All-Saints Court Church of the Residence in Munich

Vivaldi: „Spring“&„Summer“ from „the four seasons“
Vivaldi: Concerto for piccoloflute  „goldfing"
Vivaldi: Flute concerto „La tempesta de mare“
Vivaldi: Concerto for piccoloflute  C-major
E.Grieg: Peer Gynt - Suite 
J.Strauß: „Voices of spring“- Waltz

Janine Schöllhorn - Flute, Marcelino Rojas - Violin & Residenz-Solisten

Candlelight fills the vaults of the Allerheiligen-Hofkirche as an Easter evening of special distinction begins. A gala concert offering more than music – an atmosphere that is cultivated, exclusive, and unforgettable.

The evening opens with Antonio Vivaldi’s Spring and Summer from The Four Seasons. Bird calls sparkle through the nave, while thunder rolls in dramatic tremolos – nature is not merely described here, but vividly imagined.

In the piccolo concerto Il Gardellino (The Goldfinch), virtuoso brilliance flashes into life. The soloist Janine Schöllhorn lets the notes flutter and sparkle, as though the little bird itself were circling between the church’s columns. Vivaldi’s flute concerto La tempesta di mare (The Storm at Sea) rises to dramatic intensity: waves crash, runs whirl, the sea roars – yet everything retains the elegant balance so characteristic of Vivaldi’s music. The Piccolo Concerto in C major finally sets a bright, almost silvery highlight.

After the expressive splendour of the Baroque, the horizon widens: Edvard Grieg’s Peer Gynt Suite leads into Nordic soundscapes. Morning serenity alternates with dramatic scenes – music poised between poetry and folklore, intimacy and orchestral gesture. And when Johann Strauss finally brings the evening to a close with the waltz Voices of Spring, a touch of Viennese elegance lingers in the air.

An Easter concert by candlelight – musical luxury in a historic setting. For an audience that seeks the exceptional and appreciates the extraordinary.

Johann Sebastian Bach: Piano Concerto No. 1 in D minor, BWV 1052
Johann Sebastian Bach: Piano Concerto No. 2 in E major, BWV 1053
Johann Sebastian Bach: Piano Concerto No. 3 in D major, BWV 1054
Johann Sebastian Bach: Piano Concerto No. 4 in A major, BWV 1055
Johann Sebastian Bach: Piano Concerto No. 5 in F minor, BWV 1056

Collins Tanujaya, Dongqi Zhang, Naoe Sasaki, Carles Díaz Morros, Rezi Marshania – piano
& Residenz-Solisten

On this festive occasion, the All Saints’ Court Church Allerheiligen Hofkirche glows in the warm light of candles, opening its venerable spaces for an extraordinary musical experience: the five great Bach piano concertos, masterfully performed by Collins Tanujaya, Dongqi Zhang, Naoe Sasaki, Carles Díaz Morros, and Rezi Marshania, accompanied by the Residenz-Solisten.

Bach’s Piano Concerto No. 1 in D minor, BWV 1052 is considered one of the most powerful and technically demanding works of Baroque music. Originally likely conceived as a violin concerto, it captivates with dramatic energy and a virtuosity that feels strikingly modern.

In contrast, the Piano Concerto No. 2 in E major, BWV 1053 is brighter, more pastoral, and relaxed. It is a prime example of Bach’s masterful parody technique, featuring luminous, dance-like character, buoyant rhythms, and elegant melodies that refresh the senses.

Majestic and radiant, Piano Concerto No. 3 in D major, BWV 1054 is a transcription of Bach’s famous Violin Concerto in E major (BWV 1042). Bach likely created this version between 1738 and 1739 for the concerts of the Collegium Musicum in Leipzig, where he himself performed the solo part on the harpsichord. Its splendid harmonies and dynamic contrasts fill the hall with energy.

