Festive summer concerts in royal ambience

Vivaldi: The Four Seasons – complete
Boccherini: Fandango & La Musica Notturna delle Strade di Madrid for Guitar & Strings
Albéniz: Asturias and other famous Spanish compositions for guitar

Mon-Fu Lee – violin
Leonard Becker – guitar
Residenz Soloists

Spanish–Italian Night – A Musical Evening of Sun and Passion

We begin in Baroque Venice, where the “Red Priest” Antonio Vivaldi made music history with his Four Seasons. He was a master at letting nature speak without a single word. A virtuoso violinist himself, he constantly pushed the boundaries of the instrument.

The Four Seasons are more than just beautiful melodies; they are an immersive experience that brings the renewal and drama of nature directly into the concert hall.

Isaac Albéniz – Asturias (Leyenda)

Although the title Asturias suggests the green landscapes of northern Spain, every note of the piece breathes the spirit of Andalusia in the south. Originally composed in 1892 for piano, the work later became an icon of Spanish music through its transcription for guitar—an instrument for which Albéniz seemed almost instinctively to write.

Albéniz originally titled the piece simply Leyenda (“Legend”)—a fitting name for a work that has become one of the most recognizable melodies in classical music worldwide.

Luigi Boccherini – La Musica Notturna delle Strade di Madrid

Imagine sitting by an open window on a warm summer night in the year 1780. Outside, in the winding streets of Madrid, a vibrant nocturnal life begins to unfold.

Luigi Boccherini, the Italian virtuoso living in Spanish exile, captured these fleeting moments in his String Quintet Op. 30 No. 6. He considered the piece so deeply connected to Spain that he believed its magic could hardly be understood anywhere else.

More than chamber music, this work is an acoustic painting that dissolves the boundary between the concert hall and the streets. It invites the listener into a world of shadows and light, filled with the irresistible rhythms of old Spain.

His famous Fandango was, in its time, almost a provocation of courtly etiquette. Boccherini brought the passionate and seductive folk dance of the streets into refined chamber music—often crowning it with the clattering rhythm of real castanets.

Vivaldi: „Die vier Jahreszeiten“ - Ausschnitte 
Boccherini: „Fandango“, „Madrid“ für Gitarre & Streicher 
Albeniz: „Asturias“ und weitere berühmte spanische Kompositionen für Gitarre 

Leonard Becker - Guitar & Resident-Solists

Spanish–Italian Afternoon – A Musical Afternoon Full of Sun and Passion ☀️?

We begin in Baroque Venice, where the “Red Priest,” Antonio Vivaldi, made music history with The Four Seasons. A master of musical storytelling, Vivaldi had the remarkable ability to let nature speak without a single word. A brilliant virtuoso, he pushed the technical limits of the violin and transformed the concerto into a vivid musical narrative. The Four Seasons is far more than a sequence of melodies—it is an immersive experience that brings the renewal and drama of nature directly into the concert hall.

Next comes Asturias (Leyenda) by Isaac Albéniz. Although the title refers to the green northern region of Spain, the music itself breathes the spirit of Andalusia in the south. Originally composed for piano in 1892, the piece achieved worldwide fame through its transcription for guitar—an instrument for which Albéniz often seemed to write instinctively. He originally titled the work simply Leyenda (“Legend”), a fitting name for a piece that has become one of the most recognizable melodies in classical music.

Finally, we encounter the secret masterpiece of Luigi Boccherini: La Musica Notturna delle Strade di Madrid. Imagine sitting by an open window on a warm summer night in Madrid around the year 1780. Outside, in the winding streets of the city, a vibrant nocturnal life unfolds. Boccherini—an Italian virtuoso living in Spain—captures these fleeting moments in his String Quintet, Op. 30 No. 6. He believed the work to be so closely tied to Spanish life that listeners outside Spain might never fully grasp its magic. More than chamber music, it is an acoustic painting that dissolves the boundary between the concert hall and the street, inviting the audience into a world of shadow, light, and the irresistible rhythms of old Madrid.

