Augsburg Philharmonic Orchestra

The Augsburg Philharmonic Orchestra was founded in 1865 as the "Städtisches Orchester" (Municipal Orchestra) for productions in the theatre and has been playing its own symphony concerts since 1910. Today they are the city's largest symphonic orchestra and perform around 120 music theatre and ballet performances a year. In addition, there are a dozen symphonic programs per season: classical symphony concerts under the baton of Chief Musical Director Domonkos Héja and renowned guest conductors as well as the traditional New Year's Eve concert, open-air concerts and galas.

An extensive musical education program reaches several thousand young people in and around Augsburg every year: family concerts invite listeners young and old to get acquainted with the world of music. School concerts, concerts in the classroom and visits to rehearsals allow pupils and kindergarteners to experience the orchestra up close. A chamber music series organized by the orchestra members themselves rounds off the concert schedule. The orchestra's repertoire covers a wide spectrum of music history, from baroque music to classical and romantic music to new and contemporary music of the 20th and 21st centuries.

Contemporary music in particular is an important part of the concert schedule; the orchestra regularly commissions compositions for world premieres. The Augsburg Philharmonic Orchestra has had guest performances throughout the region of Swabia, in Nuremberg, Munich and Frankfurt as well as Mallorca, Italy and France. Chief Musical Director Domonkos Héja, who has guided the orchestra's musical aims since the 2015/2016 season, is the latest in a long tradition of renowned conductors who have shaped the orchestra's history: Wolfgang Sawallisch, Heinz Wallberg and Eugen Jochum began their careers in Augsburg.  The list of chief musical directors includes Bruno Weil, Michael Luig, Istvan Kertesz, Rudolf Piehlmayer and most recently Dirk Kaftan.

Augsburg Philharmonic Orchestra, Photo: Jan-Pieter Fuhr

Eva Gesine Baur

Eva Gesine Baur holds a doctorate in cultural history; she studied literature, art history and musicology. She worked for a longer time as a journalist, primarily writing features and essays on artists and related subjects.

Today she lives and works in Munich as a non-fiction writer, publicist and freelance writer. She writes biographies (Chopin oder die Sehnsucht / Der Mann für Mozart: Emanuel Schikaneder / Mozart. Genius und Eros / Einsame Klasse. Das Leben der Marlene Dietrich) and literary travel guides, for example Schauplatz Salzburg / Freuds Wien / Amor in Venedig. Under her pen name Lea Singer she also writes novels (Die Zunge / Wahnsinns Liebe / Vier Farben der Treue / Das nackte Leben / Mandelkern / Konzert für die linke Hand / Der Opernheld / Verdis letzte Versuchung / Anatomie der Wolken / Die Poesie der Hörigkeit / Der Klavierschüler).

In 2009 she held the renowned poetics lectureship in Paderborn. She has received several awards for her fictional works, including the Hannelore Greve Prize of the Hamburg Authors’ Guild for her complete oeuvre in 2010, the Schwabing Arts Award in Munich in 2016, and the Lake Constance Literature Prize in 2018.

In the summer of 2019 she will lend a spark to the Davos Festival as creative chair.

Eva Gesine Baur, Photo: Foto Meinen

Geigenbauatelier Augsburg

Run by master violin makers Jan Bacher and Antonia Meyer. We make individual stringed instruments and carry out exacting repairs and high-quality restorations. Our experience enables us to assist students and professional musicians in adjusting the sound of their instruments. The workshop holds a large selection of old and new violins, violas, cellos and double basses. It is of utmost importance to us to find the right instrument for every musician.

Photo: Geigenbauatelier Augsburg

Domonkos Héja

Domonkos Héja was born in Budapest in 1974 and grew up in a family of musicians. He played piano, viola and percussion. In 1998 he successfully completed his studies in conducting and percussion at the Franz Liszt Music Academy in Budapest. In the same year he won first prize at the 9th International Conducting Competition of Hungarian television. Shortly thereafter he was awarded further prizes at the Mitropoulos Conducting Competition in Athens.

In 1993 Héja founded the Danubia Orchestra, of which he was musical director until 2011. As a promising Hungarian conductor he received the Liszt Prize in 2003 and in 2008, the Junior Prima Prize. Héja made his debut at the Hungarian State Opera in 2001 with Puccini's "La Bohème". From 2005 to 2011 he was the primary conductor at the Chemnitz Theatre, from 2011 to 2013 chief musical director of the Hungarian State Opera, with which he has remained closely associated as guest conductor. He has also appeared with the MDR Symphony Orchestra, DSO Berlin, Taipei Symphony Orchestra, Tokyo City Philharmonic Orchestra, Mecklenburg State Orchestra and the leading Hungarian orchestras.

Domonkos Héja’s repertoire includes concertos, contemporary music and operas, oratorios and sacred works as well as the most significant symphonies, ballets, operettas and musicals. A major focus is on the music of Hungarian composers from Franz Liszt to Ernö Dohnányi to György Ligeti.

Since the beginning of the 2015/16 season, Domonkos Héja has been chief musical director at the Augsburg State Theater. He has conducted Alexander Zemlinsky's "Der König Kandaules", Dimitri Shostakovich's "Lady Macbeth of Mzensk", Carl Maria von Weber's "Der Freischütz" and Giuseppe Verdi's "La forza del destino".

Domonkos Héja, Photo: Nik Schölzel

Munich Radio Orchestra

Founded in 1952, the Munich Radio Orchestra can look back on a 65-year history during which it has evolved into an ensemble with a vast artistic range and a versatility that ensures its place in Munich’s orchestral landscape. Concert performances of opera with outstanding vocalists (in the Sunday concerts) and sacred music of the 20th and 21st centuries (in the Paradisi Gloria series) are no less part of its philosophy than educational outreach concerts for children and young adults, entertaining thematic concerts in its ‘Wednesday at 7:30’ series and live performances of film scores. Its other crossover programmes, from jazz to video game music, demonstrate time and again that the Munich Radio Orchestra stands at the cutting edge of our era.

The new chief conductor since the beginning of the 2017/18 season is the Croatian Ivan Repušić. At his request the orchestra has instituted an annual artist-in-residence programme, beginning with the Latvian soprano Marina Rebeka. In the 2018/19 season the percussionist Simone Rubino will be artist in residence at the Munich Radio Orchestra.

The Munich Radio Orchestra’s activities on its home turf are regularly augmented by guest appearances in such renowned venues as Baden-Baden Festival Hall, the Golden Hall of the Vienna Musikverein, the Bad Kissingen Summer Festival and the Salzburg Festival. On these occasions it has performed with artists of the stature of Edita Gruberová and Diana Damrau and accompanied Anna Netrebko and Plácido Domingo at the Salzburg Festival. Further highlights include a tour with Jonas Kaufmann as well as guest performances at the Opéra Royal in Versailles and Vienna’s Theater an der Wien, featuring newly unearthed operas in conjunction with the Palazzetto Bru Zane Foundation. Thanks to its CD recordings the Munich Radio Orchestra has become a lasting presence on the sound recording market. Especially worthy of mention are its many complete recordings of music theatre pieces and its portraits of such singers as Sonya Yoncheva, Marina Rebeka, Krassimira Stoyanova, Pavol Breslik and Klaus Florian Vogt. In 2018 two CDs with the soprano Véronique Gens received the International Classical Music Award (ICMA): a live recording of Camille Saint-Saëns’s opera Proserpine and a compilation of French arias under the title Visions.

