Discover events, locations, and artists in German, English, Spanish, French, and Turkish.
Now available in Germany (eventsTODAY.de),
Austria (eventsTODAY.at),
Switzerland (eventsTODAY.ch),
and Spain (eventsTODAY.es)!
Our AI-powered automatic translation ensures you get all information in your preferred language.
Got an event? Submit it and take advantage of automatic translation to reach an international audience.
Whether it's a concert, exhibition, or party – you're in the right place!
The following text was automatically translated.
Show originalShow translation
Anton Bruckner: Messe Nr. 3 f-Moll, WAB 28 Johannes Brahms: Schicksalslied, op. 54
Die selten aufgeführte „f-Moll-Messe“ von Bruckner, dessen 200. Geburtstag in diesem Jahr gedacht wird, sowie das „Schicksalslied“ von Johannes Brahms erklingen in Dortmunds zentraler Stadtkirche St. Reinoldi. Der Bachchor stellt in diesem Programm zwei Werke gegenüber, die zeitlich nur vier Jahre auseinander liegen, deren gemeinsame Präsentation aber zu Lebzeiten der Komponisten undenkbar gewesen wäre. Denn Johannes Brahms, kühler norddeutscher Erzprotestant, war ein erklärter Gegner seines Wiener Kollegen Anton Bruckner, seinerseits Erzkatholik. Brahms wurde nicht müde, ihn zu demütigen, seine Werke sogar als „großen Schwindel“ zu diffamieren.
Selbstbewusstsein und Stolz treffen auf Selbstzweifel und Nervenkrisen – das Publikum hingegen erwartet „Dramatik und herbe Schönheit“.
Katharina Persicke, Sopran Marion Eckstein, Alt Robin Grunwald, Tenor Florian Dengler, Bass
Neue Philharmonie Westfalen Dortmunder Bachchor an St. Reinoldi Christian Drengk, LeitungAnton Bruckner: Mass No. 3 in F minor, WAB 28
Johannes Brahms: Song of Destiny, op. 54
The rarely performed "F-minor Mass" by Bruckner, whose 200th birthday is being commemorated this year, as well as the "Song of Destiny" by Johannes Brahms will be performed in Dortmund's central city church of St. Reinoldi.
The Bachchor presents two works in this program that are only four years apart in time, yet their joint presentation would have been unthinkable during the lifetimes of the composers.
For Johannes Brahms, the cool Northern German Protestant, was a declared opponent of his Viennese colleague Anton Bruckner, a staunch Catholic. Brahms did not tire of humiliating him, even denouncing his works as "a great fraud."
Confidence and pride collide with self-doubt and nervous crises – the audience, on the other hand, expects "drama and harsh beauty."
Hallo, ich bin Maya.
