eventsTODAY - Naturklänge 2026 - Abschlusskonzert Naturklänge "The last Rose of Summer" on 9/5/2026 in Ostseebad Ahrenshoop

Susanne Kapfer & Yu Wen Huang - Flora & Fauna - Ein Liederabend zwischen Natur, Klang und Poesie

Flora & Fauna

a song journey through nature ...

This song evening is dedicated to the vibrant language of nature, its colors, movements, and sounds. The music takes us through blooming landscapes, quiet forest edges, fluttering wings, and buzzing gardens. Each song is like a leaf finely drawn from Goethe's "Book of Nature," meaningful, full of inner life. Nature does not appear merely as a backdrop, but as a sensing co-player: Flowers speak in fragrances and tones, animals manifest with character and charm, birds carry our thoughts to bright heights. Music becomes a bridge between humanity, nature, and a world full of wonder.

Susanne Kapfer from Friedberg began her musical education at the Sing- und Musikschule Augsburg when she was just three years old. At the age of ten, she became a member of the children's choir at the Staatstheater Augsburg. In 2005, she took her first singing lessons with opera and concert singer Elisabeth Haumann, which she continued until the beginning of her studies in Munich.

In February 2023, she graduated with the highest distinction in her Master's degree in Song Interpretation with Prof. Christian Gerhaher, Prof. Gerold Huber, Prof. Donald, and Prof. Rudi Spring at the Hochschule für Musik und Theater München. Various master classes further enrich her training. Her enthusiasm for the three areas of opera, oratorio, and song was evident from the beginning of her studies. She was heard not only in various operas but also at numerous concerts and song evenings in Munich, Ettlingen, Bonn, Prague, Venice, and Straßwalchen. The soprano has already been awarded several national and international prizes, honored three times with the Deutschland-Stipendium, and in 2022 she even received a scholarship from the Richard Wagner Scholarship Foundation.

At the song evening in the Wittelsbacher Schloss, she will be accompanied by pianist Yu-Wen Huang.

Doors open: 7:00 PM

Fürth

6/25/2026
7:00 PM

Tickets

from € 18.00

Image: Reservix

Summerwinds Festival: Albrecht Mayer, Kimiko Imani: Dies Bildnis ist bezaubernd schön

He is a star in the concert halls of the world. He is said to be inspired by a divine spark and the breath of heaven: Albrecht Mayer, solo oboist of the Berlin Philharmonic for 30 years, is one of the defining oboists of our time and one of the most sought-after soloists and chamber musicians. He is celebrated worldwide for his exquisite sound culture and breath dramaturgy; he finds his ideal of expression in the human voice, in singing.

He is accompanied by the renowned pianist Kimiko Imani. As a soloist, she also sings on the piano: the peaceful melody of Scriabin's impressionistic Prélude and the upper voice in Liszt's congenial Wagner transcription “Isoldens Liebestod,” while she creates the illusion of an orchestra in her accompaniment. In contrast, his “Vers la flamme” is almost melody-less: a flickering of harmonies and energies in a monumental climax leading to the mystical extinguishing in fire. The earth that is constantly heated in the fire of the spirit, Scriabin believed, would emerge transformed from a world fire...

Together, Kimiko Imani and Albrecht Mayer transform the most intense operatic arias of Mozart into enchanting chamber music. The long lyrical phrases of the oboe, its shimmering, sometimes cutting coloraturas are carried and amplified by the orchestral piano: profoundly sad love pain in Pamina's “Ach, ich fühl’s, es ist verschwunden,” shockingly love-stricken yearning in Tamino's “Dies Bildnis ist bezaubernd schön,” exploding rage, hellish malice, piercing cold in the aria “Der Hölle Rache kocht in meinem Herzen” of the Queen of the Night (“The Magic Flute”). Heroic determination can be felt in Konstanze's “Martern aller Arten” (“The Abduction from the Seraglio”).