Munich Radio Orchestra, Photo: Felix Broede

Augsburger Philharmoniker

Die Augsburger Philharmoniker wurden 1865 als „Städtisches Orchester“ für den Einsatz im Theater gegründet und spielen bereits seit 1910 eigene Sinfoniekonzerte. Heute bestreiten sie als größter sinfonischer Klangkörper der Stadt rund 120 Musiktheater- und Ballettvorstellungen im Jahr. Darüber hinaus stehen ein Dutzend sinfonischer Programme auf dem Spielplan: Klassische Sinfoniekonzerte unter der Leitung des Generalmusikdirektors Domonkos Héja und renommierter Gastdirigenten ebenso wie das traditionelle Silvesterkonzert, Open-Air-Konzerte und Gala-Programme.

Mit einem umfangreichen musikpädagogischen Programm werden in jedem Jahr mehrere Tausend junge Menschen in und um Augsburg erreicht: Familienkonzerte laden kleine und große Hörerinnen und Hörer dazu ein, die Welt der Musik kennenzulernen, und bei Schulkonzerten, Konzerten im Klassenraum und Probenbesuchen können Schülerinnen, Schüler und Kindergartenkinder das Orchester hautnah erleben. Eine von den Orchestermitgliedern selbst organisierte Kammermusikreihe rundet den Konzertspielplan ab.


Das Repertoire des Orchesters deckt ein großes musikgeschichtliches Spektrum ab, von Barockmusik über Klassik und Romantik hin zu neuer und neuester Musik des 20. und 21. Jahrhunderts. Insbesondere die zeitgenössische Musik ist ein wichtiger Bestandteil des Konzertspielplans; das Orchester vergibt regelmäßig Kompositionsaufträge für Uraufführungen. Gastspiele führten und führen die Augsburger Philharmoniker in die Region Schwaben sowie nach Nürnberg, München und Frankfurt, Mallorca, Italien und Frankreich.


Generalmusikdirektor Domonkos Héja, der mit der Spielzeit 2015/2016 die musikalischen Geschicke des Orchesters leitet, steht in einer langen Tradition namhafter Dirigenten, die die Geschichte des Orchesters geprägt haben: Wolfgang Sawallisch, Heinz Wallberg oder Eugen Jochum begannen ihre Karriere in Augsburg, unter den Generalmusikdirektoren finden sich Namen wie Bruno Weil, Michael Luig, Istvan Kertesz, Rudolf Piehlmayer und zuletzt Dirk Kaftan.

Augsburger Philharmoniker, Foto: Jan-Pieter Fuhr

Eva Gesine Baur

Eva Gesine Baur ist promovierte Kulturhistorikerin; sie hat Literaturwissenschaft, Kunstgeschichte und Musikwissenschaften studiert. Längere Zeit war sie als Journalistin tätig und verfasste vor allem Künstler-Porträts, Features und Essays.

Heute lebt und arbeitet sie in München als Sachbuchautorin, Publizistin und Freie Schriftstellerin. Sie schreibt Biographien (Chopin oder die Sehnsucht / Der Mann für Mozart: Emanuel Schikaneder / Mozart. Genius und Eros / Einsame Klasse. Das Leben der Marlene Dietrich) und literarische Reiseführer (unter anderen Schauplatz Salzburg / Freuds Wien / Amor in Venedig) und unter ihrem nom de plume Lea Singer Romane (Die Zunge / Wahnsinns Liebe / Vier Farben der Treue / Das nackte Leben / Mandelkern / Konzert für die linke Hand / Der Opernheld / Verdis letzte Versuchung / Anatomie der Wolken / Die Poesie der Hörigkeit / Der Klavierschüler).

2009 hatte sie die renommierte Poetikdozentur in Paderborn inne. Für ihre belletristischen Arbeiten wurde sie mehrfach ausgezeichnet, so für ihr bisheriges Gesamtwerk 2010 mit dem Hannelore Greve Preis der Hamburger Autorenvereinigung, 2016 mit dem Großen Schwabinger Kunstpreis München und 2018 mit dem Bodensee Literaturpreis.

Im Sommer 2019 wird sie als Scintilla den Creative Chair des Davos Festivals besetzen.

Eva Gesine Baur, Foto: Foto Meinen

Geigenbauatelier Augsburg

Geleitet von den Geigenbaumeistern Jan Bacher und Antonia Meyer. Wir kümmern uns um individuellen Streichinstrumentenbau, anspruchsvolle Reparaturen, hochwertige Restaurierungen und begleiten Studenten und Profimusiker mit viel Erfahrung bei der Klangeinstellung ihrer Instrumente. Die Werkstatt birgt eine große Auswahl an alten und neuen Geigen, Bratschen, Celli und Kontrabässen. Es ist uns ein großes Anliegen, das passende Instrument für jeden Musiker zu finden.

Foto: Geigenbauatelier Augsburg

Domonkos Héja

Domonkos Héja wurde 1974 in Budapest geboren, wuchs in einer Musikerfamilie auf und spielte Klavier, Bratsche und Schlagzeug. 1998 schloss er erfolgreich die Studiengänge Dirigieren und Schlagzeug an der Franz-Liszt-Musikhochschule in Budapest ab. Im selben Jahr gewann er den 1. Preis beim 9. Internationalen Dirigentenwettbewerb des Ungarischen Fernsehens und kurz darauf weitere Preise beim Mitropoulos Dirigentenwettbewerb in Athen.

Bereits 1993 gründete Héja das Danubia-Orchester, dessen musikalischer Leiter er bis 2011 war. Als vielversprechendster ungarischer Dirigent erhielt er 2003 den Liszt-Preis und 2008 den Junior Prima Preis. An der Ungarischen Staatsoper debütierte Héja 2001 mit Puccinis „La Bohème“. Von 2005 bis 2011 war er 1. Kapellmeister am Theater Chemnitz, von 2011 bis 2013 Generalmusikdirektor der Ungarischen Staatsoper, der er nach wie vor als Gastdirigent eng verbunden ist. Daneben gastierte er u. a. beim MDR-Sinfonieorchester, DSO Berlin, Taipei Symphony Orchestra, Tokyo City Philharmonic Orchestra, der Mecklenburgischen Staatskapelle und bei den führenden ungarischen Orchestern.

Domonkos Héjas Repertoire umfasst neben Konzerten, zeitgenössischer Musik und Opern auch Oratorien und Sakralwerke sowie die wichtigsten Sinfonien, Ballette, Operetten und Musicals. Ein Schwerpunkt liegt auf der Musik ungarischer Komponisten von Franz Liszt über Ernö Dohnányi bis hin zu György Ligeti.