Within this work, the famous Fandango becomes almost a provocation against courtly etiquette. Boccherini boldly introduced the passionate and seductive folk dance of the streets into refined chamber music, often crowning it with the lively clatter of real castanets—an unforgettable fusion of elegance and fiery Spanish spirit

Beethoven: Violin Concerto in D Major
Paganini: La Campanella
Mozart: Symphony No. 38 “Prague”
Strauss II: Voices of Spring Waltz

Simon Zhu – solo violin & Residenz Soloists

A Night of Virtuosity and Viennese Elegance

In the magnificent stillness of Schloss Schleißheim, evening descends like a curtain of longing sound. Onto this stage steps Simon Zhu, a violinist of our time with the narrative power of the great masters. A recent highlight from his career reads like a moment for the history books: on 15 October 2024, the historic Guildhall in London became the setting for an extraordinary celebration. Marking the 120th anniversary of the London Symphony Orchestra, musical brilliance met the highest level of state honour.
At the center of the spotlight stood the young violinist Simon Zhu. Yet he was not alone. In his hands he held a legend: “Il Cannone.”
This Guarneri del Gesù violin from 1743 the “cannon” on which Niccolò Paganini once astonished the world, left its vault in Genoa especially for the occasion. That Simon Zhu was entrusted with this Italian national treasure is nothing short of a knightly accolade.Under the passionate baton of Sir Antonio Pappano, Zhu unleashed the soul of Il Cannone—before the eyes of a very special guest: King Charles III, who appeared unexpectedly to honour the LSO.

Mozart – Symphony No. 38 “Prague”
Mozart’s Symphony No. 38 is far more than a charming entertainment piece of the 18th century. It marks the transition to the composer’s late style—technically demanding, emotionally profound, and formally bold. It also reflects the special bond between Mozart and the Prague audience that adored him.
Vienna may have been reserved, but Prague was ablaze. When Mozart arrived in the city in 1787, he quickly realized he was a superstar.
“My Figaro is played everywhere here,” he wrote enthusiastically. As a gift for the city, he brought the Symphony KV 504 with him. During his stay, Mozart was rarely in his hotel—he was invited to so many balls and parties that composing almost became secondary. As he famously remarked
“Here nothing is spoken of but Figaro—played, sung, and whistled everywhere.”
Interestingly, Mozart omitted the traditional minuet movement entirely. Was he simply uninterested in courtly dancing? More likely, the symphony’s dramatic intensity and structural unity left no room for a relaxed ballroom interlude. The result: three movements of pure energy—Mozart’s musical love letter to a city that truly understood him.

Beethoven – Violin Concerto in D Major
For the grand culmination of the evening, we turn to Beethoven’s Violin Concerto.
Vienna, 1806: with five quiet timpani strokes—a musical heartbeat—Beethoven revolutionized the violin concerto. What begins like a gentle knock on the door of modernity unfolds into a vast symphonic drama.
Here the violin is not merely a virtuoso showpiece. It becomes a solitary, luminous voice floating above the waves of the orchestra.
From the meditative prayer of the slow movement to the ecstatic hunting dance of the finale, Beethoven demands everything: flawless technique and the philosophical depth of a thinker. The concerto balances between classical clarity and romantic passion—an artistic high-wire act that remains the Mount Everest of the violin repertoire.
Its premiere was itself a daring gamble. Because Beethoven finished the score at the last possible moment, the soloist Franz Clement reportedly had to perform much of his part almost sight-reading, with little rehearsal.
Despite this unusual beginning, the work has endured as one of the greatest masterpieces in music history—drawing listeners into its spell from the very first heartbeat of the timpani.

Mozart: Overture from The Magic Flute
Haydn: Symphony No. 104 “London” – Allegro
Beethoven: Symphony No. 1 in C Major
Johann Strauss II: Voices of Spring Waltz
Johann Strauss II: On the Beautiful Blue Danube
Johann Strauss II: Overture from Die Fledermaus & Fast Polkas