Fragrance and enchantment, idyllic and pastoral longing, culminate in a radiant dance in the late romantic sonata by Saint-Saëns, which he wrote shortly before his death and which is interspersed with classicist features. Poulenc's oboe sonata was also composed in his year of death. Elegiac and introspective, it is poignant in its mixture of grace and melancholy. A bittersweet farewell piece? At the end of the program, a virtuoso piece, Klemcke’s romantic fantasy on Donizetti's melodramatic opera “Linda de Chamounix”: colorful bel canto – virtuosic and in good spirits.

Dies Bildnis ist bezaubernd schön
Wolfgang Amadeus Mozart (1756–1791): Four Arias for Oboe and Piano
Ach ich fühl’s, es ist verschwunden | Der Hölle Rache kocht in meinem Herzen | Dies Bildnis ist bezaubernd schön | Martern aller Arten
Alexander Skriabin (1872–1915): Prélude, op. 17 No. 3 | Vers la flamme, op. 72
Camille Saint-Saëns (1835–1921): Sonata in D major for Oboe and Piano, op. 166
Francis Poulenc (1899–1963): Sonata for Oboe and Piano
Franz Liszt/Richard Wagner: Isoldens Liebestod
Ludwig (Louis) Klemcke (19th century): Linda Fantasy on Donizetti's “Linda de Chamounix” for Oboe and Piano

Nordkirchen

This date is prominently marked in the calendars of many East Frisians and is the spectacular finale of every festival season: the grand Schlusskonzert of the Gezeitenkonzerte. On the last day of the festival, around 1,500 visitors make their way to the idyllic Rheiderland, transforming the Polderhof Bunderhee once again into a vibrant pilgrimage site for music lovers. This year there is a special reason to celebrate, as the Schlusskonzert is taking place for the tenth time in this picturesque gem. The atmosphere on the splendid estate and in the large, festively decorated riding hall is legendary – rustic charm meets acoustic brilliance, rural romance meets high culture.

Nowhere could this year's festival motto “Encounters!” be celebrated more spectacularly than here. The program “UWAGA! goes Oper” is like a close encounter of the third kind: classical high culture meets unrestrained joy of playing, symphonic power meets virtuoso crossover. The celebrated quartet UWAGA! – consisting of Christoph König (Violin & Viola), Maurice Maurer (Violin), Miroslav Nisic (Accordion), and Jakob Kühnemann (Double Bass) – is known for not only crossing genre boundaries but joyfully tearing them down.

Together with the Neue Philharmonie Westfalen under the capable direction of Rasmus Baumann, a noted specialist in balancing high and popular music, the ensemble dusts off the great works of opera history in this concert with a wink. Suddenly Mozart grooves to Balkan rhythms, Wagner gets a touch of jazz, and Puccini meets catchy pop. UWAGA! approaches the sanctuaries of the opera world with a lovingly irreverent touch: the melodies remain recognizable but are bathed in a completely new, dazzling light through the quirky arrangements and the rapid playing style.

It is an evening when opera sheds its stiff corset and learns to dance. The encounter between the massive symphonic apparatus and the anarchic energy of the four virtuosos from UWAGA! promises a fireworks display of emotions. Join us as all of East Frisia gathers at the Polderhof to celebrate the end of summer. A finale that proves: classical music can be a party, and opera is anything but boring.

UWAGA! Christoph König (Violin & Viola)
Maurice Maurer (Violin)
Miroslav Nisic (Accordion)
Jakob Kühnemann (Double Bass)

Neue Philharmonie Westfalen Rasmus Baumann (Musical Direction)

Bunderhee

Summerwinds Festival: Zofia Neugebauer, Deutsches Kammerorchester Berlin, Gabriel Adorján: Silberklänge

Zofia Neugebauer, flute
DKO Deutsches Kammerorchester Berlin
Gabriel Adorján, conductor

Silberklänge – Flute concertos, two of the most beautiful and exciting, with one of the most inspiring young flutists and the renowned DKO Deutsches Kammerorchester Berlin. Zofia Neugebauer captivates with her lyrical sound and fresh artistic vision as a soloist, chamber, and orchestral musician throughout Europe.