Seit Beginn der Spielzeit 2015/16 ist Domonkos Héja Generalmusikdirektor am Theater Augsburg. Er dirigierte u. a. Alexander Zemlinskys „Der König Kandaules“, Dimitri Schostakowitschs „Lady Macbeth von Mzensk“, Carl Maria von Webers „Der Freischütz“ und Giuseppe Verdis „La forza del destino“.

Domonkos Héja, Foto: Nik Schölzel

Münchner Rundfunkorchester

1952 gegründet, hat sich das Münchner Rundfunkorchester zu einem Klangkörper mit enorm breitem künstlerischen Spektrum entwickelt. Konzertante Opernaufführungen im Rahmen der Sonntagskonzerte und die Reihe Paradisi gloria mit geistlicher Musik des 20./21. Jahrhunderts gehören ebenso zu seinen Aufgaben wie Kinder- und Jugendkonzerte mit pädagogischem Begleitprogramm, unterhaltsame Themenabende unter dem Motto „Mittwochs um halb acht“ oder die Aufführung von Filmmusik.

Neuer Chefdirigent seit der Saison 2017/2018 ist Ivan Repušić, der sich nicht zuletzt auf dem Gebiet der italienischen Oper einen Namen gemacht und am Pult des Münchner Rundfunkorchesters u.a. schon Puccinis La rondine und Verdis Luisa Miller geleitet hat.

Bei Musiktheaterprojekten pflegt das Münchner Rundfunkorchester Kooperationen mit der Theaterakademie August Everding und mit der Stiftung Palazzetto Bru Zane, die sich der Pflege der französischen Musik der Romantik widmet. Zum Engagement im Bereich der Nachwuchsförderung gehört die Mitwirkung bei verschiedenen Wettbewerben, darunter der Internationale Musikwettbewerb der ARD. Einen großen Raum nimmt schließlich die Kinder- und Jugendarbeit ein, die auf einem Drei-Säulen-Modell mit Lehrerfortbildungen, Schulbesuchen durch die Musiker und anschließenden Konzerten beruht.

Regelmäßig tritt das Münchner Rundfunkorchester bei Gastspielen und bekannten Festivals wie den Salzburger Festspielen, dem Kissinger Sommer und dem Richard-Strauss-Festival auf. Dabei hat es mit herausragenden Künstlern wie Diana Damrau und Jonas Kaufmann sowie Anna Netrebko, Elīna Garanča, Juan Diego Flórez, Rolando Villazón und Plácido Domingo zusammengearbeitet. Dank seiner zahlreichen CD-Einspielungen ist das Münchner Rundfunkorchester kontinuierlich auf dem Tonträgermarkt präsent.

Münchner Rundfunkorchester, Foto: Felix Broede

FR 31. Mai - Wunderkindreise (1)

9 Uhr / 11 Uhr: WUNDERKINDREISE. Ein Jazzkonzert für Kinder (2. – 6. Klasse)

Kulturhaus abraxas, Theater

6 € / Kind

Auf die Bühne flattert eine Postkarte. Aus Salzburg …  Geheimnisvolle Zeichen sind auf ihr zu entdecken. Noten! Karla und ihre Musiker gehen der Sache auf den Grund – und befinden sich mitten in einer spannenden Geschichte. Und das Tollste ist: Die Geschichte ist wahr! Alles dreht sich um den kleinen Mozart, der, erst sieben Jahre alt, mit Schwester, Mutter und Papa Leopold aufbrach und quer durch Westeuropa reiste, um vor Kaiser, König und Edelmann zu spielen. 

Das FaksTheater geht auf die Suche nach Spuren des kleinen, großen Wunderkinds, das heute – wer weiß es – vielleicht ein großartiger Jazzmusiker wäre …

Eine Geschichte vom Suchen und Finden, von harten Kutschbänken und muffigen Gasthäusern, von umjubelten Konzerten und wunderbarer, unsterblicher Musik!

Ein Auftragswerk von MEHR MUSIK!. In Kooperation mit dem FaksTheater Augsburg.

Musik: FaksTheater Augsburg / Reime: Cornelia Boese (Agentur Brauer).

Mit: FaksTheater Augsburg: Karla Andrä – Spiel / Josef Holzhauser – Gitarre, Trompete / Rene Haderer – Bass / Harald Alt –  Schlagzeug / Regie: Ute Legner

SO 2. Juni - Wolferl hat keine Zeit (1)

11 Uhr: Eröffnungskonzert: WOLFERL HAT KEINE ZEIT. Eine musikalische Begegnung zwischen Mozart und dem Fußball (ab 5)

Staatliches Textil- und Industriemuseum TIM

7 € / Kind – 11 € / Erwachsene

Auch die beste Fußballerin aller Zeiten trifft nicht immer nur das Tor… Die 7jährige Walli erwischt einen fremden Jungen am Kopf, und der nimmt auch noch ihren Ball mit nach Hause. Ihn zurückzuholen entpuppt sich als großes Abenteuer, denn an Wolfgang Amadé Mozart ist einfach nicht heranzukommen.

Der ist nämlich ein Wunderkind und macht den ganzen Tag nur Musik: auf dem Klavier, der Geige und sogar am Schreibtisch! Ihren Ball zurückbekommen, schön und gut. Doch zunächst einmal muss Walli jetzt wissen, wie das geht: Komponieren! Und was eine Sonate ist! Und eine Sinfonie! Und eine Oper!

Walli schafft es schließlich doch in Wolferls Zimmer, wo die beiden zum Schluss gemeinsam ein geniales Fußball-Konzert erfinden…

Mit: Kammeroper München & Dominik Wilgenbus

Im Anschluss: Blick in die Ausstellung MOZARTS MODEWELTEN

SO 2. Juni - Wunderkindreise (2)

15 Uhr: WUNDERKINDREISE. Ein Jazzkonzert für Kinder (ab 7)

Kulturhaus abraxas, Theater

7 € / Kind – 11 € / Erwachsene

Auf die Bühne flattert eine Postkarte. Aus Salzburg …  Geheimnisvolle Zeichen sind auf ihr zu entdecken. Noten! Karla und ihre Musiker gehen der Sache auf den Grund – und befinden sich mitten in einer spannenden Geschichte. Und das Tollste ist: Die Geschichte ist wahr! Alles dreht sich um den kleinen Mozart, der, erst sieben Jahre alt, mit Schwester, Mutter und Papa Leopold aufbrach und quer durch Westeuropa reiste, um vor Kaiser, König und Edelmann zu spielen. 

Das FaksTheater geht auf die Suche nach Spuren des kleinen, großen Wunderkinds, das heute – wer weiß es – vielleicht ein großartiger Jazzmusiker wäre …

Eine Geschichte vom Suchen und Finden, von harten Kutschbänken und muffigen Gasthäusern, von umjubelten Konzerten und wunderbarer, unsterblicher Musik!

Ein Auftragswerk von MEHR MUSIK!. In Kooperation mit dem FaksTheater Augsburg.

