entire service is sung by the choir with organ accompaniment. The centerpiece of this impressive choral concert is the four festive hymns that George Frideric Handel composed in 1727 for the coronation of King George II. A subdued organ prelude is followed by a solemn and powerful choral entry that culminates in “God Save the King” and “Long Live the King,” intended to symbolize the people’s jubilation. Some soccer fans may recognize the following passages from the UEFA Champions League theme song. After a musical dialogue between solo voices and the choir in “O Lord, open thou our lips” by William Smith (1603–1645), the four-part Coronation Anthem No. 4 follows, in which verses from the Psalms remind the crowned royal couple to reign with wise skill and for the good of the people. Following two additional psalm settings by Sir John Goss (1800–1880) and Sir Charles Villiers Stanford (1852–1924), the choir members take their places in the chancel. Hansjörg Albrecht literally pulls out all the stops on the organ and begins to play Bach’s Fantasy and Fugue in G minor. Powerful passages of sound fill the nave, and the almost unbearable tension builds to near-immeasurable heights. Critics of such opulent organ works claim that their sole purpose is to intimidate the audience—given the organist’s virtuosity, this view seems entirely understandable. Fortunately, the finale has a harmonically liberating effect, and the accumulated tension is released in a wave of jubilant applause. In the three-part Coronation Anthem No. 3, Handel once again draws on the Psalms to praise the ruler’s power and strength. 

    The solemn and melancholic middle section is followed by a joyfully exuberant “Alleluia.” The prayer formulas familiar from the liturgy—presented as verses and responses, including the Lord’s Prayer—were once again composed by William Smith. In keeping with the piece for soloist and choir, church bells begin to ring, providing a distant accompaniment to the restrained delivery of the verses. The program concludes with “The King Shall Rejoice,” the fourth movement of Handel’s Coronation Anthem No. 3. The king rejoices in the strength bestowed upon him by God. A gentle interlude with a rather “courtly” feel is followed, at the end, by the jubilant Hallelujah, in which the entire choir once again rises to the occasion. The audience applauds enthusiastically; Hansjörg Albrecht expresses his deep appreciation to Luiz de Godoy, who in turn passes on the compliments to the singers. The Haller Bach Days have experienced yet another musical highlight, and the choir immediately responds to the call for an encore. With Bach’s “Jesus bleibet meine Freude,” the impressive concert by this world-class choir finally comes to a close."

    (Haller Zeitung, February 5, 2024)

  • 02.02.2024, 19:30, St. John's Church, Halle (Westf.) Goldberg Variations

  • 20.01.2024, 20:00, Christoph-Probst-Gymnasium, Gilching Moonlit Night

  • 13.01.2024, 19:00, Bannacker Manor House, Augsburg Moonlit Night

  • 29.10.2023, 16:00, St. Urbanus, Gelsenkirchen Wagner Transcriptions

  • 28.10.2023, 20:00, City Hall, Gütersloh Wagner Transcriptions

    “Wagner with a Twist

    Hansjörg Albrecht played music by the Bayreuth master on the organ.

    Gütersloh. One has probably never heard the Rhine surge like this in Wagner’s music: It begins with a soft gurgling from deep pedal notes and bubbles with increasing liveliness. And as Hansjörg Albrecht gradually layers the broken triads from the “Rheingold” prelude on the Kleuker organ in the Stadthalle, one imagines the Rhine Maidens teasing and tormenting Alberich. But before he flees with the gold in revenge, the more than 200 attendees of the “Wagner Festival on the Organ” at the Stadthalle already hear the pilgrims from “Tannhäuser” marching in.

    Hansjörg Albrecht—in demand and celebrated worldwide for his transcriptions of orchestral music for the organ—has compiled a colorful collage from the Bayreuth master’s oeuvre. The result is a total work of art that follows its own rules. And in the end, it also feels cohesive, because it is not the individual pieces but the instrument itself that provides the context: the Kleuker organ at the “Culture and Congress Center”—as Albrecht described the Stadthalle in his opening remarks—which was renovated a year ago.

    This evening calls for a twofold capacity for abstraction. For one thing, the familiar orchestral and vocal parts are absent. Instead, the organ determines which “movie” plays in the listener’s mind. This works so well in part because Hansjörg Albrecht, in a puzzle-like process spanning nearly two days, drew out more than 600 different sound combinations from the organ.

    Last but not least, both the audience and the performer must take into account the unique disposition of the Kleuker organ. After all, its stop configuration isn’t exactly ideal for Romantic music. String parts are missing. The mid-range is weak, and the high registers are more shrill than brilliant—that was simply the taste of the time 40 years ago. The fact that a spring also chirps “like a cricket,” as one listener remarked after the concert, shows just how delicate an organ is.

    It is therefore primarily thanks to Hansjörg Albrecht’s sensitivity to even the most challenging timbres, his ability to create dramatic effects, and his fabulously virtuosic hands and feet that the evening becomes an exciting musical journey through Wagner’s work. The yearning mood comes to the fore in “Tristan” just as much as the sacred atmosphere in “Parsifal.” One had almost forgotten (sic!) that the organ is actually considered a church instrument. After the wittily dancing fugue in the “Meistersinger” prelude, the audience demanded two encores. Among them was the “Song of the Evening Star” from “Tannhäuser.” Wolfram could not have sung it more beautifully.”

    (Neue Westfälische, Oct. 31, 23)

  • 10.09.2023, 17:00, Basilica of St. Martin, Ulm Bruckner Symphonies

  • 30.08.2023, 19:00, atelier29, Hainfeld Classical & Improvisation

    "Like modern salon concerts

    In a cozy living-room atmosphere, Konstantin Lukinov performed at the piano festival at Atelier 29 in Hainfeld, showcasing his love of experimentation

    (...) On Wednesday, Konstantin Lukinov performed in this atmosphere. His specialty: classical improvisation and crossover. Lukinov, who attended school in Munich and lives in Augsburg as an artist-in-residence, chatted animatedly about the pieces he played. (...) With the help of a speaker and a music player, the pianist transported the audience from Bach, Vivaldi, Brahms, and Schumann into a completely different musical world of his own composition.

    Casual jazz influences and a touch of rock in his version of Jakob Dont’s virtuoso violin etude accompanied by recorded percussion—it worked surprisingly well. (...)

    When performing classical works, Lukinov liked to improvise an unusual introduction or a seamless transition. From the clear and transparent interpretation of the fugue in Feruccio Busoni’s arrangement of J. S. Bach’s “Nun komm der Heiden Heiland,” he moved directly to the aria “Cum dederit” from Antonio Vivaldi’s psalm setting “Nisi Dominus.” Lukinov chose a softer touch for the Baroque piece. The driving rhythm in the bass, the melancholic, brooding expression, but above all the intensity of his performance allowed this piece to unfold with tremendous pull.

