Variable program

Every Thursday and every Saturday you can expect a special cultural hallmark in the Munich Residence troughout the year. The Residence Soloists are performing in the Court Chapel (Hofkapelle) The historical atmosphere of the court chapel in which also Mozart was performing concerts lets you get in touch with the music of old times. You will find weekly changing performances with masterpieces ranging from Bach, Vivaldi, Haydn and Mozart.

Please notice: In summertimes the old court chapel is cool and in wintertimes it can be cold! Please wear warm clothes. 

Händel:Chaconne
Mozart: Rondo D-Dur
Chopin: Etude op. 10 Nr. 4
Chopin: 2 Nocturnes op. 48 Nr. 2 & op. 62 Nr. 1
Schumann: Sonate Nr. 2 G-Moll

Residenz-Solist Rezi Marshania - Klavier

This concert series serves as a tribute to Mozart, who gave a concert with his sister Nannerl in Nymphenburg Palace with Elector Maximilian III when he was seven years old and this went down in history.

Variable program

Every Saturday you can expect a special cultural hallmark in the Munich Residence troughout the year. The Residence Soloists are performing in the Court Chapel (Hofkapelle) The historical atmosphere of the court chapel in which also Mozart was performing concerts lets you get in touch with the music of old times. You will find weekly changing performances with masterpieces ranging from Bach, Vivaldi, Haydn and Mozart.

Please notice: In summertimes the old court chapel is cool and in wintertimes it can be cold! Please wear warm clothes. 

Variable program

Every Thursday and every Saturday you can expect a special cultural hallmark in the Munich Residence troughout the year. The Residence Soloists are performing in the Court Chapel (Hofkapelle) The historical atmosphere of the court chapel in which also Mozart was performing concerts lets you get in touch with the music of old times. You will find weekly changing performances with masterpieces ranging from Bach, Vivaldi, Haydn and Mozart.

Please notice: In summertimes the old court chapel is cool and in wintertimes it can be cold! Please wear warm clothes. 

Haydn: Capriccio in G-Dur über das Volkslied "Acht Sauschneider müssen sein", Hob. XVII/1 (1765) 
Mozart: Fantasie in C-moll, KV 475
Beethoven: Polonaise in C-Dur, Op. 89
Liszt: 3 Liebesträume
Chopin: Scherzo Nr. 3 in Cis-moll, Op. 39

Residenz-Solistin Kijung Han - Klavier

This concert series serves as a tribute to Mozart, who gave a concert with his sister Nannerl in Nymphenburg Palace with Elector Maximilian III when he was seven years old and this went down in history.

Variable program

Every Saturday you can expect a special cultural hallmark in the Munich Residence troughout the year. The Residence Soloists are performing in the Court Chapel (Hofkapelle) The historical atmosphere of the court chapel in which also Mozart was performing concerts lets you get in touch with the music of old times. You will find weekly changing performances with masterpieces ranging from Bach, Vivaldi, Haydn and Mozart.

Please notice: In summertimes the old court chapel is cool and in wintertimes it can be cold! Please wear warm clothes. 

Frédéric Chopin: Scherzo No. 2 in B-flat minor
Johann Sebastian Bach / Sergei Rachmaninoff: Partita No. 3
George Gershwin: 18 Songs for Piano
George Gershwin: Porgy and Bess – “Summertime”, “Bess, You Is My Woman Now”, “It Ain’t Necessarily So”
George Gershwin: 3 Preludes
Jazz Standards & Improvisation 

Frank Fan Ming Ling - Klavier

From Chopin to Gershwin – When Classical Music Becomes Jazz

The modern jazz piano recital is not really a radical new beginning, but rather a fascinating continuation of the classical tradition. The clarity of Johann Sebastian Bach, the poetic lyricism of Frédéric Chopin, and the rich romantic sonorities of Sergei Rachmaninoff gradually lead toward the freedom we hear in jazz.

Rachmaninoff, often described as the “last Romantic,” deeply admired Chopin. For him, Chopin represented the ideal model: brilliant piano technique combined with profound emotional expression. In his Variations on a Theme of Chopin, Rachmaninoff allowed Chopin’s delicate melodies to shine within a new and broader sound world.