Musik: FaksTheater Augsburg / Reime: Cornelia Boese (Agentur Brauer).

Mit: FaksTheater Augsburg: Karla Andrä – Spiel / Josef Holzhauser – Gitarre, Trompete / Rene Haderer – Bass / Harald Alt –  Schlagzeug / Regie: Ute Legner

MO 3. Juni - Wolferl hat keine Zeit (2)

9 Uhr / 11 Uhr: WOLFERL HAT KEINE ZEIT. Eine musikalische Begegnung zwischen Mozart und dem Fußball (1. – 3. Klasse)

Staatliches Textil- und Industriemuseum TIM

6 € / Kind

Auch die beste Fußballerin aller Zeiten trifft nicht immer nur das Tor… Die 7jährige Walli erwischt einen fremden Jungen am Kopf, und der nimmt auch noch ihren Ball mit nach Hause. Ihn zurückzuholen entpuppt sich als großes Abenteuer, denn an Wolfgang Amadé Mozart ist einfach nicht heranzukommen.

Der ist nämlich ein Wunderkind und macht den ganzen Tag nur Musik: auf dem Klavier, der Geige und sogar am Schreibtisch! Ihren Ball zurückbekommen, schön und gut. Doch zunächst einmal muss Walli jetzt wissen, wie das geht: Komponieren! Und was eine Sonate ist! Und eine Sinfonie! Und eine Oper!

Walli schafft es schließlich doch in Wolferls Zimmer, wo die beiden zum Schluss gemeinsam ein geniales Fußball-Konzert erfinden…

Mit: Kammeroper München & Dominik Wilgenbus

DI 4. Juni - Leos Mantel

9 Uhr / 11 Uhr: LEOS MANTEL – EINE JACKE ERZÄHLT. Eine Art Führung mit viel Musik (1. – 3. Klasse)

Staatliches Textil- und Industriemuseum TIM

5 € / Kind

Inmitten einer Ausstellung erwacht ein Mantel zum Leben … er lag schon in Leopold Mozarts Reisekoffer und hat einiges erlebt: Wind und Wetter, Kaiser und Könige, war mal passend, mal zu eng, hochmodern und dann wieder eine alte Klamotte. Der Mantel hat viel zu erzählen – und ganz besonders gerne spricht er über all die anderen guten alten Bekannten, die mit ihm zusammen im Reisekoffer Seite an Seite und eng zusammengequetscht durch die Lande gefahren sind. Ein spannendes Erzählkonzert über Mode, Muster und die Mozarts!

Mit: Ingrid Hausl & Ensemble / Regie: Ute Legner

MI 5. Juni - KlangSchule: Von Schlittenfahrten

10.30 Uhr / 18.30 Uhr: KlangSchule: VON SCHLITTENFAHRTEN UND ANDEREN FORTBEWEGUNGSMÖGLICHKEITEN. Workshopkonzert (2. – 4. Klasse)

Kulturhaus abraxas, Theater

Eintritt frei

Mit Schellengeläute und Peitschenhieben illustrierte Leopold Mozart die „Musikalische Schlittenfahrt“, eine seiner bekanntesten Kompositionen. Wie kann man sich noch von einem Ort zum anderen bewegen – und wie klingt das? Im Rahmen der KLANGSCHULE entwickelten vier Klassen, jeweils angeleitet von einem Künstler-Lehrer-Team, über ein Vierteljahr hinweg in regelmäßigen Treffen eigene Kompositionen für verschiedene Fortbewegungsmöglichkeiten. Für welche Fahrten und Reisen sie sich entschieden haben – dieses Geheimnis wird im Konzert gelüftet! Und Leopolds „Schlittenfahrt“ ist natürlich mit im Gepäck!

 

Mit Joachim Holzhauser, Susanne Reng, Sophia Rieth, Lilijan Waworka und 4 Augsburger Grundschulklassen

DO 6. Juni - Children's Songs

9 Uhr / 11 Uhr: Ensemble Safari, CHILDREN’S SONGS. Ein Konzertprojekt mit dem Ensemble SAFARI (3. – 5. Klasse)

Kulturhaus abraxas, Theater

5 € / Kind

Kompositionen für Kinder: Nicht nur Leopold Mozart schrieb eine ganze Handvoll davon für seine Kinder Nannerl und Wolferl. Für Kinder komponierten nach Leopold viele berühmte Tonschöpfer, u.a. Robert Schumann oder Claude Debussy. Eine der schönsten Sammlungen stammt von Chick Corea: die „Children’s Songs“. Das Ensemble Safari hat eine Auswahl aus den „Children’s Songs“ für ihr breit gefächertes Instrumentarium adaptiert. Die Dramaturgie des Konzerts jedoch haben sich Schulkinder ausgedacht: Sie ließen sich von Coreas Musik zu Geschichten und Bildern inspirieren und kümmern sich um alle Aspekte eines Konzerts – von Ideen für die Beleuchtung bis hin zur Künstlerbetreuung, vom Programmheft bis zum Backstage-Management. Eine ganz besondere Zusammenarbeit zwischen Profis und Schüler*innen!

Mit: Ensemble Safari: Joachim Holzhauser, Harry Alt, Stephan Brodte, Sebastian Hausl – Percussion, Mallets

FR 7. Juni - Ohrlabor: Alles Leo, oder was?

8.30 / 9.45 Uhr / 11 Uhr: OhrLabor: ALLES LEO, ODER WAS? (1. – 4. Klasse)

Staatliches Textil- und Industriemuseum TIM

Eintritt frei

Das OhrLabor öffnet seine Türen für – Leopold Mozart! Hier können die Kinder in sein Leben eintauchen, in seinen Briefen schmökern und erforschen, wie eigentlich der Ton auf einer Geige entsteht. Eine Stunde auf den Spuren eines der berühmtesten Söhne Augsburgs!

Mit: Studierenden des Studiengangs Musikvermittlung / Konzertpädagogik (Leitung: Prof. Johannes Hoyer)

FR 7. Juni - Mozart im Morgenland

9 Uhr / 11 Uhr: MOZART IM MORGENLAND. Konzert. (Vorschulkinder und 1. – 2. Klasse)

Kulturhaus abraxas, Theater

6 € / Kind

Stellen wir uns vor, der junge Mozart wäre nach Istanbul gereist und hätte von dort heimlich zwei Musiker vom Hofe des Sultans nach Wien mitgebracht. Die beiden hätte er dann mit einer preußischen Klarinettistin bekannt gemacht und, schwups, wäre eine ganz andere Version seiner bekannten Oper „Die Entführung aus dem Serail“ entstanden. Wie das Ergebnis geklungen hätte, hat sich das deutsch-türkische Weltmusik-Trio Ensemble FisFüz überlegt und lädt kleine und große Zuhörer*innen zu einer spannenden Begegnung mit Mozart und der osmanischen Musik ein.