    In fact, the following jazzy original composition, “Smooth,” was ideal for breaking the spell and helping the audience relax before the pianist transported them into Robert Schumann’s “Forest Scenes.” Lukinov called it a “magical cycle” and recited from memory the eerie poem that forms the basis of “The Accursed Place.” With his light, vividly accented playing, the pianist captured the exact tone of Schumann’s piano music. Lukinov skillfully highlighted the different characters of the individual forest scenes, and he particularly succeeded in capturing the ethereal quality of “The Bird as Prophet.” With luminous timbres, the pianist brought to life the five selected pieces from Schumann’s cycle “Bunte Blätter.”

    Konstantin Lukinov performed his selection from Johannes Brahms’s Waltzes, Op. 39, with infectious enthusiasm. In doing so, he revealed the waltzes for what they are: perfectly composed masterpieces in miniature. He imbued Brahms’s Rhapsody and Ballade, both in G minor, with powerful crescendos. By the time he reached Sergei Rachmaninoff’s sonically powerful Prelude, Op. 23, No. 2—performed with great virtuosity—Konstantin Lukinov was completely immersed in the musical flow. In his encore, he framed “Of Foreign Lands and People” from Schumann’s “Kinderszenen” with improvised interludes drawn from the evening’s program.”

    (Die Rheinpfalz, Aug. 31, 23)

  • 01.07.2023, 18:00, Cathedral, Ratzeburg Lux Aurumque: Golden Light

  • 06.05.2023, 19:30, Congress Center, Garmisch-Partenkirchen Bach Piano Concertos

  • 30.04.2023, 15:00, St. George's Church, Eisenach Vivat Carl Philipp

    “The Hamburg Bach Choir Delights Audiences in Eisenach, the City of Bach

    Singers from the Elbphilharmonie conclude their short birthday tour at the Georgenkirche

    Eisenach. One could hardly wish for a more magnificent birthday serenade or a more lavish gathering of guests. This is the gift the Carl-Philipp-Emanuel-Bach Choir Hamburg is giving itself on Sunday afternoon at Eisenach’s Georgenkirche, marking the conclusion of its anniversary tour—which included several concert stops—during the second half of April. To mark its 25th anniversary, the choir is joined by musicians from the Thüringer Bach Collegium as well as vocal soloists Chen Reiss (soprano), Ulrike Malotta (mezzo-soprano), Patrick Grahl (tenor), and Klaus Häger (baritone), who is standing in for Tobias Berndt at short notice.

    In addition to works by the composer honored by the choir, the audience at the “Vivat Carl Philipp” gala concert—held in the splendidly filled nave—will experience a piece that celebrated its world premiere just five days earlier. At the beginning, Eisenach’s director of church music, Christian Stötzner, playfully announces the work “Ut quid Domine. Decimus psalmus” to the audience with a wink as the “third world premiere.” From the back rows, 62-year-old composer and music educator Fredrik Schwenk enjoys watching the nave fill with the sounds of his new piece for soloists, choir, and orchestra, conducted by Hansjörg Albrecht. Fredrik Schwenk composed the piece as a tribute to the so-called “Hamburg Bach,” who was born in Weimar in 1714 as the second son of Eisenach’s great musical son, Johann Sebastian Bach.

    The four vocal soloists, all of whom have already performed in international concert halls, push their voices to remarkable heights in Eisenach with power, brilliance, energy, and warmth, thus satisfying even the most discerning classical music lover."

    (Thüringische Landeszeitung, May 2, 23)

  • 29.04.2023, 19:30, St. Thomas Church, Leipzig Vivat Carl Philipp

  • 15.04.2023, 19:30, Congress Centre, Augsburg Tribute to Franz Liszt

    "Liszt mania sweeps through Augsburg: Hansjörg Albrecht performs at the Kongress.

    The highly virtuosic compositions of piano virtuoso Franz Liszt are currently enjoying one triumph after another at the Lech, with concerts held every week. Now, organist Hansjörg Albrecht and pianist Konstantin Lukinov are also dedicating a concert to him.

    (...) full of fire and passion, after a long virtuosic exchange between organist Hansjörg Albrecht and pianist Konstantin Lukinov spent a good two hours performing the anything-but-timid music of Wagner’s father-in-law. Afterward, some may have been doubly overwhelmed—on the one hand by the technical prowess of the two musicians, and on the other by the unmistakable sense of awe that was part of the program. A sense of athleticism was also part of the evening…

    (...) In 1828, Liszt had not yet composed any of the works that would now, at least in parts, move the audience at the Park, neither the extensive “Fantasy and Fugue on ‘Ad nos, ad salutarem undam,’” that is, on the Anabaptist chorale from Meyerbeer’s opera “Le Prophète,” which Hansjörg Albrecht performed on the newly restored Steinmeyer organ, clearly emphasizing the stark contrasts between pathos and misterioso/transcendence. (He is, after all, very well versed in romantically inspired sacred music, as he is currently recording all of Bruckner’s symphonies in transcriptions for organ.)

    In 1828, the monumental Piano Sonata in B minor—which Konstantin Lukinov performed with such sensitivity and gravity, such clarity and power—had not yet been composed. His visually grand gestures at the piano were not even necessary for the audience to grasp, through listening alone, that he was in complete command. In both pieces, both soloists triumphed. Nor did the symphonic poem “Les Préludes” or the Dance of Death based on the Dies Irae motif exist in 1828. They concluded the two program blocks as something truly special—namely, as original orchestral works that were now performed in transcriptions for organ and piano. It was truly astonishing how the two instruments were able to fully and nuancedly replace the orchestral timbres at the crucial moments, and how perfectly the piano—with its quicker response—interwove with the organ, as both instruments engaged in a quick-witted dialogue.

    It was to be expected, after the first few pieces on the program, that Albrecht and Lukinov would pull out all the stops when it came to Liszt’s V-effects—in terms of virtuosity and volume—especially in *Danse Macabre*. And so it turned out: in a performance that was certainly record-breaking and fiercely martial, the Grim Reaper threw a grand celebration. Nevertheless, the evening ended on a contemplative note with one of Liszt’s late works, the “Fountains of Villa d’Este” from *Années de pèlerinage*, interspersed—as announced—with a few notes by Debussy to pay homage to Liszt’s intellectual progressiveness.

    A lovely idea. A great evening."