This fits with Mozart and Carl Philipp Emanuel Bach, the "revolutionary" and court cellist of Frederick the Great, who, at that time more famous than his father Johann Sebastian, demanded: "One must play from the soul and not like a trained bird." The interpreter must feel what he plays in order to convey his feelings and moods to the audience. It is indeed this authentic expression of music, but above all the modern, dramatically expressive, and subjective language of music that Mozart meant when he remarked about C.P.E.: "He is the father, we are the boys. Whoever among us can do something right has learned it from him."

Sentimentality and Sturm und Drang: in dialogue with Zofia Neugebauer, the strings unfold a captivating soul drama in Carl Philipp Emanuel Bach's B minor sinfonia. The flute is a rhetorically charged voice, as if speaking: with expressive melody, angular gestures, abrupt emotional shifts, and eloquent pauses, questioning, sighing, insisting, smiling, reflecting melancholically, introverted or nervous and frantic. Cheeky harmonic shifts, expressive dissonances, dynamic contrasts in the orchestra – this dramaturgy of emotional changes without gimmickry has the 22-year-old Mozart in his Flute Concerto in G major take from Bach. But he has done it in his own gallant and elegant way. Everything smiles and radiates courtly, the flute sings gracefully and expressively. In the end, it is as if the F major symphony of the 15-year-old genius innocently and gracefully hops through an old Italian summer. With pure feel-good music, Silberklänge sends us into the real world.

Silberklänge
Carl Philipp Emanuel Bach (1714–1788): Sinfonia in B minor, Wq 182/5
Wolfgang Amadeus Mozart (1756–1791): Concerto No. 1 for Flute and Orchestra in G major, KV 313
Carl Philipp Emanuel Bach: Concerto for Flute and Orchestra in D minor, WQ 22
Wolfgang Amadeus Mozart: Symphony No. 13 in F major, KV 112

Ladbergen

Naturklänge: Meeting of the Spirits - mit Cathrin Pfeifer & Tobias Morgenstern

We start the concert season of "Naturklänge" 2026 with a very special highlight, as two exceptional artists come together for the first time. The German Music Council has chosen the accordion as the instrument of the year, and this should be celebrated appropriately. The magic of this instrument will be presented in various ways, from Tango & Milonga to Musette & Waltz, Jazz, and World Music. The two most renowned accordion virtuosos from Germany will meet for this event. Cathrin Pfeifer has developed her own unique sound, turning even the most stubborn skeptics into her fans. She blends a variety of styles in her modern playing, combining complex rhythms with jazzy arrangements, improvisations with surprising live sampling. Tobias Morgenstern is a music legend. He was the founder of "L'Art de Passage," has released and produced over 80 CDs, and has toured with, among others, Günter Fischer, Armin Mueller-Stahl, and Hans-Eckardt Wenzel, and he has also developed his own distinctive style. Each of the two artists will perform solo. As guests, Silva von Bülow (violin) and Lutz Gerlach on piano will also be present. For the finale of the evening, all artists will perform together for the first time.

Doors open at 6 PM; includes free admission to the open-air museum and shuttle bus use.

Ribnitz-Damgarten

Akademiekonzert I Abschlusskonzert der Sommerakademie für Alte Musik

A baroque bouquet

Who does not know the "Spring" by Antonio Vivaldi? He musically painted a scene on a flower meadow. The cheerful chirping of the violins and the representations of gentle winds and bubbling brooks transport the listeners into an idyllic, spring-like mood.
Discovering blossoms and sound painting in the compositions of the Baroque and making music together in large and small ensembles – this is what this year's Summer Academy is about. This year, the "more delicate" instruments such as harp, theorbo, salterio, and traverso flute will also be heard alongside string and keyboard instruments.
Under the direction of the instructors Anne Schumann, Elisabeth Seitz, Johanna Seitz, Michael Dücker, Brian Berryman, and Gösta Funck, the participants of the Summer Academy will make music.