The elegant Piano Concerto No. 4 in A major, BWV 1055 is one of Bach’s most radiant and lively works for keyboard. It impresses with subtle counterpoint and sparkling piano passages that artfully complement the strings.

The crowning conclusion is Piano Concerto No. 5 in F minor, BWV 1056, whose passionate drama and poetic delicacy linger long after the final note.

In the intimate atmosphere of candlelight, music, light, and historic architecture merge into an unforgettable experience. Every note becomes a treasure, every phrase an invitation to immerse oneself fully in Bach’s world of sound.

Mozart: Requiem in D minor
Mozart: Overture to “Don Giovanni”

Residenz-Solisten

 

Wolfgang Amadeus Mozart: Requiem in D Minor (K. 626) – Between Genius, Madness, and a Mysterious Commission

Mozart’s Requiem is his final work—and one of music history’s greatest mysteries. Few compositions are so entwined with legend as this Mass for the Dead, on which Mozart worked until his final hours in December 1791.

The “Gray Messenger” and a Dark Premonition
The story of its creation reads like a detective tale. One day, a mysterious, darkly dressed messenger arrives at Mozart’s door and anonymously commissions a Requiem. At the time, Mozart is already in frail health, and the secretive request begins to preoccupy him. He becomes obsessed with the idea that the messenger is a harbinger from the beyond, bringing news of his own death. “I am writing my own funeral song,” he is said to have remarked.
In reality, the enigmatic commissioner was Count Walsegg-Stuppach’s steward. The eccentric count often had works composed to pass off later as his own. He intended to acquire the Requiem under the same pretense.

An Unfinished Legacy
Mozart dies before completing the score. The Lacrimosa breaks off mid-composition. What he leaves behind is a fragment: the opening sections are fully orchestrated, but many later movements exist only as sketches or vocal lines.
Mozart’s widow, Constanze, now faced a dilemma: to secure the promised fee, the work had to be completed. She commissioned Mozart’s student Franz Xaver Süssmayr, who worked closely with Mozart’s sketches and even copied portions of his handwriting. The additions were so convincing that the commissioner accepted them as part of the final work.

A Sound World of Eternity
Musically, the Requiem unfolds a dark, solemn soundscape. In the dramatic key of D minor, it becomes a work of extraordinary beauty and intensity—a musical threshold between human fear, judgment, and hope for redemption.

Overture to Don Giovanni

Mozart’s overture to Don Giovanni also begins in the ominous key of D minor. With massive, almost Dantean chords, the music immediately fills the space—an ominous prelude to the later appearance of the “Stone Guest.” This is followed by a restless, feverish Allegro, brimming with the opera’s demonic energy.The overture condenses all the elements that define the work: tragedy and comedy, menace and vitality. Mozart composed it under immense time pressure; tradition has it that he completed the score the night before the Prague premiere in 1787. During the night, Constanze kept him awake with stories and punch, and by morning the copyists had the freshly written parts. That evening, the orchestra had to play the complex piece almost sight-read.

A typical Mozart moment: genius racing against time.

Fünf Klavierkonzerte
J.S.Bach: Klavierkonzert Nr.1 D-Moll BWV 1052
J.S.Bach: Klavierkonzert Nr.2 E-Dur BWV 1053
J.S.Bach: Klavierkonzert Nr.3 D-Dur BWV 1054 
J.S.Bach: Klavierkonzert Nr.4 A-Dur BWV 1055 
J.S.Bach: Klavierkonzert Nr.5 F-Moll BWV 1056 
Collins Tanujaya, Dongqi Zhang, Naoe Sasaki, Carles Diaz Morros, Rezi Marshania - Klavier & Residenz-Solisten
 

On this festive occasion, the All Saints’ Court Church Allerheiligen Hofkirche glows in the warm light of candles, opening its venerable spaces for an extraordinary musical experience: the five great Bach piano concertos, masterfully performed by Collins Tanujaya, Dongqi Zhang, Naoe Sasaki, Carles Díaz Morros, and Rezi Marshania, accompanied by the Residenz-Solisten.