    (Augsburger Allgemeine, April 17, 2023)

  • 24.02.2023, 19:30, Wittelsbach Castle, Friedberg Chopin Recital

  • 05.11.2022, 20:00, Congress Centre, Augsburg Chopin Recital

  • 11.09.2022, 15:00 - 22:00, Gasworks Site, Augsburg Culture Day at the Old Gasworks

  • 23.08.2022, 18:00, City Church, Bayreuth Wagner Transcriptions

  • 19.06.2022, 17:00, Abbey Basilica, Waldsassen Monumental Organ

    “Loud Roars and Soft Sounds in the Waldsassen Basilica

    The title said it all: “Orgel Monumental”—that was the title of the afternoon concert in the series held at the Waldsassen Basilica. Organist Hansjörg Albrecht showcased the full range of the instrument.

    On Sunday, the audience at the Waldsassen Basilica was treated to an organ concert titled “Orgel Monumental.” Organist Hansjörg Albrecht performed compositions by Johann Sebastian Bach, Oliver Messiaen, and Franz Liszt. The concert program opened with works by Johann Sebastian Bach.

    The Prelude and Fugue in E-flat Major, BWV 552, framed the chorale prelude “Schmücke dich, o liebe Seele,” BWV 654, and, through this arrangement, effectively presented a self-contained “Bachian cosmos.” Following an explanatory remark by the performer, the program continued with the four meditations titled "L’Ascension" (The Ascension) by Oliver Messiaen. Here, the audience was able to experience the full range of the Waldsassen organ—from thunderous roars to the softest, most meditative sounds.

    The concert concluded with Franz Liszt’s famous Fantasy and Fugue on B-A-C-H (in an arrangement by Jean Guillou). With the theme of this composition, Albrecht once again drew a connection to the beginning of the concert. The arrangement, as well as Hansjörg Albrecht’s interpretation, made this work seem like a grand symphonic fantasy.

    A monumental organ concert with an enthusiastic audience could not end without an encore: Albrecht once again performed a piece by Johann Sebastian Bach before finally dismissing the audience into the midsummer Sunday evening."

    (Oberpfalz Medien, June 20, 2022)

  • 29.05.2022, 19:30, Margravial Opera House, Bayreuth The 4 Orchestral Suites

    “Bach's lively Entertainment

    Four overtures—orchestral suites—by the Baroque musical genius have survived, and the Munich Bach Orchestra performs all four in succession. To some, the tempos may seem rushed; yet with them, the ensemble breathes new life into the scores, shaking off any sense of antiquated formality.

    When an overture rings out in an opera house, one can usually expect a full-fledged musical drama to follow. In the magnificent theater of Margravine Wilhelmine, however, things were different this time: There was no opera, but instead a full helping of “overtures”—four in a row. That is what Johann Sebastian Bach called his orchestral suites, which he presumably composed between 1717 and 1725 in Köthen and Leipzig. On Sunday, the Munich Bach Orchestra performed them for Musica Bayreuth, in their entirety as a cycle—and, delightfully, did everything in its power to strip away and blow out any supposed venerability and stale pathos from the scores through tempos that were, at times, extremely brisk.

    (…) A Lute Enthusiast

    Two gentlemen set an exquisite example in this regard. The theorbo is strapped on by an enthusiast whose passion extends from the crown of his head to his fingertips—an enthusiast who, even when he isn’t playing, experiences the music bar by bar, feels it, and conducts along with it. Together with the current orchestra conductor—who plays the raised harpsichord in a peculiarly awkward posture—the lutenist enriches the basso continuo section with a delicate, warm, shimmering tone.

    In the wind section, the renowned bassoonist is no less a delight—a young virtuoso who, particularly in Overtures Nos. 1 and 4, shapes impeccably refined baritone tones into wonderfully rounded phrases. In the first suite, he joins forces with the two oboes and the English horn to form a spirited concerto section which, fueled by the impulsive lute as well as the violins and viola, propels the music forward with an almost jazzy drive during the pizzicato passages.

    The nimble—even soaring, though not fleeting—performance repeatedly imbues these cycles, three-quarters of which are in major keys, with a playfulness and boyish charm that brightens and refreshes the heart. But there are a few intimate pauses here and there amid the quasi-festive processions and wild rides—even a rather extended oasis of rest and refreshment: the “Air” (not “die”!) of the second overture. There, all of a sudden, everything takes a step back for a few minutes, as if to delicately unfold the adagio of a symphony. Carried by nobility and charm, the oft-heard yet never-worn-out cantilena flows along, adorned in the repeat sections by the lute—albeit, unfortunately, not very audibly—with tender arabesques—a discreet place of honor within the lively sequence of works for one of the most beautiful inspirations in the history of music to this day.

    A Race Without a Winner

    Cycles three and four, the most heavily orchestrated, are both in D major; in them, two male trumpeters and one female trumpeter get to blare cheerfully, and a female timpanist gets to drum heartily: “Réjouissance”—meaning “joy”—is the title of the final movement of Bach’s last suite, serving as a kind of conclusion. Wisely, however, Hansjörg Albrecht separates the two triumphant sets of movements with the second suite in the parallel key of B minor—the most understated of them all in the Bayreuth comparison. While the others manage well without a flute, here it takes center stage before the ensemble, embodied by a performer of extraordinary technical agility and admirable breath control, whose name is undeservedly omitted from the program.

    It’s a shame, because after the somber gloom of the solemn introduction, she immediately tackles even the steepest turns with verve and flair. In the Sarabande, the artist uses one of the evening’s moments of respite to deliver the tender lament of an elegy that sinks into pianissimo. In contrast, in the final “Badinerie”—which means “jocularity”—she unleashes a breakneck race, even if it doesn’t degenerate into a competition and knows no winners: after all, everyone crosses the finish line at the same time; a showpiece for the entire orchestra, and all the more so for the soloist. It was precisely this overture that the composer executed so perfectly, as if he had wanted to create a model for the flute concerto “as such.” He never wrote another one.

    (Hochfranken Feuilleton, June 1, 2022)

  • 28.05.2022, 19:30, Congress Centre, Augsburg Organ Fireworks

  • 28.05.2022 – 29.05.2022, 10:00 - 15:00, Congress Centre, Augsburg Konstantin Lukinov Live

  • 09.02.2020, 17:00, St. Michaelis, Hof Wagner Transcriptions

  • 15.12.2019, 19:00, Congress Centre, Augsburg The Nostalphoniker: My Little Green Fir Tree

  • 02.11.2019, 19:30, Wittelsbach Castle, Friedberg Schubert's Winter Journey

  • 27.10.2019, 19:30, Congress Centre, Augsburg Talistrio: Beethoven / Brahms / Casellas

    "With dedication and warmth

    The Talistrio performed at the Kongress am Park

    (...) They performed Ludwig van Beethoven’s Trio in C minor, Op. 1—a groundbreaking work by the young composer. Beethoven adapted the four-movement structure of the string quartet to the genre of the piano trio. The ensemble impressed with their dedication to a classical interpretation. Their synchronized ensemble playing and technical skill were also remarkable.