When Rachmaninoff emigrated to the United States in 1918, he encountered an entirely new musical energy: jazz. Surprisingly open to this development, he followed it with great interest. He especially admired George Gershwin, whose music brought together classical tradition, blues, and jazz. Rachmaninoff listened enthusiastically to Gershwin’s works and even attended concerts that presented this new blend of classical and jazz.

In this way, a musical line emerges: from Chopin’s poetic piano style, through Rachmaninoff’s expansive romantic sound world, to Gershwin’s “symphonic jazz.”

Within jazz itself, another element plays a central role: improvisation. A so-called jazz standard is the well-known musical theme—the shared foundation, so to speak. Musicians take this theme and invent new melodies over it in the moment. It is a little like a conversation: the theme provides the starting point, while improvisation brings the personal, spontaneous story.

Thus a bridge is formed from the classical piano tradition to the free and sparkling world of jazz.

Variable program

Every Thursday and Saturday you can expect a special cultural hallmark in the Munich Residence troughout the year. The Residence Soloists are performing in the Court Chapel (Hofkapelle) The historical atmosphere of the court chapel in which also Mozart was performing concerts lets you get in touch with the music of old times. You will find weekly changing performances with masterpieces ranging from Bach, Vivaldi, Haydn and Mozart.

Please notice: In summertimes the old court chapel is cool and in wintertimes it can be cold! Please wear warm clothes. 

Mozart: Sonate B-Dur KV 333 (1. Satz)
Chopin: Polonaise As-Dur op.53
Skrjabin: Preludes op.16
Skrjabin: Fantasie op.28
Liszt: Dante Sonate

Residenz-Solist Collins Tanujaya - Klavier

This concert series serves as a tribute to Mozart, who gave a concert with his sister Nannerl in Nymphenburg Palace with Elector Maximilian III when he was seven years old and this went down in history.

Mozart: “A Little Night Music” 
J. Strauß: “Die Fledermaus” Overture 
J. Strauß: “The Blue Danube” Waltz
J. Strauß: “Tritsch-Tratsch”, “Pizzicato” & other quick polkas

Residence-Solists

Johann Strauß and his Homage to W.A.Mozart

Although his father, Johann Strauss I, was himself a famous composer and bandleader, he did not want his son to become a musician under any circumstances. Instead, he sent the young Johann Strauss II—affectionately called “Schani” within the family—to the Polytechnic Institute so that he could pursue a respectable career as a bank clerk. The plan, however, did not succeed. With the support of his mother, Johann secretly practiced the violin. When his father once caught him playing music against his wishes, he is said to have punished him severely. Rather than discouraging the boy, the incident only strengthened his determination to follow his own path. His musical talent became apparent very early: according to family stories, Johann improvised his first waltz at the age of six.
One of the greatest inspirations for the later “Waltz King” was Wolfgang Amadeus Mozart, whom Strauss often referred to reverently as the “God of Music.” He particularly admired Mozart’s clarity, melodic richness, and the seemingly effortless elegance of his compositions. These qualities can also be heard in Strauss’s own music—in the graceful flow of his melodies, the clarity of his musical forms, and his ambition to elevate dance and entertainment music to a true concert level.
Strauss collected Mozart’s scores with great enthusiasm, including operas such as Le nozze di Figaro, Don Giovanni, and Die Zauberflöte. His brother Eduard Strauss later recalled that Johann would often sit late into the night studying these scores, trying—as he put it—to discover “the secret of Mozartian clarity.” In his own manuscripts he sometimes left small handwritten notes or cross-references to Mozartian themes.
Mozart’s influence is especially evident in Strauss’s stage works. In his famous operetta Die Fledermaus, for example, Strauss drew inspiration from the dramatic structure of Mozart’s Le nozze di Figaro. The way ensemble scenes are constructed and characters are musically portrayed reflects Mozart’s operatic artistry. Thus, Johann Strauss was not only the master of the Viennese waltz but also a composer deeply connected to the great tradition of classical music.