Mit: Ensemble FisFüz: Annette Maye – Klarinette / Murat Coşkun – Percussion / Gürkan Balkan – Oud

Hyun-Jung Berger

Born in Seoul, South Korea, Hyun-Jung Berger studied with Hae-Guen Kang in Seoul and with Julius Berger and Thomas Demenga in Basel. She has attended masterclasses by Boris Pergamenschikov, Heinrich Schiff and Denes Zsigmondy.

Her teaching career began in 1991 as an assistant of Prof. Julius Berger at the Saarbrücken College of Music, and later at Mainz University. In 2008 she began lecturing at the Leopold Mozart Zentrum at the University of Augsburg.

Numerous national and international awards underline Hyun-Jung Berger’s rank as an artist of exceptional musical talent. In 1993 she won the Gieseking Prize of the Saarbrücken College of Music as well as a prize at the International Summer Academy of the Salzburg Mozarteum. In 1995 she won the prize of the Johannes Gutenberg University in Mainz, first prize at the International Competition in Trapani, Sicily, and, together with her duo partner José Gallardo, the International Press Award.

Hyun-Jung Berger’s career as a soloist has seen her perform with the Seoul Philharmonic Orchestra, the Korean Symphony Orchestra, the Korean Chamber Orchestra, the Suwon Philharmonic Orchestra, the Lucerne Festival Strings, the Basel Symphony Orchestra, the Bern Philharmonic Academy, the Kremerata Baltica and the Southwest German Chamber Orchestra.

She has given duo and chamber recitals in Israel and the USA, as well as at the Lockenhaus Chamber Music Festival, the Asiago Festival, the Rheingau Music Festival, the Eckelshausen Music Festival and the Kronberg Cello Festival. In 2015 she gave the European Premiere of Sofia Gubaidulinas work “Two Paths” for two violoncellos and orchestra at the Beethovenfest Bonn, Germany. Since 2016 Hyun-Jung Berger has been head of her own classes at the Leopold Mozart Zentrum at the University of Augsburg, and at the Kalaidos Musikhochschule in Switzerland.

Together with her husband, Julius Berger, Hyun-Jung Berger has recorded several CDs (most notably of the Boccerini sonatas) that are recognised as essential recordings by international periodicals.

As the artistic director of the Asiago Festival Korea, Hyun-Jung Berger establishes connections between Europe and her native country.

Hyun-Jung Berger, Photo: Do-Hyung Kim

Josè Gallardo

Born in Buenos Aires, José Gallardo first began studying piano at the Conservatory in Buenos Aires. Later on, he studied with Poldi Mildner at the Department of Music at the University of Mainz and received his diploma in 1997.

Gallardo has won numerous national and international awards. Invitations to tours and festivals followed, including the Kammermusikfest Lockenhaus, the Verbier Festival, the Lucerne Festival, the Ludwigsburger Schlossfestspiele, the Schwetzinger Festspiele, the Cello Festival Kronberg and the Chopin Festival in Warschau.

His extensive activities as a concert pianist and chamber musician have brought him together with musicians such as Vilde Frang, Daishin Kashimoto, Barnabás Kelemen, Gidon Kremer, Linus Roth, Benjamin Schmid, Carolin Widmann, Nils Mönkemeyer, Tomoko Akasaka, Andreas Ottensammer, Nicolas Altstaedt, Julius Berger, Maximilian Hornung, Benedict Klöckner and Miklós Perényi.

He has taken part in recordings with Warner, Deutsche Grammophon, Challenge Records Int., Genuin, Neon, Oehms Classics and Naxos as well as television and radio productions for BR, SWR, MDR, BBC, RAI, and other broadcasters.

From 1998 to 2008 he was a lecturer in Mainz, since autumn 2008 he teaches at the Leopold Mozart Center of the University of Augsburg.

Together with Andreas Ottensamer, he has been artistic director of the chamber music festival "Bürgenstock Festival" in Lucerne since 2013.

José Gallardo, Photo: Nikolas Hagele

Ayumi Janke

Ayumi Janke was born into a German-Japanese family in Munich, Germany. From the age of three onwards she studied the piano under the guidance of her father Prof. Ansgar Janke, and just shortly later also the violin. She was accepted as a junior student by Prof. Karl-Heinz Kämmerling at the Mozarteum Salzburg and, after graduating from secondary school, she studied the piano as a regular student and was awarded the Masters degree with Distinction in 2010. Further inspiration she received from Prof. Gerhard Oppitz, Prof. Klaus Hellwig, Prof. Sergei Dorenski and Prof. Thomas Brandis.

At the age of five she won the 1. Price with Distinction at the “Jugend musiziert” German federal competition for piano soloists and further first prices on regional and federal level in different ensembles, often together with the award of various special prices. Additionally, she was awarded a price by the European Union of Music Competitions for Youth. Several foundations such as the “Studienstiftung des deutschen Volkes” (German National Academic Foundation) or the “Deutsche Stiftung Musikleben” (German Foundation for Musical Life) have awarded her grants and fellowships.

She performed concerts in famous European and Japanese concert halls and occasions, such as the Schleswig-Holstein Music Festival, the Mecklenburg-Vorpommern Festival, the Mittelrhein Musik-Momente, the Bach-Festival Bern and the “Lago Maggiore” in Italy.

Apart from her soloist concerts she has accomplished praise in the field of chamber music. At the Sarasate-Competition in Pamplona/Spain she was awarded a special price for exemplary performance as piano accompanist in 2007. Since then she has been named official piano accompanist at numerous international competitions and master courses.

Ayumi Janke complements her work as an artist on stage by her didactic work as a member of the “Interdisziplinäres Forum für künstlerische Interpretation” (Interdisciplinary Forum for Artist Interpretation) at the Leopold-Mozart-Zentrum, University of Augsburg and since 2015 at the “Kalaidos Musikhochschule Aarau” (Kalaidos University of Applied Sciences) in Switzerland.

Ayumi Janke, Photo: Julia Smirnova

Verena Louis

Verena Louis has a prominent standing among the world’s great accompanists; she is equally at home in Lied repertoires as well as chamber music for strings. Verena Louis was born in Paris, and grew up in France, Germany, and Portugal.

She received her piano and chamber music education from Roswitha Gediga and Michael Endres at the Musikhochschule Köln, and from the Amadeus Quartett and the Alban-Berg-Quartett. Following prizes at numerous competitions, many national and international competitions now invite her to act as accompanist, for example the Deutscher Musikwettbewerb, the Internationaler Violinwettbewerb in Cologne, the international Júlio Cardona competition in Portugal, or the Concours International de Genève.

She has held the post of accompanist for Adelina Oprean’s violin classes at the Musikhochschule Basel for over twenty years, and since 2013 she has additionally been engaged as principal repetiteur for strings at the Musikhochschule Felix Mendelssohn Bartholdy in Leipzig. Her artistic versatility is documented by appearances at the Festspiele Mecklenburg-Vorpommern and the Rheingau Musik Festival, chamber music tours across Europe, a number of première performances, as well as her role as tutor for chamber music at the Académie de musique de chambre de Thury.

Verena Louis lives in Leipzig with her family.