Residence-Soloists

An Evening of Viennese Classics

We invite you to a musical evening filled with classical masterpieces and the rich tradition of the Viennese sound.
The concert opens with the Overture to Mozart’s The Magic Flute. With its solemn and dramatic motifs, it immediately transports the audience into the enchanted world of Prince Tamino and Papageno. Mozart’s masterful balance of tension and lightness creates the perfect beginning to the evening.
Next comes Joseph Haydn’s Symphony No. 104 “London”, performed here in its energetic Allegro. Written during Haydn’s second stay in London, this final symphony of the composer reveals his unmistakable mastery of classical form. Lively themes, elegant structure, and playful touches of humor demonstrate why Haydn remains one of the great architects of the symphony.
Beethoven’s Symphony No. 1 in C major brings vitality, drama, and compositional brilliance to the historic hall. Even in this early work, one can already sense the powerful creative spirit of the young Beethoven. Melodic beauty meets rhythmic intensity, surprising harmonic turns meet orchestral brilliance. The symphony fills the space with energy and offers a glimpse of the greatness that would soon redefine the symphonic tradition.
The evening then turns toward the beloved world of the Viennese waltz and the music of Johann Strauss II. The “Waltz King”—who ironically was not known as a great dancer himself—first enchants us with the graceful Voices of Spring. Sparkling melodies and effervescent rhythms evoke the lightness and joy of springtime.
This is followed by the world-famous waltz “On the Beautiful Blue Danube,” whose sweeping melodies and flowing harmonies vividly evoke the beauty of the Danube and the elegance of Vienna.
The festive finale features the Overture from Strauss’s operetta Die Fledermaus, followed by lively fast polkas. With wit, brilliance, and exuberant energy, this music provides the perfect conclusion to an evening celebrating classical tradition and the unmistakable joy of Viennese music. 

A truly special boat trip

Departure 6:30 PM - Starnberg Arrival 10:00 PM - Starnberg

Enjoy a sparkling wine reception and a delicious 3-course meal including beverages.

Menu

Appetizer:
Vitello Tonnato, 1 prawn, antipasti, bruschetta, melon with prosciutto, smoked salmon

Main Course:
Veal shoulder, Schilcher wine sauce, fresh market vegetables, potato gratin

Vegetarian:
Cannelloni with ricotta and spinach filling, tomato sauce, basil

Dessert:
Quark strudel with vanilla sauce

Vegetarian and special allergen-free menus are available upon request up to one month prior to departure.

Recreation at any weather.

Concert, dinner with champagne reception, royal stories and fireworks.

A historical journey over the sea.

Cimarosa: Doppelkonzert für Flöte & Oboe 
Vivaldi: “Der Sommer” aus „Die vier Jahreszeiten
Vivaldi: “La tempesta di mare” 
Mendelssohn: Sommernachtstraum-Suite
Mozart: Symphonie „Haffner“ 
Strauß: „An der schönen blauen Donau”

Elector Max Emanuel had the New Schleißheim Palace with its wonderful baroque court garden built in 1701 based on the model of Versailles - in the hope of achieving imperial dignity - and was the summer residence of the Bavarian ruling family for centuries. The palace complex bears witness to the power, wealth and prestige of the Wittelsbach family. With their concerts in the baroque hall, the resident soloists relive well-known masterpieces in a dignified ambience.

Handel: Water Music in D Major for Trumpet & Strings
Telemann: Tafelmusik for Trumpet, Oboe & Strings
Haydn: Trumpet Concerto
Mendelssohn: Violin Concerto in E Minor
Gabriele Cassone - trumpet, Marcelino Rojas - violin

A Summer Concert of Virtuosity

This summer concert promises a dazzling celebration of virtuosity, spanning the arc from the splendor of the Baroque court to the emotional intensity of Romanticism.

The evening opens with George Frideric Handel’s Water Music—a Baroque spectacle originally composed for a royal boat party on the River Thames. The brilliant D-major trumpet served almost like an acoustic amplifier across the water. King George I was so delighted by the music that he reportedly ordered the entire work to be performed three times in succession—a physical marathon for the musicians, especially the wind players.

Quite different in spirit is Georg Philipp Telemann’s Tafelmusik. This collection was essentially the “high-end entertainment” of Baroque banquets. Telemann also demonstrated remarkable business acumen: he financed the publication through advance subscriptions from Europe’s cultural elite—including none other than his colleague Handel. In this music, the lively dialogue between trumpet and oboe unfolds like an elegant conversation at the dining table.

With Joseph Haydn’s Trumpet Concerto, the instrument was practically reinvented. Haydn wrote the piece for his friend Anton Weidinger, who had developed the revolutionary keyed trumpet. For the first time, the instrument could play fully melodic lines that had previously been impossible. Audiences were astonished when the trumpet—long associated mainly with military signals—suddenly sounded as agile and expressive as a flute.