Admission 7,– € | reduced 3,50 €

Photo rights: Cornelia Strobelt
Copyright: Cornelia Strobelt

Blankenburg

Naturklänge 2026 - „Celtic Dreams with Fiddle & Harp and Songs“ Máire Breatnach,Thomas Loefke & Gäste

In the picturesque estate park of Hessenburg, we welcome an old acquaintance to a meeting of a special kind. Thomas Loefke loves nature and his Celtic harp. He travels with it to many countries around the world, preferably in northern regions, and he has often been a guest at the "Naturklänge" events. This time, he brings a special musician with him, the Irish violinist Máire Breatnach. She is a musical storyteller and a modern representative of the Celtic bard guild. Her compositions and songs are about old myths and stories. They are the love songs of Ireland, full of longing, passion, and melancholy. The legendary violinist played for many years in the world tours of "Riverdance" and also with musicians like Nigel Kennedy, Donovan, or the well-known band "Clannad." She is also bringing her son and an accordion to Hessenburg. In the second part of the evening, the artistic director Lutz Gerlach will also be performing on the piano. He has released two CD productions with Thomas Loefke. Look forward to a varied evening and inspiring encounters with a mix of dreamy sounds, Irish folk, and a touch of jazz.

Admission: 6:00 PM, parking on site, seating available

Hessenburg

Summerwinds Festival: Gudula Rosa, Gereon Voß, Erhard Hirt & Andreas Rosenthal: „Es ist Zeit, dass der Unrast ein Herz schlägt

Gudula Rosa recorders
Gereon Voß percussion
Erhard Hirt guitar & live electronics
Andreas Rosenthal drawings

Seeing music and hearing drawings: the lines, densifications, and empty spaces in Andreas Rosenthal's drawings become inspiring resonance spaces for three renowned boundary crossers with expertise in improvisation and contemporary music. In selected musical pieces and improvisations, Gudula Rosa, Gereon Voß, and Erhard Hirt reflect on Rosenthal's drawings under the motto “It is time for unrest to have a heart.” They continue them, so that “fragments become gestures, structures become moments of listening, and silence finds expression. The drawing becomes a score, the sound becomes movement, and unrest finds – for a moment – its rhythm.” (Rosa)

With “Geflext,” Erhard Hirt responds to Rosenthal's works, which are made with “heavy drawing tools” like a grinder, chainsaw, and electric planer on large solid wood panels. The Dobro, a guitar with a wooden body and metal resonators that amplify the sound, is rubbed, pressed, scraped, and plucked, creating a vibrating, overtone-rich music.

Delicate and seemingly endlessly breathing is “Austro” by the Italian Giorgio Tedde. What for him is an approach to the “magical and mythical qualities” (Tedde) of the Australian landscape is turned by Gudula Rosa into a translation of Rosenthal's paper works “Hands like Clouds” into sound. Continuous circular breathing, various blowing techniques, microtonal shades, and virtuosic fingerplay evoke clouds and expanses, colors, friction, and smoke.

From listening to the reverberation of sound events in the space and in the silence between them lives John Cage’s “One4.” Gereon Voß is given time windows only by the composer, within which he must spontaneously decide when to produce which sound on which percussion instrument. Earth sounds on earth in Frederick Rzewski’s “To the Earth.” On four flower pots, the percussionist reinforces the hymn to the earth that he speaks, and to the happiness of all those who honor it in their everyday actions: “Blessed be you, Mother of Life, Beloved of the star-filled sky. Be generous and grant me a happy life as a reward for my song, so that I may eternally praise you with my music.”