    (...) They captured the essence of Brahms’s character perfectly. The three musicians radiated warmth, vitality, and emotion. The third movement, the Adagio, deserved special praise for its sensitive interplay between the piano and the strings. The finale in the fourth movement was like an energetic outpouring of emotion.

    Equally impressive was the arrangement of Alfredo Casella’s *Sicilienne et Burlesque*. The piece, from the transitional period between the Late Romantic and Modern eras, is like a virtuoso madhouse. It was fascinating to see the endurance and precision with which the Talistrio mastered this work. To close the concert, the trio performed a transcription of Antonín Dvořák’s famous second movement from his Ninth Symphony, “From the New World.” The three musicians truly deserved the long round of applause."

    (Augsburger Allgemeine, Oct. 29, 2019)

  • 28.09.2019, 19:30, Wittelsbach Castle, Friedberg Leopold Mozart Quartett

  • 12.08.2019, 18:00, City Church, Bayreuth Wagner Transcriptions

  • 30.06.2019, 19:30, Congress Centre, Augsburg Vocalise - Songs Without Words

    “Songs Without Any Words

    Juri Vallentin and Philipp Heiß in a Duo

    This concert evening almost didn’t happen. Oboist Juri Vallentin had been in St. Petersburg the night before, attending the awards ceremony for the International Tchaikovsky Competition. With his sixth-place certificate in hand, he landed at Munich Airport just a few hours before his performance on Sunday evening at the Kongress am Park. And his duo with Philipp Heiß turned out to be a highlight of the chamber music program.

    The 29-year-old has been principal oboist with the Lower Saxony State Orchestra of the Hanover State Opera for several years and performs in the same role as a guest with the Leipzig Gewandhaus Orchestra and the Hamburg State Philharmonic Orchestra. He is, in short, an exceptional musician whose talent has not gone unnoticed by the international music community.

    “Vocalise – Songs Without Words” is the title of Vallentin’s program, which he performed together with pianist Philipp Heiß, a native of Augsburg. It was a chamber music extravaganza that shone above all in one aspect: emotion. From Romantic to neoclassical styles—these two musicians are in their element here. The concert hall’s outstanding acoustics did the rest.

    In their performance of the Suite, Op. 17, by the Austro-Hungarian composer Pavel Haas, Vallentin and Heiß offered a profound glimpse into their musical inner lives—while also showcasing their expressive versatility. The musicians skillfully reflected the historical background of the Jewish composer Haas in their music. The composer had fled to Prague during the Nazi era. To no avail: he was deported to Theresienstadt in 1941 and murdered in Auschwitz in 1944. The Suite, Op. 17, therefore remained unfinished after three movements. Vallentin and Heiß brought beauty to the oppressive atmosphere in a refined manner, lending elegance to the music’s raw simplicity. Wild brutality was followed by lyrical bewilderment and, ultimately, a hopeful, euphoric conclusion. It really got under your skin.

    Both performers also delivered compelling renditions of Robert Schumann’s Romances, Op. 94, and Camille Saint-Saëns’ Sonata, Op. 116: Juri Vallentin with his remarkable tone, and Philipp Heiß in his consistently virtuosic supporting role. It quickly becomes clear that the two speak a common musical language. Their interplay of expression—at times assertive, at times restrained—is high art—and perfectly timed. What makes Saint-Saëns’s work special is its incorporation of Baroque and Classical elements, such as the harmonic progression from Bach’s Prelude.

    The well-deserved, prolonged applause was followed by an encore of Gabriel Fauré’s *Clair de Lune*. Thus, the circle was complete: Vallentin and Heiß had opened the concert with *Après un Rêve*, Op. 7/1, by the French musical poet. Bravo!"

    (Augsburger Allgemeine, July 2, 2019)

  • 17.05.2019, 19:30, Margravial Opera House, Bayreuth Universe Bach

  • 05.05.2019, 20:00, Evangelical Church of the Holy Cross, Augsburg Universe Bach

    "Bach Twice

    Virtuoso Works by Father and Son

    “My father’s music has higher aims—it is not meant to fill the ear, but to stir the heart.” Carl Philipp Emanuel Bach is said to have spoken these words about his father, Johann Sebastian Bach. The second-eldest son of Germany’s most famous Baroque composer was also a composer himself, but he never achieved the same level of fame as his father. This was likely because C.P. was mentally ahead of his time. It is said that, in spirit, he was already a Romantic. From a musicological perspective, however, he tended to be rather conservative. C.P. was devoted to tradition, composing in the so-called “gallant style,” which had already passed its zenith by that time.

    On Sunday evening, the Munich (sic!) Bach Orchestra, conducted by Hansjörg Albrecht, presented the musical Bach universe of father and son at Heilig Kreuz. They performed C.P.’s Flute Concerto in D minor (WQ 22) and the Symphony in B minor (WQ 182), also known as the “Hamburg Symphony No. 2.” Soloist Michael Martin Kofler proved himself a virtuoso on the flute, while the chamber orchestra provided attentive accompaniment with an ensemble of six violins, two violas, and one each of cello, double bass, lute, and harpsichord.

    The Baroque experts performed J. S. Bach’s Overture in B minor (BWV 1067)—ranging from dramatic to fast. The seventh and final movement of the work, the Badinerie, is considered one of the best-known flute pieces from this period. Kofler demonstrated this solo masterpiece with an extremely fast and flawless performance. Finally, the musicians performed the Fifth Brandenburg Concerto in D major (BWV 1050). This three-movement work is considered the first harpsichord concerto ever composed. The violin and flute appear as “sekundanten,” or second soloists. As soloist, Hansjörg Albrecht displayed his full virtuosity on the harpsichord, as if the complex, fugue-like figures were child’s play.

    A magnificent concert!"

    (Augsburger Allgemeine, May 7, 2019)

  • 10.03.2019, 20:00, Congress Centre, Augsburg Tribute to Schumann

    “Visiting Schumann

    Piano Recital with Konstantin Lukinov

    A square room, with the concert grand piano at the center of the spotlight; the audience seated in rows in the semi-darkness, arranged in a circle around the center: a setting that evokes concentration and intimacy. At the piano is Konstantin Lukinov, a 30-year-old pianist born in Moscow who has long called Augsburg and Munich home. The program is titled “Homage to Schumann.” What follows are two and a half hours of Schumann—a monumental undertaking featuring four major cyclical compositions: the "Carnaval", Op. 9; the "Fantasy in C Major", Op. 17; the "Humoresque", Op. 20; and, finally, the “Ghost Variations.”