The emotional highlight of the evening is Felix Mendelssohn’s Violin Concerto in E minor. Breaking with tradition, Mendelssohn allows the violin to enter almost immediately with its famous, yearning theme, rather than waiting for a long orchestral introduction. He worked on the concerto for six years, refining every detail until it achieved the sense of perfection he sought. The result is a work that continues to captivate audiences and remains one of the most beloved concertos in the violin repertoire.

Vivaldi: The Four Seasons – complete
Boccherini: Fandango & La Musica Notturna delle Strade di Madrid for Guitar & Strings
Albéniz: Asturias and other famous Spanish compositions for guitar

Mon-Fu Lee – violin, Leonard Becker – guitar & Residence-Soloists

Spanish–Italian Night – An Evening of Sun and Passion

We begin in Baroque Venice, where the “Red Priest,” Antonio Vivaldi, made music history with his famous Four Seasons. Vivaldi was a master at allowing nature to speak without a single word. A brilliant violin virtuoso himself, he constantly pushed the limits of the instrument’s expressive possibilities. The Four Seasons are far more than a series of beautiful melodies—they are an immersive musical experience that brings the changing moods of nature directly into the concert hall.

Isaac Albéniz – Asturias (Leyenda)

Although the title Asturias evokes the green landscapes of northern Spain, every note of this piece breathes the spirit of Andalusia in the south. Originally composed in 1892 for piano, it became an icon of Spanish music through its later transcription for guitar—an instrument for which Albéniz seemed almost instinctively to write. The composer originally titled the work simply Leyenda (“Legend”), a fitting name for a piece that has become one of the most recognizable melodies in the classical repertoire.

Luigi Boccherini – La Musica Notturna delle Strade di Madrid

Imagine sitting by an open window on a warm summer night in the year 1780. Outside, in the winding streets of Madrid, a unique nighttime life begins to unfold. Luigi Boccherini, the Italian virtuoso living in Spanish exile, captured these fleeting moments in his String Quintet Op. 30 No. 6. He believed the piece to be so deeply rooted in Spanish life that its magic could hardly be understood outside the country. More than chamber music, the work is an acoustic painting that blurs the boundary between concert hall and street, inviting the listener into a world of shadows and light and the irresistible rhythm of old Spain. His famous Fandango was, in its time, almost a provocation of courtly etiquette. Boccherini brought the passionate and seductive folk dance of the streets into the refined world of chamber music—often crowning it with the clattering rhythm of real castanets.

Vivaldi: Piccolo Concerto Il Gardellino (“The Goldfinch”)
Vivaldi: Flute Concerto La tempesta di mare (“The Storm at Sea”)
Vivaldi: Piccolo Concerto in C Major
Mozart: Overture from The Magic Flute
Mozart: Symphony No. 38 “Prague”
Gershwin: Summertime

Janine Schöllhorn – flute & Residence-Soloists

Birds, Storms, and Summer Heat

This program is a love letter to lightness and the virtuoso imitation of nature—from Baroque birdsong to the shimmering warmth of jazz.

The journey begins with Antonio Vivaldi, who staged the flute like no other composer as a musical “theatre of nature.” In his concerto Il Gardellino (The Goldfinch), the instrument chirps, trills, and flutters so vividly that one can almost see the little songbird before one’s eyes.
In vivid contrast comes La tempesta di mare (The Storm at Sea), where the flute no longer sings but races through turbulent waves, depicting the dramatic struggle against the sea. The Piccolo Concerto in C major crowns this sequence: it is considered one of the most virtuosic works of the Baroque era, in which the tiny instrument performs dazzling acrobatic leaps in breathtaking heights.
Vivaldi composed many of these works for the extraordinarily talented young women of the Ospedale della Pietà in Venice. The girls performed behind a curtain in the gallery so that the audience could hear them but not see them—an arrangement that only added to the mystery and fascination surrounding their performances.

The transition to the Classical era is marked by Mozart’s Overture to The Magic Flute. Far more than a simple introduction, it is an architectural masterpiece. Three powerful chords open the work—often interpreted as a symbolic reference to Freemasonry, the brotherhood to which Mozart belonged. From there, a lively fugue unfolds, brilliantly weaving together the playful spirit of Papageno and the noble seriousness of Tamino.