“It is time for unrest to have a heart.”
Erhard Hirt (*1951): Geflext, for Dobro
Giorgio Tedde (*1958): Austro (1991), for alto recorder
John Cage (1912–1992): One4, for percussion
Frederic Rzewski (1938–2021): To the Earth, for percussion
Gudula Rosa and Erhard Hirt: Improvisation: #vis à vis
Gudula Rosa, Erhard Hirt, Gereon Voß: Improvisation: #drawing

Drawing: pencil, ink, graphite – chainsaw, planer, grinder

Andreas Rosenthal's project “Hands like Clouds” is a multi-year work in progress. It consists of numerous large-format papers drawn on both sides with pencil, graphite, and ink. On one side, cloud formations can be discerned, created by gazing upward into the sky. On the other side, drawing structures reminiscent of cartographies can be found, which assume a gaze downward. The double-sided drawn sheets will be waxed in a further work step. This makes them transparent. Both sides of the drawing shine through each other. Bird's-eye and frog's-eye perspectives merge into one. Sky and earth are intertwined without a separating horizon.

The title of the concert program “It is time for unrest to have a heart” quotes a line from one of Rosenthal’s chainsaw drawings, which takes up Paul Celan's poem “Corona.”

For Andreas Rosenthal, drawing also means tackling wall-filling wooden panels of 225 x 500 cm with “heavy equipment” like a chainsaw, grinder, and electric planer. The artist etches his lines into the wood, carving layer by layer until a dense yet fleeting fabric emerges, which also weaves in fragments of thoughts, quotes, song and poem excerpts that accompany him.

not barrier-free

Münster

Summerwinds Festival: Gudula Rosa, Gereon Voß, Erhard Hirt & Andreas Rosenthal: „Es ist Zeit, dass der Unrast ein Herz schlägt

Gudula Rosa recorders
Gereon Voß percussion
Erhard Hirt guitar & live electronics
Andreas Rosenthal drawings

Seeing music and hearing drawings: the lines, densifications, and empty spaces in Andreas Rosenthal's drawings become inspiring resonance spaces for three renowned boundary crossers with expertise in improvisation and contemporary music. In selected musical pieces and improvisations, Gudula Rosa, Gereon Voß, and Erhard Hirt reflect on Rosenthal's drawings under the motto “It is time for unrest to have a heart.” They continue them, so that “fragments become gestures, structures become moments of listening, and silence finds expression. The drawing becomes a score, the sound becomes movement, and unrest finds – for a moment – its rhythm.” (Rosa)

With “Geflext,” Erhard Hirt responds to Rosenthal's works, which are made with “heavy drawing tools” like a grinder, chainsaw, and electric planer on large solid wood panels. The Dobro, a guitar with a wooden body and metal resonators that amplify the sound, is rubbed, pressed, scraped, and plucked, creating a vibrating, overtone-rich music.

Delicate and seemingly endlessly breathing is “Austro” by the Italian Giorgio Tedde. What for him is an approach to the “magical and mythical qualities” (Tedde) of the Australian landscape is turned by Gudula Rosa into a translation of Rosenthal's paper works “Hands like Clouds” into sound. Continuous circular breathing, various blowing techniques, microtonal shades, and virtuosic fingerplay evoke clouds and expanses, colors, friction, and smoke.

From listening to the reverberation of sound events in the space and in the silence between them lives John Cage’s “One4.” Gereon Voß is given time windows only by the composer, within which he must spontaneously decide when to produce which sound on which percussion instrument. Earth sounds on earth in Frederick Rzewski’s “To the Earth.” On four flower pots, the percussionist reinforces the hymn to the earth that he speaks, and to the happiness of all those who honor it in their everyday actions: “Blessed be you, Mother of Life, Beloved of the star-filled sky. Be generous and grant me a happy life as a reward for my song, so that I may eternally praise you with my music.”