Bach’s Piano Concerto No. 1 in D minor, BWV 1052 is considered one of the most powerful and technically demanding works of Baroque music. Originally likely conceived as a violin concerto, it captivates with dramatic energy and a virtuosity that feels strikingly modern.

In contrast, the Piano Concerto No. 2 in E major, BWV 1053 is brighter, more pastoral, and relaxed. It is a prime example of Bach’s masterful parody technique, featuring luminous, dance-like character, buoyant rhythms, and elegant melodies that refresh the senses.

Majestic and radiant, Piano Concerto No. 3 in D major, BWV 1054 is a transcription of Bach’s famous Violin Concerto in E major (BWV 1042). Bach likely created this version between 1738 and 1739 for the concerts of the Collegium Musicum in Leipzig, where he himself performed the solo part on the harpsichord. Its splendid harmonies and dynamic contrasts fill the hall with energy.

The elegant Piano Concerto No. 4 in A major, BWV 1055 is one of Bach’s most radiant and lively works for keyboard. It impresses with subtle counterpoint and sparkling piano passages that artfully complement the strings.

The crowning conclusion is Piano Concerto No. 5 in F minor, BWV 1056, whose passionate drama and poetic delicacy linger long after the final note.

In the intimate atmosphere of candlelight, music, light, and historic architecture merge into an unforgettable experience. Every note becomes a treasure, every phrase an invitation to immerse oneself fully in Bach’s world of sound.

Beethoven: Symphony No. 9
Vivaldi: "The Four Seasons": "Autumn" and "Winter"

Residenz-Solisten

Of Human Joy and Nature’s Power

In music history, Ludwig van Beethoven’s Symphony No. 9 marks a monumental turning point that shattered the boundaries of what was then imaginable. When the work premiered in 1824, Beethoven was already completely deaf and could no longer hear the audience's ecstasy. One of the most moving anecdotes in music history tells of the soloist Caroline Unger, who had to gently tug the composer’s sleeve after the finale to turn him toward the hall, so he could at least see the frenetic cheering and waving handkerchiefs. By incorporating Friedrich Schiller’s "Ode to Joy," Beethoven transformed the symphony from a purely instrumental form into a universal message of brotherhood, known today across the globe as the Anthem of Europe.

A century earlier, Antonio Vivaldi had already demonstrated how evocative music could be with his cycle "The Four Seasons," though he focused more on nature than on philosophy. In "Autumn," the "Red Priest" first has the violins strike up a dance before imitating the exhaustion of revelers after the harvest with gentle, almost floating melodies—a musical intoxication that subsides into a deep sleep. "Winter," by contrast, makes the listener shiver: through sharp staccato and tremolo strings, the chattering of teeth in the cold is imitated with deceptive realism, while the famous Largo describes the cozy warmth of a heated room as the rain taps softly against the window outside. Vivaldi was so convinced of the narrative power of his music that he accompanied his scores with explanatory sonnets, ensuring every musician knew exactly whether they were portraying a hunting dog or a wanderer slipping on the ice.

Corelli: Weihnachtskonzert
Mozart: Konzert für Flöte und Harfe – Allegro
Borne: „Carmen Fantasy“ für Flöte
Smetana: „Die Moldau“
Tschaikowski: Highlights aus „Nussknacker“ & „Schwanensee“
Offenbach: Can-Can & Barcarole
J.Strauß: Walzer “An der schönen blauen Donau” 

Janine Schöllhorn - Flöte, Emilie Jaulmes – Harfe & Residenz Solisten

 

With its historical backdrop, the Residence's All Saints Court Church offers a perfect ambience for concerts with the Residence-Soloists. During the Second World War, the formerly furnished church has been completely destroyed and was rebuilt in its current state as a reminder. The Residence-Soloists play selected masterpieces in a wonderful ambience.