Verena Louis, Photo: Adam Markowski

Hyun-Jung Berger

Hyun-Jung Berger, geboren in Seoul/Südkorea, wurde bei Hae-Guen Kang (Seoul), Julius Berger und Thomas Demenga (Basel) ausgebildet. Meisterkurse bei Boris Pergamenschikow, Heinrich Schiff, Denes Zsigmondy.

Seit 1991 unterrichtete sie als Assistentin von Prof. Julius Berger zunächst an der Musikhochschule Saarbrücken, später an der Universität Mainz und an der Hochschule für Musik Nürnberg-Augsburg. Seit dem Jahr 2008 ist sie Dozentin für das Fach Violoncello am Leopold-Mozart-Zentrum der Universität Augsburg, seit 2016 auch an der Kalaidos Hochschule für Musik, Zürich. Zahlreiche Meisterklassen, z.B. in Seoul, L’Académie MusicAlp (Tignes), Musikakademie Tirol, Hochschule für Musik Gdansk.

Nationale und internationale Auszeichnungen unterstreichen den Rang dieser außergewöhnlichen Künstlerpersönlichkeit: 1993 Gieseking-Preis der Musikhochschule Saarbrücken, Preisträgerin der Internationale Sommerakademie des Mozarteums Salzburg, 1995 Preis der Johannes Gutenberg-Universität Mainz, 1. Preis beim Internationalen Wettbewerb in Trapani/Italien, internationaler Pressepreis zusammen mit ihrem Duopartner José Gallardo.

Als Solistin wurde Hyun-Jung Berger von renommierten Orchestern und Festivals eingeladen, z. B. vom Seoul Philharmonic Orchestra, Korean Symphony Orchestra, Korean Chamber Orchestra, Suwon Philharmonic Orchestra, Festival Strings Luzern, Basler Sinfonieorchester, Philharmonische Akademie Bern, Kremerata Baltica, Südwestdeutsches Kammerorchester und Beethovenhalle Orchester Bonn.

Recitals und Kammerkonzerte führten Hyun-Jung Berger nach Israel und in die U.S.A., zum Kammermusikfest Lockenhaus, Asiagofestival, Rheingau Musik Festival, Eckelshausener Musiktage, Cello Festival Kronberg etc.

Beim „International Music Festival Seoul“ und beim „Beethovenfest Bonn“ führte sie das für das Duo Berger umgearbeitete Werk „Zwei Wege“ auf. „Duo Berger begeistert beim Beethovenfest 2015“ titelte der General Anzeiger Bonn.

Mit ihrem Ehemann Julius Berger hat Hyun-Jung Berger mittlerweile mehrere CDs eingespielt (Boccherini Sonaten), die als Interpretationsmaßstab gefeiert werden. Im Jahr 2012 erschien bei der Firma Solo Musica eine CD mit ihrem Duopartner José Gallardo mit Werken von Rachmaninoff und Suslin.

Als künstlerische Leiterin des Asiagofestivals Korea schafft Hyun-Jung Berger Verbindungen zwischen Europa und ihrer Heimat Korea.

Hyun-Jung Berger spielt ein Violoncello von Francesco Goffriller, Venedig 1726.

Hyun-Jung Berger, Foto: Do-Hyung Kim

Josè Gallardo

In Buenos Aires geboren, begann José Gallardo mit dem Klavierunterricht zunächst am Konservatorium in Buenos Aires, später bei Prof. Poldi Mildner am Fachbereich Musik der Universität Mainz. 1997 erhielt er sein Diplom. Während dieser Zeit entdeckte er seine Vorliebe für Kammermusik.

Musikalische Anregungen verdankt er Künstlern wie Menahem Pressler, Alfonso Montecino, Karl-Heinz Kämmerling, Eberhard Feltz, Sergiu Celibidache, Rosalyn Tureck und Bernard Greenhouse.

José Gallardo hat zahlreiche nationale und internationale Preise errungen. Einladungen zu Tourneen und Festivals folgten, u. a. Kammermusikfestival Lockenhaus, Verbier Festival, Lucerne Festival, Ludwigsburger Schlossfestspielen, Schwetzinger Festspielen, Schleswig Holstein, Cello Festival Kronberg und Chopin Festival in Warschau.

Eine weltweite Konzerttätigkeit und kammermusikalische Zusammenarbeit verbindet ihn mit Vilde Frang, Daishin Kashimoto, Barnabás Kelemen, Gidon Kremer, Linus Roth, Benjamin Schmid, Carolin Widmann, Nils Mönkemeyer, Tomoko Akasaka, Andreas Ottensammer, Nicolas Altstaedt, Julius Berger, Maximilian Hornung, Benedict Klöckner, Miklós Perényi u.v.m.

Aufnahmen bei Warner, Deutsche Grammophone, Challenge Records Int., Genuin, NEON, Oehms Classics und Naxos sowie Fernsehen und Rundfunkproduktionen bei BR, SWR, MDR, BBC, RAI u. a.


Von 1998 bis 2008 war er Dozent in Mainz, seit Herbst 2008 lehrt er am Leopold-Mozart-Zentrum der Universität Augsburg.

Seit 2013 ist er, zusammen mit Andreas Ottensamer, Künstlerischer Leiter des Kammermusikfestivals „Bürgenstock Festival“ in Luzern.

José Gallardo, Foto: Nikolas Hagele

Ayumi Janke

Ayumi Janke wurde als Tochter deutsch-japanischer Eltern in München geboren und erhielt ihren ersten Klavierunterricht im Alter von drei Jahren von ihrem Vater Prof. Ansgar Janke, ein wenig später ihren ersten Violinunterricht. Bei Prof. Karl-Heinz Kämmerling an der Universität Mozarteum Salzburg, in dessen Meisterklasse sie zunächst als Jungstudentin und nach dem abgeschlossenem Abitur als Vollstudentin studierte, erreichte sie 2010 ihren Magisterabschluss mit Auszeichnung. Weitere Anregungen erhielt sie bei Prof. Gerhard Oppitz, Prof. Klaus Hellwig, Prof. Sergei Dorenski und Prof. Thomas Brandis.

Bereits mit fünf Jahren gewann sie den 1. Preis mit Auszeichnung bei „Jugend musiziert“ in der Wertung Klavier solo, auf die weitere 1. Preise auf Landes- und Bundesebene in den verschiedensten Besetzungen folgten, oftmals verbunden mit diversen Sonderpreisen. Außerdem ist sie Trägerin des Europäischen Musikpreises für die Jugend. Mehrere Stiftungen wie die Studienstiftung des Deutschen Volkes oder die Deutsche Stiftung Musikleben haben sie mit Stipendien ausgezeichnet.

Ihre Konzerttätigkeiten führten sie in wichtige Konzertsäle Europas und Japans, so u. a. beim Schleswig-Holstein-Musikfestival, beim Mecklenburg-Vorpommern Festival, bei den Mittelrhein Musik-Momenten, beim Bach-Festival Bern und beim „Lago Maggiore“ in Italien.