    Whatever the case may be—the phrase “Lukinov plays Schumann” hits the nail on the head. It points to the romantic composer’s total identification with 
    Whatever the case may be—the phrase “Lukinov plays Schumann” hits the nail on the head. It points to the romantic composer’s total identification with his work. Whether it is the agonizing heartache over Clara, as in the Fantasy, or the joy of the mask, dance, and coquetry in the Carnaval and the Humoresque—everything points to the composer, without ever being merely a biography set to music.

    A second connection became apparent as the evening progressed: that between the performer and the composer’s work and persona. While Lukinov had tackled the fanfare chords in *Carnaval* with a somewhat casual approach, his playing subsequently became increasingly nuanced, richer in subtleties, as he drew upon the full tonal palette of the grand piano. Even the abrupt changes in tempo and dynamics—downright bizarre in the Humoresque—became increasingly convincing, ranging from resonant march rhythms to the finest, almost inaudible webs of sound.

    Did the somewhat theatrical gestures following thunderous conclusions also form part of this identification? Who knows how the young Schumann actually behaved... The often minute-long, silent, contemplative pause before the first touch of the keys was convincing, especially in the “Ghost Variations,” whose theme Schumann—already living on the brink of madness—allegedly received from the afterlife. Schumann-Lukinov treated the melody—which always shone through in the variations—like a precious object, without any virtuoso pretensions, letting it gently fade away at the end. A wonderfully moving, harmonious conclusion—the effect of which the insatiable pianist nearly ruined with a highly virtuosic Schumann encore.

    Nevertheless, it was a memorable evening, received with enthusiasm, as part of Benedikt Riemann’s (sic!) concert series “Augsburg Konzerte.” “

    (Augsburger Allgemeine, March 13, 2019)

  • 23.02.2019, 18:00, St. Johannis, Schweinfurt Goldberg Variations

  • 01.02.2019, 19:30, Congress Centre, Augsburg Duo Okanov

    Photos: Tim Buhck / Bearfoot Visuals

  • 18.11.2018, 19:30, Congress Centre, Augsburg Rossini - Petite Messe solennelle

    "The piano sets the tone

    An Original “Petite Messe solennelle”

    Right from the start, the piano takes the lead, with striking bass octaves and almost dance-like rhythms. And it also has the final word: long after the choir’s “Dona nobis pacem” has gently faded away, the piano continues the quiet, solemn Largo and concludes with powerful chordal strikes. Apart from a few a cappella movements, it calls the shots throughout the entire Mass, and in place of the Offertory, a beautiful piano solo is even performed.

    Of course, it is well known that the use of the piano (Konstantin Lukinov) and the harmonium (Peter Bader)—which gently envelops the harsh piano chords—in place of an orchestra is merely a “stopgap.” Rossini composed the Mass for the small private chapel of a Parisian count, and there was simply not enough room there. An orchestral version followed a year after the premiere (1864), but most Rossini admirers still prefer the original, intimate sound of the first version.

    And just as the piano set the tone, so too did its performer, Konstantin Lukinov, during the performance of the Mass in the small hall of the Kongress am Park by a project choir under Christian Meister—passionately committed, confident, and in close harmony with the conductor. The conductor had excellently prepared his well-balanced chamber choir for the tonal and rhythmic diversity of the Mass. The quartet of soloists blended seamlessly into the soundscape, each contributing a solo: Alexandra Steiner with her feather-light soprano in the aria “O salutaris hostia,” Theresa Holzhauser (alto) in a moving antiphonal exchange with the choir during the Agnus Dei, the bright, powerful bass of Tohru Igudchi (sic!) (Quoniam tu solus sanctus), and tenor Alexander Yudenikov (sic!), who stepped in at the last minute; his magnificently belted aria “Domine Deus” conjured up an imaginary opera stage.”

    (Augsburger Allgemeine, Nov. 22, 2018)

  • 03.11.2018, 20:30, Basilica de Sant Francesc, Palma de Mallorca Rossini - Petite Messe solennelle

  • 08.09.2018, 19:30, Congress Centre, Augsburg Kling! An Ode to Music and Love

  • 27.07.2018, 20:00, St. Ulrich Protestant Church, Augsburg Concert Marking the 268th Anniversary of Johann Sebastian Bach's Death

    “Captivated by Words and Sound—The Munich Bach Choir at St. Ulrich Evangelical Church

    Rarely are composers so deeply rooted in their faith as Johann Sebastian Bach and Arvo Pärt. As it were, the Thomaskantor—the “fifth evangelist”—developed an overwhelming musical language; Pärt’s “tintinnabuli” style strikes at the very core of religion, richly evoking its spiritual dimensions. Thus, at the opening of the new “Augsburg Concerts” series at the Protestant Church of St. Ulrich, Pärt’s “Berlin Mass” and Bach’s Easter Oratorio took on a gripping character. Contrasting soundscapes collided: on the one hand, Bach’s opulent, festive splendor; on the other, Pärt’s almost monastic austerity of sound.

    The Munich Bach Choir, the Bach Orchestra, and youthful soloists from Salzburg’s Mozarteum were tasked with capturing this striking contrast. The “Berlin Mass” captivated with its reduction that went beyond timbre: Pärt’s music is text-driven; melody and rhythm develop syllabically from the words, bringing the Latin Mass text to the fore. Everything is reduced to the elemental and normative; the harmony is focused on scales and triads. Pärt’s secret lies in combining two or three notes, just as in Gregorian chant.

    Thus, the expressive Bach Choir let itself be carried by the text, developed the sections of the Mass from a unison foundation, and cultivated a contemplative atmosphere through the flow of repetitive patterns. The melos of the solo and tutti “Alleluia” verses for Christmas and Pentecost deepened this sense of reverence; the “Veni, sancte Spiritus” then took on a lucid transparency, so that Pentecostal enlightenment seemed to be spiritually on the horizon. Hansjörg Albrecht guided the audience through this monochromatic soundscape with the utmost care.

    In contrast, Bach’s Easter jubilation in BWV 249 literally burst forth. The festively resonant sinfonia shone all the more vividly in the radiance of the Bach trumpets. The orchestral palette of timbres corresponded perfectly with the choir and the quartet of soloists, which had not yet fully blossomed. And yet the bright soprano (Electra Lochhead) shone smoothly in delicate interplay with the noble solo violin in the “Spice Aria,” while the bass (Philip Kranjc) and the tenor (Aleksander Rewinski) found a spirited, refreshing duet presence, which Albrecht boldly transitioned into the chorus’s light-footed, springy “Kommet, eilet, laufet.”

    “A masterful performance! Throughout *Saget mir*, the sensitive contralto Katrin Lena Heles did not always step out of the shadow cast by the soulful oboe d’amore, the string trio, and the excellent basso continuo. The jubilant final chorus was also captivating; the Lion of Judah emerged victorious.”