Mozart’s Symphony No. 38 “Prague” is far more than a charming orchestral entertainment. It marks the transition to the composer’s mature style—technically demanding, emotionally profound, and formally daring. It also reflects the extraordinary bond between Mozart and the Prague audience that adored him.

Vienna may have been reserved, but Prague was on fire. When Mozart arrived there in 1787, he quickly realized that he was a superstar. “My Figaro is played everywhere here,” he wrote enthusiastically. As a gift to the city, he brought the Symphony KV 504 with him. During his stay, Mozart was rarely in his hotel; he was invited to so many balls and celebrations that he barely had time to compose. As he famously remarked: “Here nothing is spoken of but Figaro—played, sung, and whistled everywhere.”

Interestingly, Mozart omitted the traditional minuet movement entirely. Perhaps he simply had little interest in courtly dancing—but more likely the symphony’s dramatic intensity and structural unity would have been interrupted by a leisurely ballroom interlude. The result is three movements of pure energy—Mozart’s musical love letter to a city that truly understood him.

For the finale, we move into the modern era with George Gershwin’s Summertime. When its first notes sound, time seems to stand still. One almost hears the distant chirping of crickets and feels the heavy summer heat of South Carolina. With this famous lullaby from his 1935 opera Porgy and Bess, Gershwin created far more than an opening aria—he painted a musical landscape in sound, blending classical tradition with the soulful spirit of American jazz.

Mozart: Overture from The Magic Flute
Vivaldi: Summer from The Four Seasons
Mozart: Flute Concerto in D Major
Dvořák: Symphony No. 9 “From the New World”  
Michael Kofler- Soloflöte MPhil. & Residenz-Solisten 

From Enlightenment to the New World

The journey begins with Mozart’s Overture to The Magic Flute, a work that feels like a gateway into another world. With three powerful, solemn chords—often interpreted as a symbol of Masonic initiation—Mozart raises the curtain. What follows is a brilliant interplay of light and shadow: a sparkling fugue rushes through the strings, capturing the playful spirit of the bird-catcher Papageno, while the more solemn passages echo the dignity and wisdom of Sarastro. Mozart completed the score under immense time pressure only two days before the premiere on September 30, 1791. He was so exhausted that his wife Constanze served him punch and told him stories from Aladdin and the Magic Lamp to keep him awake. It is one of the small miracles of music history that such a joyful and vibrant piece emerged from this sleepless night of work.

The contrast could hardly be greater as we move to Vivaldi’s Summer from The Four Seasons. Here we encounter not gentle warmth but the relentless physical weight of the Mediterranean midday sun. One can almost hear the shepherd’s weary breathing, the distant call of the cuckoo, and the anxious flutter of the goldfinch. Yet the calm is deceptive: in the final movement one of the most spectacular storms in Baroque music erupts, as the strings unleash thunder and lightning in a dramatic musical tempest.

Elegant brightness returns with Mozart’s Flute Concerto in D major, performed by world-renowned flutist Michael Kofler. The work is a perfect example of the galant style—brilliant, virtuosic, and filled with an air of effortless charm. Mozart, however, was not entirely pleased when composing it: his Dutch patron Dejean failed to pay the agreed fee in full. Despite this financial frustration, Mozart created a work of such grace and beauty that it has become one of the ultimate touchstones for every flutist.

The evening concludes with the grand, epic soundscape of Antonín Dvořák’s Symphony No. 9, From the New World. In this masterpiece, longing for his Bohemian homeland blends with fascination for the vast landscapes and cultures of America. Dvořák absorbed the sounds around him in New York—urban rhythms, echoes of spirituals, and elements inspired by Native American melodies—without quoting them directly. During his stay in the city he became so famous that he found little peace; he often spent hours at railway stations simply watching the locomotives. Some listeners hear the driving rhythm of the symphony’s final movement as reminiscent of the pounding motion of a steam engine, perhaps symbolically carrying the composer back toward his beloved homeland.

The premiere at Carnegie Hall was a triumph. The audience erupted with enthusiasm, and Dvořák was called back to the stage again and again—like a modern-day superstar.