Neben ihren solistischen Tätigkeiten legt sie besonderen Wert auf die Kammermusik, in der sie besondere Anerkennung erfährt. Beim Sarasate-Wettbewerb in Pamplona/Spanien wurde ihr 2007 ein Sonderpreis für hervorragende Leistungen als Klavierbegleiterin verliehen. Seither ist sie eine gefragte Korrepetitorin bei zahlreichen internationalen Wettbewerben und Meisterkursen.

Ihr künstlerisches Wirken auf der Bühne ergänzt sie mit der didaktischen Tätigkeit als Mitarbeiterin des „Interdisziplinären Forum für künstlerische Interpretation“ am Leopold-Mozart-Zentrum der Universität Augsburg und seit 2015 zudem auch als Dozierende der Kalaidos Musikhochschule.

Ayumi Janke, Foto: Julia Smirnova

Verena Louis

Die Pianistin Verena Louis nimmt in der Welt der Klavierpartner einen festen Platz ein, wobei sie bei den Streichern und im Liedfach gleichermaßen zuhause ist. Geboren wurde Verena Louis in Paris, aufgewachsen ist sie in Frankreich, Deutschland und Portugal.

Ihre pianistische und kammermusikalische Ausbildung erhielt sie an der Musikhochschule Köln bei Roswitha Gediga, Michael Endres, dem Amadeus Quartett und dem Alban-Berg-Quartett.

Nachdem sie selbst mehrfach auf Wettbewerben ausgezeichnet wurde, engagieren sie seit vielen Jahren nationale und internationale Wettbewerbe und Meisterkurse als Begleiterin, so der Deutsche Musikwettbewerb, der Internationale Wettbewerb „Júlio Cardona“ in Portugal sowie der Concours International de Genève.

Über zwanzig Jahre war sie die ständige Begleiterin der Geigenklasse von Adelina Oprean an der Musikhochschule in Basel. Nach zusätzlichen Lehraufträgen als Korrepetitorin an der Musikakademie Wiesbaden sowie an der Robert Schumann Hochschule in Düsseldorf ist sie seit 2013 Solorepetitorin der Streicher an der Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ in Leipzig.

Auftritte bei den Festspielen Mecklenburg-Vorpommern und dem Rheingau Musik Festival, Kammermusikreisen durch Europa, eine Reihe von Uraufführungen, CD-Aufnahmen sowie ihre Tätigkeit sowohl als Kammermusikdozentin als auch als Begleiterin auf zahlreichen Meisterkursen dokumentieren ihre künstlerische Vielseitigkeit.

Verena Louis lebt mit ihrer Familie in Leipzig.

Verena Louis, Foto: Adam Markowski

Benjamin Schmid (Chairman)

Benjamin Schmid was born in Vienna and grew up in Salzburg. Among other competitions, he won 1991 the 2nd International Violin Competition Leopold Mozart Augsburg and 1992 the Carl Flesch Competition in London, where he was also awarded the Mozart-, the Beethoven- and the Audience-Prize.

Since then he has performed on the world’s major stages with renowned orchestras such as the Vienna Philharmonic, the Philharmonia Orchestra London, the St. Petersburg Philharmonic or the Concertgebouw Amsterdam. As one of the most versatile of today's violinists Benjamin Schmid combines his qualities as a soloist, the extraordinary broad range of his repertoire – in addition to the usual works he also plays the violin concertos by Hartmann, Gulda, Korngold, Muthspiel, Szymanowski, Lutoslawski and Reger – with his remarkable skill in jazz improvisation.

Benjamin Schmid has recorded about 50 CDs and they have received various awards such as the German Record Prize (several times for Classic and Jazz), the Echo Klassik Prize, the Gramophone Editor’s Choice and the Strad Selection. Several films and Concert Films have been made about Benjamin Schmid which document his exceptional status as a violinist; they have been screened on television throughout the world.

Benjamin Schmid is portrayed as one of the most important violinists in the book "Great Violinists of the 20th Century" by Jean-Michel Molkhou (Edition Buchet-Chastel, 2014). He performs on the Stradivari violin "ex Viotti, ex Rosé 1718", made available to him by the Austrian National Bank.

Benjamin Schmid, Photo: Wolfgang Lienbacher

Friedemann Eichhorn

Friedemann Eichhorn has been a professor at the Franz Liszt College of Music in Weimar since 2002 and is artistic director of the Kronberg Academy and the International Louis Spohr Violin Competition Weimar. He studied violin with Valery Gradow in Mannheim, Alberto Lysy at the Menuhin Academy in Gstaad and Margaret Pardee at the Juilliard School in New York. He received his doctorate in musicology in 2002 from the University of Mainz.

He performs with orchestras such as the SWR Radio Orchestra, the St. Petersburg Philharmonic and many others, often playing a double role of soloist and conductor. His discography for Naxos, Hänssler Classic and Oehms includes the complete violin works of Franz Liszt, violin concertos by Mozart and Haydn and, as first recordings, the 13 violin concertos of Pierre Rode.

His students play with the Berlin Philharmonic, the Leipzig Gewandhausorchester and numerous well-known opera and radio orchestras and have won prizes at international violin competitions. In addition to his work as artistic consultant for G. Henle Publishers and as an editor of music editions, Friedemann Eichhorn contributes articles for encyclopedias and journals. His performance credits include concerts with Gidon Kremer, Lord Yehudi Menuhin, Yuri Bashmet, Boris Pergamenschikow as well as many other artists.

Friedemann Eichhorn, Photo: Guido Werner

Liza Ferschtman

Renowned for her strong musical personality and the versatility of her musicianship, which combines powerful dynamism and intense lyricism, Liza Ferschtman has been praised in the international musical press, with The New York Times describing her as ‘nothing short of revelatory’, and referring to the ‘laserlike intensity, purity and refined beauty of her playing’, while The Guardian commended her ‘vivacious musical personality’ and ‘lovely lyrical quality’.

The daughter of prominent Russian-Jewish musicians, Liza grew up in a musical environment and as a young child she was soon taking her first violin lessons from the legendary violinist and family friend, Philip Hirschhorn. After his death she studied with Herman Krebbers, Ida Kavafian at the celebrated Curtis Institute of Music in Philadelphia and David Takeno in London.

Since winning the Dutch Music Award, the most distinguished prize for Dutch musicians, in 2006 Liza has appeared as a soloist with many of the world’s top orchestras, including the Royal Concertgebouw Orchestra, London Philharmonic, Dallas Symphony Orchestra, Budapest Festival Orchestra, Warsw Philharmonic and Brussels Philharmonic, collaborating with conductors including Jaap van Zweden, Iván Fischer, Stéphane Denève, Jacek Kaspszyk, Jun Märkl, Frans Brüggen, Neeme Järvi, Otto Tausk, Dmitry Sitkovetsky and Thomas Søndergård.