    (Augsburger Allgemeine, July 30, 2018)

  • 26.05.2018, 20:00, Golden Hall, Augsburg Spanish Baroque Music

  • 20.05.2018, 15:00, Eichenkranz Theatre, Wörlitz Mozart & Salieri

    “Friends of the Garden Kingdom in Wörlitz: Sun, Mozart, and Salieri

    Wörlitz - “It is easier to split an atom than to dispel a prejudice.” That was Albert Einstein’s view, and the example of Wolfgang Amadeus Mozart and Antonio Salieri shows just how right he was: To this day, the prejudice persists that the two were terribly at odds with one another. Even the rumor that Salieri murdered Mozart may still circulate here and there, although the suspicion has been disproved.

    In Wörlitz, on this sunny Pentecost Sunday, the second concert of the first “Eichenkranz Musikfest” aimed to dispel these myths and focus instead on the collegial relationship between the composers. Stepping up to defend Salieri were: Nina-Maria Fischer (mezzo-soprano, Komische Oper Berlin), Yvonne Prentki (soprano, Musiktheater Hof), Ricardo Marinello (tenor, Liedfestival am Zürichsee), and Tohru Iguchi (baritone, Teatre Principal de Palma). Together with pianist Konstantin Lukinov from the Konzerthaus Berlin and Wolf D. Bruemmel, director of the “Música Mallorca” festival, they presented the program “Mozart and Salieri,” a production of the Mallorcan festival that was now being performed in Germany for the first time.

    The program featured a lovely selection of well-known arias, duets, and quartets by both composers, as well as the cantata “Per la ricuperata salute di Ofelia,” which Mozart and Salieri composed together with a certain Cornetti. It is regarded as evidence that Mozart and Salieri felt a sense of collegial bond, even though their early days may not have been easy. After all, when the younger Mozart was trying to make a name for himself as a composer, Salieri was already well-known.

    Or, to quote Bruemmel, who strove to tell “the true story” between the songs: “It was a bit like the fable of the hare and the hedgehog—whenever Mozart arrived somewhere, Salieri was already there.”

    On the other hand, Salieri was reportedly jealous of the success of Mozart’s opera *The Abduction from the Seraglio*, because, according to Bruemmel, Salieri’s *The Chimney Sweep* wasn’t as successful. From this musical comedy, composed in 1781, Prentki (accompanied by Marinello) presented a staged audition of “Se piu felice,” which was met with enthusiastic applause from the audience. In general, the audience seemed captivated by the artists, who are blessed with powerful voices and beautiful expressiveness.

    The performance also marked a reunion—and a chance to hear again—with the Japanese artist Iguchi, who had appeared at the opening concert of the “Eichenkranz Musikfest” in late April. It is Iguchi, too, who writes in a magazine about the Spanish music festival, under the headline “The Masked Genius Composer,” that Salieri is likely “the most famous composer whose music is the least known.”

    The recent concert may have changed that a bit. In this regard, pianist Lukinov deserves special mention; he had the most to do of all, yet seemed to thrive in the role of accompanist, performing with charm and joy. Shortly after 5 p.m., the ensemble accepted the final applause with great joy and rewarded the audience (Marinello: “We are pleasantly surprised, but not unprepared”) with an encore that had already been announced on the program.

    The “Eichenkranz Musikfest” is presented by the Society of Friends of the Dessau-Wörlitz Garden Realm. The “Música Mallorca” festival served as a cooperation partner for the opening events, featuring the first two productions. Further concerts will take place at the “Eichenkranz” through September.”

    (Mitteldeutsche Zeitung, May 22, 2018)

  • 22.04.2018, 15:00, Eichenkranz Theatre, Wörlitz Viva LÓpera

    "Eichenkranz Musikfest Production from Mallorca is, above all, cheerful

    (…) Arias, duets, and more

    The gala premiered in 2003 at the Theater von Palma under the musical direction of French conductor Olivier Tardy (Munich State Opera). In Wörlitz, American pianist Kevin McCutcheon of the Deutsche Oper Berlin was responsible for the musical direction. He accompanied the singing of Rahel Indermaur (soprano), Hitomi Kawei (mezzo-soprano), Adam Juran (tenor), and Tohru Iguchi (baritone). Stoically, he worked his way through the excerpts on the Bechstein grand piano, providing a rich musical accompaniment to famous arias and duets from well-known operas and operettas. The piece “Lonely House” from Kurt Weill’s musical theater work “Street Scene” could also be interpreted as a tribute to Dessau’s famous son.

    In total, excerpts from 19 (!) works were performed: They ranged from Giacomo Puccini’s "La Bohème" and "Tosca" to Jules Massenet’s "Manon" and "Werther", Gioachino Rossini’s "The Barber of Seville" and Richard Strauss’s "Ariadne auf Naxos", Franz Lehár’s "The Merry Widow", and Emmerich Kálmán’s "The Csárdás Princess".

    The audience was thus treated to a veritable fireworks display of well-known pieces—and a well-coordinated ensemble that occasionally hinted at staged interactions. Baritone Iguchi, who, incidentally, was also responsible for the program’s dramaturgy for the opera gala, shone not only with his powerful voice but also with his comedic talent.

    Juran struck a chord with his interpretation of “E lucevan le stelle” (“And the Stars Were Shining”) from *Tosca*. The women sang with expressiveness, emotion, and, when called for, dramatic intensity.

    Indermaur, a mezzo-soprano and soprano, has also gained stage experience at major opera houses (including the Deutsche Oper Berlin). Kawai, from Japan, has had engagements at the Kammeroper Köln and at the “Pasinger Fabrik” in Munich. There, she will sing the role of Federica von Ostheim from Verdi’s opera “Luisa Miller” this summer.

    Intermission Outdoors

    In Wörlitz, Kawai and Indermaur presented two excerpts from Verdi’s “Aida” and “Don Carlos.” This took place during the second half of the program, after the audience had spent the intermission outdoors. The view of the lovely park landscape, the sunshine, and a pleasant, relaxed atmosphere—all of this, combined with the music, created an exceptionally cheerful mood.

    Back in the hall, the singers and pianist finally bid farewell with “Brüderlein und Schwesterlein” from Johann Strauss’s “Die Fledermaus.” The applause was long-lasting, and an encore was the reward. (…)."

    (Mitteldeutsche Zeitung, April 24, 2018)

  • 02.04.2018, 11:00, Abbey, Seeon Classical & Improvisation

  • 01.04.2018, 17:00, Abbey, Seeon Mozart & Salieri

    “Highbrow music at the ‘Mozart and Salieri’ concert during Mozart Week at Seeon Abbey

    Salieri’s Rehabilitation

    “Mozart, forgive your murderer,” begins Peter Shaffer’s play, on which Milos Forman’s film drama “Amadeus” is based: Antonio Salieri, Mozart’s great and more fortunate rival, confesses at the beginning of the film to a murder committed for the basest of motives: envy. Just a few weeks before his death, Mozart remarked, “Certainly, I was poisoned!”

