Piano Concerts

Mozart: Sonate KV281

Liszt: Sonate H-Moll

Chopin: Valse brillante op. 18

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: Fantasie D-Moll 
Beethoven: Sonate A-Dur op. 101
Schumann: Symphonische Etüden op. 13

Residenz-Solistin Chanwon Park - 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.

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.

Classical masterpieces from Mozart to Beethoven, Chopin, Debussy and Ravel.

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.

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.

Classical masterpieces from Mozart to Beethoven, Chopin, Debussy and Ravel.

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: Piano Concerto in B-flat Major, K. 595
Chopin: Polonaise
Beethoven: Symphony No. 1 in C Major
Grieg: Peer Gynt – Suite

Misora Ozaki - Piano & Residenz-Solisten
 

Wolfgang Amadeus Mozart completed his final piano concerto—the Piano Concerto in B-flat Major, K. 595—in Vienna in January 1791. The music radiates lightness, serenity, and quiet elegance. At the premiere, Mozart himself sat at the fortepiano; it would be his last public appearance as a pianist. In the finale, a simple, almost song-like melody appears that Mozart later used in his song “Sehnsucht nach dem Frühling” (“Longing for Spring”), with the well-known opening words: “Komm, lieber Mai …” (“Come, dear May…”). There is a special magic in this music—a gentle farewell and at the same time a hopeful anticipation of renewal.

With his Symphony No. 1 in C Major, Ludwig van Beethoven brings fresh energy and bold colors into the concert hall. Even in this early work, the unmistakable spirit of the young composer becomes evident: elegant melodic lines combine with rhythmic vitality and surprising harmonic turns. The symphony sparkles with vitality and already hints at the creative power that would soon make Beethoven one of the greatest symphonists in the history of music.

A few decades later, Frédéric Chopin sits at a piano in a Parisian salon. Under his hands, the polonaise—once a courtly Polish dance—is transformed into a virtuosic and heroic concert piece. The famous Polonaise in A-flat Major, Op. 53 in particular unfolds monumental energy: powerful bass lines, brilliant chords, and a proud, driving rhythm. Contemporary accounts even suggest that Chopin, while composing, imagined armored riders before his eyes—an image that vividly reflects the heroic aura of this music.

The colorful conclusion of the evening is music from Edvard Grieg’s score to Peer Gynt, written for Henrik Ibsen’s famous play. From this work come two of the most beloved soundscapes in the Romantic orchestral repertoire: the lyrical “Morning Mood,” in which the sunrise unfolds in delicate woodwind lines, and the mysterious “In the Hall of the Mountain King,” whose music grows from a quiet motif into a thrilling orchestral whirlwind.

Thus, in the magnificent Cuvilliés Theatre, a musical arc unfolds—from classical elegance through Romantic virtuosity to the colorful imagination of Nordic sound. The result is a festive concert evening full of brilliance, emotion, and musical discovery.

Due to limited places, wheelcair seats can only booked through +49 89 2897 5597 manually.

Classical masterpieces from Mozart to Beethoven, Chopin, Debussy and Ravel.

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.

Robert Schumann: Fantasie in C-Dur op. 17
Alexander Scriabin: Fantasie in H-Moll op. 28
Wolfgang Amadeus Mozart: Fantasie in D-Moll KV 397
Franz Liszt: Après une lecture du Dante: Fantasia quasi Sonata S. 161/7
Residenz-Solist András Lakatos - 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: Don Giovanni – Overture
Mozart: Symphony No. 38 “Prague”
Beethoven: Piano Concerto No. 3
Dvořák: “From the New World” – Suite

Residenz-Solisten
 

Gala Concert at the Cuvilliés Theatre – A Musical VIP Experience

The very room tells a story: the golden Rococo of the Cuvilliés Theatre, once the stage for courtly celebrations and grand opera evenings. In this intimate jewel, the concert evening begins with one of the most famous overtures in music history.

Wolfgang Amadeus Mozart – Overture to Don Giovanni

Dark D minor, powerful chords – like the sudden lifting of a curtain. The music floods the hall with almost ominous force, announcing the “Stone Guest,” the mysterious figure who will pass judgment on the seducer at the opera’s end. But almost as soon as this shadow appears, a feverish Allegro erupts: restless, sparkling, full of dramatic energy. In just a few minutes, the entire world of Don Giovanni unfolds: tragedy and comedy, menace and zest for life.
The creation of this piece belongs to the legendary moments of music history. For the Prague premiere in 1787, Mozart composed the overture only the night before. While he worked, his wife Constanze kept him awake with stories and punch. By morning, the score was hastily copied – and that evening the orchestra performed this highly complex work almost entirely at sight. A risky undertaking, yet it became a triumphant opening to the opera.

Mozart – Symphony No. 38 “Prague”

The so-called Prague Symphony is closely linked to Mozart’s special relationship with the city. There, he was celebrated with an enthusiasm rarely experienced in reserved Vienna. “My Praguers understand me,” he is said to have remarked.
Composed in 1787, the symphony reflects this mutual admiration. It omits the customary minuet, consisting of only three movements – unusual for its time. Instead, Mozart unfolds a rich contrapuntal structure and challenges the wind players with exceptional virtuosity. The musicians in Prague were considered the best in Europe, and Mozart composed for them with palpable joy in the challenge. The result is a symphony of brilliant elegance, dramatic energy, and vibrant orchestral color.

Ludwig van Beethoven – Piano Concerto No. 3 in C minor

Beethoven’s Third Piano Concerto opens a new musical world. The key of C minor – the same in which his famous Fifth Symphony would later appear – lends the work a special dramatic intensity. Tension, passion, and almost heroic energy shape this concerto, which premiered in Vienna in 1803.
Here too, an anecdote gives a nearly cinematic image of the evening. Beethoven played the solo part himself but had scarcely found time to fully write down the score. His friend Ignaz von Seyfried, who was to turn the pages, looked at sheets mostly blank – only here and there cryptic marks served as reminders for the composer. While Seyfried nervously tried to keep up, Beethoven performed the concerto from memory with complete confidence.

A program that unites three facets of the Viennese Classical style: Mozart’s dramatic operatic world, his brilliant symphonic writing, and Beethoven’s passionate, forward-looking sound language. An evening that combines history, virtuosity, and emotion in a uniquely atmospheric setting

Due to limited places, wheelcair seats can only booked through +49 89 2897 5597 manually.