“It is time for unrest to have a heart.”
Erhard Hirt (*1951): Geflext, for Dobro
Giorgio Tedde (*1958): Austro (1991), for alto recorder
John Cage (1912–1992): One4, for percussion
Frederic Rzewski (1938–2021): To the Earth, for percussion
Gudula Rosa and Erhard Hirt: Improvisation: #vis à vis
Gudula Rosa, Erhard Hirt, Gereon Voß: Improvisation: #drawing

Drawing: pencil, ink, graphite – chainsaw, planer, grinder

Andreas Rosenthal's project “Hands like Clouds” is a multi-year work in progress. It consists of numerous large-format papers drawn on both sides with pencil, graphite, and ink. On one side, cloud formations can be discerned, created by gazing upward into the sky. On the other side, drawing structures reminiscent of cartographies can be found, which assume a gaze downward. The double-sided drawn sheets will be waxed in a further work step. This makes them transparent. Both sides of the drawing shine through each other. Bird's-eye and frog's-eye perspectives merge into one. Sky and earth are intertwined without a separating horizon.

The title of the concert program “It is time for unrest to have a heart” quotes a line from one of Rosenthal’s chainsaw drawings, which takes up Paul Celan's poem “Corona.”

For Andreas Rosenthal, drawing also means tackling wall-filling wooden panels of 225 x 500 cm with “heavy equipment” like a chainsaw, grinder, and electric planer. The artist etches his lines into the wood, carving layer by layer until a dense yet fleeting fabric emerges, which also weaves in fragments of thoughts, quotes, song and poem excerpts that accompany him.

not barrier-free

Münster

Sommerabend a cappella

Soprano: Katharina Kunz | Alba Vilar Juanola
Alto: Manja Raschka | Alexandra Schmid
Tenor: Oliver Kaden | Falk Hoffmann
Bass: Johannes Weinhuber | Philipp Brömsel
(Members of the MDR Radio Choir)

Please note that there may be possible obstructed views in category 2 at this venue.

Works by
Johannes Brahms, Camille Saint-Saëns, Friedrich
Kuhlau, Eriks Ešenvalds, Gustav Waldemar Åhlén,
George Gershwin

Atmospheric, colorful, romantic, modern, ethereal – these are all fitting descriptions for this summer evening a cappella. Immerse yourself in an immeasurable soundscape between Gustav Waldemar Åhlén's Sommarpsalm, Swedish and Baltic folk tunes, French and German Romanticism, as well as modern choral compositions up to George Gershwin's unforgettable Summertime. The scent of the sunniest season fills the entire evening!

Admission: 4:00 PM

Bad Düben

Fabian Müller - Piano

Tsurina Quartet

Christopher Beuchert Double Bass

Wolfgang Amadeus Mozart (1756–1791)

String Quartet in B-flat Major K. 458 "Hunt Quartet"

Ludwig van Beethoven (1770–1827)

Piano Sonata in D Major Op. 28 "Pastoral"

Franz Schubert (1797–1828)

Piano Quintet in A Major D 667 "Trout Quintet"

Solo piano, string quartet, and piano quintet – this program captivates with its diversity and illuminates various facets of nature. This evening transports the audience to milestones of chamber music that promise a particularly intense experience amidst the landscape park of Bad Muskau.

The evening culminates in the Trout Quintet with variations on the famous Schubert song "The Trout," a work full of joy and naturalness.

Doors open: 4:00 PM

Bad Muskau

Festival The Last Rose of Summer Berlin 2026!

TWELVE YEARS "THE LAST ROSE OF SUMMER" - THE PROGRAM 2026!