    From today’s medical perspective, it has long been clear that Mozart was not murdered, but rather that he had to die so young as a result of a chronic illness that had developed during his childhood. At the time, however, his mysterious death gave rise to wild speculation. One of the “fairy tales” surrounding the cause of his death has just been made into a film: a “Baroque crime novel” that, incidentally, is just as old as the Mozart biography itself, and which once again wrongfully convicts the proven-innocent Salieri of murder.

    Colleagues Who Respect One Another

    This theme inspired Wolf Bruemmel, artistic director of the “Festival Musica Mallorca,” to create the concert program “Mozart and Salieri.” In an introductory speech at Seeon Abbey, Bruemmels emphasized that it was very important to him to reveal the two for what they truly were to each other: colleagues who respected one another and dedicated their lives to music—not rivals.

    The selected works by the two composers fit perfectly into the framework of the Mozart Week at the Seeon Monastery Cultural and Educational Center. In the nearly sold-out ballroom, two magnificent vocal soloists—Rahel Indermaur (soprano) and Tohru Iguchi (baritone)—dispelled any remaining doubts about Salieri’s malicious schemes.

    Like a dialogue between friends, the works of these two composers—who inspired and spurred one another on—followed one another in a question-and-answer pattern. Accompanied by the highly virtuosic pianist Konstantin Lukinov—and not least thanks to the mature vocal artistry of the performing soloists—the audience was treated to a tiny glimpse of Mozart’s and Salieri’s exceptional musical artistry.

    The very first piece on the program was an expression of Mozart’s admiration for his Italian colleague, who was six years his senior: six variations on “Mio caro Adone.” An aria from a Salieri opera inspired the 17-year-old Mozart to compose this solo piano piece.

    In the program that followed, both the composers’ works and the vocal soloists’ appearances alternated. Rahel Indermaur was particularly compelling in arias with calmer and softer passages, demonstrating the utmost precision in intonation and sensitive interpretation, through which she conveyed the vocal themes in an almost intimate manner. She received enthusiastic applause for “D’Oreste d’Ajace” from *Idomeneo, Re di Creta* (Mozart) and “Dove sono i bei momenti” from "Le nozze di Figaro".

    With a warm timbre and vocal brilliance

    With a warm timbre and vocal brilliance in his powerful baritone, Tohru Iguchi also captivated the audience in “Venga, venga pure il cavaliere” from *Falstaff* (Salieri) and “Idol vano d’un popol codardo” from *Axur re d’Ormus* (Salieri). Together—Rahel Indermaur and Tohru Iguchi in duet—they sounded like velvet and silk in “Il core vi dono” from “Così fan tutte” (Mozart) and “Ne Io stato conjugale” from “La grotta di Trofonio” (Salieri).

    All in all, this concert could inspire someone to retell the entire story of Mozart and Salieri from scratch, to adapt it for film, or to write it down, thereby finally rehabilitating the still-tarnished reputation of the magnificent composer Antonio Salieri. This would certainly be in Mozart’s spirit, since Salieri ultimately had a formative influence, even if fortune was far less kind to him. In any case, the hearty and prolonged applause was directed at both of them—and at the three musicians who had succeeded in restoring these unforgettable works to their former glory. Kirsten Benekam"

    (suedost-news.de, April 5, 2018)

  • 23.03.2018, 19:30, KunstKlangKirche, Zurich Mozart & Salieri

  • 17.03.2018, 19:30, St. Ulrich Protestant Church, Augsburg Stabat Mater

  • 10.03.2018, 19:30, Congress Centre, Augsburg Konstantin Lukinov plays Schubert

    "A Rebel at the Keys

    The young pianist Konstantin Lukinov is steadfastly forging his own path.

    In a sense, he hears Schubert’s music from within, through the composer’s own sensibilities. “I feel a wave of sound—there is purity, clarity, simplicity, and at the same time a vulnerability and a sacredness,” says pianist Konstantin Lukinov, describing his heartfelt connection to the music. His artistic awakening began with Schubert (“When I played the Impromptus at 15, something inside me just exploded”), and it is with Schubert that he now takes the stage as a mature pianist. In his adopted home of Augsburg, the 28-year-old will perform—Schubert, of course—on Saturday, March 10, at the Kongress am Park.

    At the age of eight, he moved with his parents from Moscow to Germany. He had already been captivated by the piano by then; at five, he was a student at the Gnessin Music School for exceptionally gifted children. He won numerous awards at a young age. His education continued at the Gymnasium bei St. Stephan. In the middle of his 11th-grade year, he staked everything on music, dropped out of school, and began studying in Frankfurt under Professor Lev Natochenny, the “mentor” of Martin Stadtfeld, Evgenia Rubinova, Christopher Park… “The chemistry was right; he’s a great artistic personality. I could have had a meteoric career,” says Lukinov.

    But he was rebellious. After completing his intermediate exams, he left Natochenny. “Something inside me just couldn’t accept it.” Lukinov didn’t want to conform to any mold. “I was advised to play more conventionally…” What came from within him artistically, however, was more compelling. “That’s exactly why I work with Konstantin—because he breaks the mold as a pianist,” says his Augsburg-based concert agent, Benedikt Matthias Reimann. They had met in high school but lost touch.

    For seven “wild” years, Lukinov moved to Moscow, studied with Ivan Sokolov at the Tchaikovsky Conservatory, and also played jazz, improvisation, pop, and rock. “After that, there was no longer any room in me for the old, uptight ways.” Now he takes the stage as a self-assured artist.

    This year, Lukinov—who has been living in Germany again since June 2017—has set his sights on a wide range of projects. He is involved in ten projects—a variety of things, such as the Schubert program, but also Mozart Week at Seeon Abbey, Bach, Spanish Baroque music, and finally Rossini’s *Petite Messe solennelle* with the vocal ensemble Vox Augustana—to be heard in both Mallorca and Augsburg."

    (Augsburger Allgemeine, Feb. 28, 2018)

  • 03.12.2017, 19:00, Congress Centre, Augsburg Schubert's Winter Journey

    “Eerie and beautiful at the same time

    In the Footsteps of a Great Baritone. Maximilian Lika performs Franz Schubert’s “Winterreise” while it snows outside. Inside the concert hall, too, it becomes white, windy, and cold.