The Last Rose of Summer 2026:
With Siobhan Armstrong, Irish harp – Christoph Enzel, saxophone – Sif M. Tulinius, violin – Judith Ingolfsson, violin/viola – Alan Stoupel, viola – Friedemann Ludwig, cello – Vladimir Stoupel, piano – Jesslyn Handoko & Paul Maillet, piano

Welcome to the Festival "The Last Rose of Summer" Berlin 2026!
The Last Rose of Summer Festival Berlin 2026 connects different sound worlds and musical perspectives in five concerts. The focus is on works that make the familiar audible again and highlight voices that have long been overlooked.
A special highlight is the return of harpist Siobhán Armstrong, who will open the festival with an intimate and atmospheric program. The program is complemented by a special saxophone concert with Christoph Enzel, who expands the sonic horizon of the festival.
A central concern is the music of female composers: Fanny Mendelssohn Hensel, Clara Schumann, and Rebecca Clarke each showcase their unique paths between romantic expressiveness and a new, clearer language of form.
Particularly in the third concert, this connection becomes audible. Rebecca Clarke's Duo Concertante for violin, viola, and piano (written around 1940) moves between retrospection and new beginnings: Echoes of Johannes Brahms—especially the energetic finale of his Piano Quartet in G minor, Op. 25—stand alongside an increasingly reduced, modern sound language.
In the closing concert, this work will be performed itself: Brahms’ Piano Quartet in G minor, Op. 25, along with music by Ernő Dohnányi. The large forms unfolded there pick up on the ideas hinted at previously and carry them further. Thus, over the five evenings, a musical connection emerges that brings tradition and present into a lively dialogue.

PROGRAM

Friday, August 14, 2026, 1 PM – Irish Day

Siobhán Armstrong, Irish Harp

Traditional Irish melodies (Exact program to be announced)

Saturday, August 15, 2026, 1 PM – Artist Friendships

Pater Paul Maillet & Jesslyn Handoko, Piano | Judith Ingolfsson, Violin
Vladimir Stoupel, Piano

Fanny Mendelssohn Hensel (1805–1847)
Three pieces for piano four hands

Clara Schumann (1819–1896)
Three Romances for violin and piano, Op. 22

Albert Dietrich (1829–1908)
Robert Schumann (1810–1856)
Johannes Brahms (1833–1897)
Sonata in A minor for violin and piano ("F–A–E" Sonata)

Sunday, August 16, 2026, 1 PM

Judith Ingolfsson, Violin, Viola | Sif Margrét Tulinius, Violin
Jesslyn Handoko, Piano | Vladimir Stoupel, Piano

Rebecca Clarke (1886–1979)
Three Pieces for two violins and piano
Duo Concertante for violin, viola, and piano
Morpheus for viola and piano

Richard Sortomme (*1948)
Rhapsody for viola and orchestra (version for viola and piano)

Monday, August 17, 2026, 1 PM – Saxophone!

Christoph Enzel, Saxophone | Judith Ingolfsson, Violin | Vladimir Stoupel, Piano

Erwin Schulhoff (1894-1942)
Hot Sonata for alto saxophone and piano (1930)

Christoph Enzel (*1978)
Three Lovesongs for solo saxophone

Darius Milhaud (1892-1974)
Scaramouche for alto saxophone and piano

Marc Eychenne (*1933)
Cantilène et Danse for saxophone, violin, and piano

Tuesday, August 18, 2026, 1 PM – Closing Concert

Judith Ingolfsson, Violin | Sif Margrét Tulinius, Violin | Alan Stoupel, Viola | Friedemann Ludwig, Cello | Vladimir Stoupel, Piano

Ernő Dohnányi (1877–1960)
Serenade in C major for string trio, Op. 10

Johannes Brahms (1833–1897)
Piano Quartet No. 1 in G minor, Op. 25

Lunch concert festival at the Embassy of Ireland, the ancestral home of the Mendelssohn Bank from August 14 to August 18.
Artistic Direction: Judith Ingolfsson & Vladimir Stoupel.
Cooperation event of the Mendelssohn Society with the festival "The Last Rose of Summer," supported by the Embassy of Ireland and Guy Oppenheim.
Program changes reserved. Admission from 12:30 PM; concert duration about 60 minutes. Single ticket 18 €, children 8 €, festival pass (transferable) 60 €;
Presale starts on July 15 during the opening of the exhibition in the Mendelssohn-Remise; remaining tickets at the box office.