    It was as if it were a gift that it began to snow just as Schubert’s “Winterreise” was being performed. The outside world looked just as the Unknown Traveler experienced it in Schubert’s famous “cycle of eerie songs”: white, windy, cold, with empty streets on a Sunday evening. In the “Dialog Lebensversicherungs-AG” hall at the Kongress am Park, bass-baritone Maximilian Lika sang the cycle, accompanied by pianist Konstantin Lukinov. (…) From the very beginning, Maximilian Lika captivated the audience with the intensity of his interpretation, his exquisite diction, his extraordinary vocal artistry, and his devotion to the work—a devotion that embodied both humility and dedication. The singer and artist, only 32 years old, is more than a match for this monumental work—and only slightly older than Schubert was when he composed it. (…) The performance of “Winterreise” by the two artists, who worked in perfect harmony, was moving and left a lasting impression; they were rightly celebrated with many bravos."

    (Augsburger Allgemeine, Dec. 4, 2017)

  • 15.07.2017, 20:00, Congress Centre, Augsburg Konstantin Lukinov Chopin Recital

    “A rich, emotionally charged sound—Konstantin Lukinov captivates the audience at his Chopin recital

    Pianist Konstantin Lukinov treated his Augsburg audience at the Kongress am Park to an impressive concert featuring romantic piano music by Frédéric Chopin. Right from the first piece—the Ballade in G minor, Op. 23, performed with extraordinary virtuosity and interpreted without harshness—the audience was immediately captivated.

    The young pianist, a talent of exceptional caliber, shone in all his pieces with technical perfection and captivated the audience with his emotional interpretation: heart and passion, boundless freedom! Lukinov effortlessly mastered the extensive, nearly two-hour concert program and offered his listeners a sincere, harmonious, and uplifting total work of art.

    Loud applause for an extraordinary musical project and a charming artist with a fascinating stage presence! Konstantin Lukinov bid farewell to his enthusiastic audience with three encores: Scherzo No. 2, Op. 31; Nocturne in C-sharp minor, Op. posthumous; and finally, the Grande Valse Brilliante in E-flat major, Op. 18."

    (Birgit Mangold, July 20, 2017)

  • 09.10.2009, 20:00, Konzerthaus, Berlin Konstantin Lukinov Berlin Recital

    "Concertgoers in Berlin were treated to a fascinating and memorable evening.

    The program included Ludwig van Beethoven’s two piano sonatas, Op. 31 No. 1 and Op. 111, Schumann’s “Faschingsschwank aus Wien,” and Sergei Prokofiev’s virtuosic Sonata No. 6. Lukinov also delighted his audience with two encores. With Étude No. 10 from Franz Liszt’s "Études d’exécution transcendante", he once again demonstrated his virtuosic brilliance, and bid farewell to his audience with Siloti’s arrangement of Bach’s Prelude in B minor, performed with breathtaking religious depth. It was a concert evening that will long remain in the memory."

  • 29.03.2009, 17:00, Music School, Kempten Roll and Walk to Russland

    "Just before the concert begins, the short conductor in a wheelchair is carried through the orchestra by two assistants and lifted onto a platform.

    A moment that clearly illustrates to the audience the young man’s physical limitations. Yet as soon as Lika raises his baton, those limitations vanish into thin air through his perfect interplay with the orchestra. A deeply moving moment that lingers in the memory. A major part of the program is the performance of Sergei Prokofiev’s musical fairy tale “Peter and the Wolf,” which is presented this evening in the original “Loriot version.” The accomplished narrator and host Enrico de Paruta takes on the role of storyteller. Paruta reads the text—which Loriot has spiced with his characteristic ironic subtleties—skillfully and with obvious pleasure. Together with the orchestra’s precise performance, it is a treat of a special kind.

    The second part features works by Alexander Borodin. The young, multi-award-winning bass-baritone Maximilian Lika (the conductor’s brother) sings the song “For the Shores of the Distant Homeland,” and the orchestra performs Symphony No. 1 in E-flat major.

    A consistently compelling performance, which was rewarded with thunderous applause from the audience."

    (Allgäuer Zeitung, April 1, 2009)

  • 28.03.2009, 19:00, Little Golden Hall, Augsburg Roll and Walk to Russland

    (...) Who doesn't know the catchy melodies from Sergei Prokofiev's “Peter and the Wolf”?

    (...) In keeping with the fairy-tale atmosphere, the popular host and narrator Enrico de Paruta lent his velvety-soft voice to the narrator’s part in the orchestral work, based on a version of Loriot’s text enhanced with several humorous elements. (...) Alexander Borodin’s song “For the Shores of the Distant Homeland” explored the poignant longing for the distant Russian homeland. Expressively performed by the young baritone Maximilian Lika, the work takes on a unique character in an arrangement for voice and wind ensemble. (...)

    The concert reached its musical climax with Borodin. His Symphony No. 1 in E-flat major offered the orchestra ample opportunity to demonstrate its musical prowess and precise ensemble playing. Here, the orchestra performed with great dedication, shifting nimbly between lightness and gravity. Concise, simple motifs with striking rhythms alternated with broad, flowing legato lines. (...) With spirited rhythmic energy, the orchestra defined syncopated, incisive phrases, building to brief climaxes in the crescendo, which were repeatedly interrupted by lyrical passages that were evocative and lush. A restrained, sensitive string motif introduced the ethereal third movement, before concentrated energy manifested itself powerfully in the finale. It was delightful to hear how the orchestra played freely here and built to a triumphant fortissimo. This performance was powerful and compelling - (...)."

    (Augsburger Allgemeine, March 30, 2009)

  • 13.04.2008, 17:00, Little Golden Hall, Augsburg Roll and Walk to Viennese Classicism

    “A spectacular opening with Beethoven's Coriolan Overture”

    (...) a sonically balanced and captivating interpretation of a work that oscillates between commanding gestures and restless emotional outbursts. (...) The high musical caliber of the concert, coupled with the social commitment to supporting people with disabilities—a cause particularly close to the heart of Benedikt Lika, who is himself a wheelchair user—was recognized by representatives of the Augsburg Rotary Club with a (...) sponsorship award—and also by the enthusiastic audience through their applause."

    (Augsburger Allgemeine, April 15, 2008)

  • 23.06.2007, 20:00, Art Museum, Bayreuth Schumann Lieder Recital

    “At Home in the Story

    The audience, understandably enthusiastic, demanded two encores at the end. This showcased just how nuanced Konstantin Lukinov and Maximilian Lika can perform. Schumann and Heine’s “Die beiden Grenadiere” was interpreted with such richness of nuance that one felt completely immersed in the story, both musically and lyrically. This was even more evident in the closing encore, “Widmung” by Schumann/Rückert. Here, both artists achieved a depth of expression that even seasoned performers cannot surpass.

    These are two names to remember.”

    (Nordbayerischer Kurier, June 25, 2007)