Liza Ferschtman is also a passionate chamber musician and a popular guest at festivals and concert venues throughout the world. Since 2007 she has been artistic director of the Delft Chamber Music Festival, an internationally renowned festival that invites world-class musicians to present a captivating, strongly thematic programme each summer. Liza Ferschtman’s chamber music partners include Elisabeth Leonskaja, Jonathan Biss, Alisa Weilerstein, Christian Poltera, Julius Drake, Martin Roscoe, Nobuko Imai, Lars Anders Tomter, Marie Luise Neunecker, Sharon Kam and Amihai Grosz. Her Wigmore Hall debut with Roman Rabinovich in December 2017 received glowing reviews, including 5 stars in The Independent.

Liza Ferschtman has an impressive discography. Her CDs under the Challenge label feature violin concertos by Beethoven, Dvořák, Mendelssohn, Korngold and Bernstein (Serenade). She has also recorded chamber music on CD, including Mendelssohn’s octet, works by Schubert and Beethoven performed with Inon Barnatan and the Kodaly, Ravel and Schulhoff duos performed with her father, the cellist Dmitri Ferschtman. Liza’s CD featuring solo works by Bach and Ysaÿe was chosen as ‘CD of the Month’ by The Strad magazine. Her latest recording (Korngold Concerto anmd Bernstein Serenade) has also been highly acclaimed by the international press.

Liza Ferschtman, Photo: Marco Borggreve

Remy Franck

Born in Luxembourg in 1952, Remy Franck published his first reviews and articles about music in 1968. With a diploma of the Ecole Supérieure de Journalisme in Paris he became a cultural editor of the newspaper Luxemburger Wort (1975-1978) and editor in chief of the weekly magazine Télécran (1978-1990).

As a broadcast producer he worked for RTL, Deutschlandfunk, Deutsche Welle, Saarländischer Rundfunk and, since 1993, for Luxembourg's public broadcaster 'radio 100.7'.

He was an active member of Jeunesses Musicales Luxembourg from 1968 to 2000, as Executive Secretary, Board Member and General Secretary. In the International Federation of Jeunesses Musicales, he was president of the Communications Committee.

Remy Franck lectured in Austria, Canada, France, Italy, Germany, Luxembourg and Poland. He has been the producer of CDs for various international labels, and as narrator he recorded works by Tchaikovsky, Prokofiev, Debussy, Chappell and Pierné.

Since 2009 he is the Jury President of the International Classical Music Awards (ICMA). He was also a jury member of the Mahler Record Prize in Toblach, Italy, from 1998 to 2015.

In 1991 he founded the musical magazine Pizzicato (www.pizzicato.lu).

Remy Franck, Photo: Nicole Junio

Sabine Frank

For over 10 years now Sabine Frank has concerned herself intensively with both strategic planning and enduring management of international artist careers. In 2005 she was appointed Managing Director of HarrisonParrott GmbH, and remains at the helm today, as part of one of the most prominent artist agencies in the world.

Innovation and creativity are her special watchwords, as is a professional, authentic and individual approach to partnerships between artists represented and other colleagues in music industry. Her background includes the roles of a peripatetic instrumental teacher, a BBC editor in London, and later a Label Manager of RCA Red Seal with the Bertelsmann Music Group. Thus, contacts were made early on to prominent artists such as Vesselina Kasarova, Evgeny Kissin and Steven Isserlis.

At present she is responsible for the career welfare of established musicians such as Benjamin Schmid, Sol Gabetta, Constantinos Carydis and Martin Grubinger. Sabine Frank is also heavily engaged in building the careers of younger artists such as the Dutch violinist Noa Wildschut. In addition she supports a highly innovative project: TONALi in Hamburg, and is not only a regular jury member of the competition but also acts as an advisor to an entirely new generation of musicians.

Along with her music studies, Sabine Frank studied German Philology, History and Musicology at Ludwig Maximilians University Munich, as well as pursuing post-graduate studies at University College in the University of London.

Sabine Frank, Photo: HarrisonParrott

John Gilhooly

John Gilhooly became Director of Wigmore Hall in 2005, making him, then, the youngest leader of any of the world’s great concert hall and has overseen the artistic, financial and administrative transformation of the Hall over the past 18 years. His tenure has produced record box office returns and the Hall’s highest ever membership levels and annual fundraising.

As Artistic Director of Wigmore Hall, he programmes the largest chamber series in the world. In 2013 he was awarded an OBE by Her Majesty Queen Elizabeth II and in 2015 was made a Knight of the Order of the White Rose of Finland by the President of Finland. John has also received the prestigious Austrian Cross of Honour for Science and Art, and the Order of the Star of Italy (Cavaliere), awarded by the President of Italy. In 2016 he was awarded the German Order of Merit, which is Germany’s highest civilian honour. He is a recipient of Honorary Fellowship of the Royal Academy of Music (2006), Honorary Membership of the Royal College of Music (2012), Honorary Fellowship of the Guildhall School (2015), and Honorary Fellowship of the Royal Irish Academy of Music (2016).

John Gilhooly, Photo: Kaupo Kikkas

Ulf Hoelscher

Ulf Hoelscher studied in Heidelberg with Bruno Masurat and in Cologne with Max Rostal, finishing his studies in the US with Josef Gingold and Ivan Galamian. He has enjoyed decades of extensive international concert activity with the Berlin Philharmonic, the New York Philharmonic Orchestra, the Dresden Staatskapelle, the Tonhalle Orchestra Zurich, the Vienna Symphony, the BBC Symphony Orchestra, the Orchestre National de Paris etc. under such conductors as Gary Bertini, Kurt Masur, Vaclav Neumann, Marek Janowski, Wolfgang Sawallisch, Horst Stein, Jeffrey Tate, Klaus Tennstedt, Hans Vonk and Bruno Weil.

His CD productions include concertos by Beethoven, Berg, Bruch, Schumann, Mendelssohn, Korngold, Saint-Saëns, Strauss, Schoeck, Spohr, Tschaikowsky and Wolf Ferrari. His chamber music recordings include works by Schubert, Bruch, Pfitzner and others.

From 1981 until 2010 Ulf Hoelscher was professor for violin at the Karlsruhe College of Music.

Ulf Hoelscher, Photo: private

Danjulo Ishizaka

After receiving first prize in both the ARD Competition and Grand Prix Emanuel Feuermann, Danjulo Ishizaka is today ranked among the most outstanding cellists of his generation internationally.

Danjulo, born into a German-Japanese family in Bonn, received his first cello lessons at the age of four. Boris Pergamenschikow, with whom he studied at the Hanns Eisler Academy of Music in Berlin from 1998 until 2004, has been a fundamental influence on him, both artistically and personally. From 2004 to 2006, he studied at the Academy with Tabea Zimmermann.

At the end of 2012, Danjulo was honored with the Hideo Saito Memorial Fund Award, one of Japan’s biggest music awards, presented by the Sony Music Foundation in Tokyo. On his debut CD with Sony BMG, he recorded sonatas by Britten, Franck and Mendelssohn-Bartholdy with pianist Martin Helmchen. In 2006, the CD was awarded the “Echo Klassik” award of the German Phonographic Academy. In 2014, he was awarded the Gramophone Award for the Chamber Music Recording of the Year for his recording of the Schubert String Quintet with the Pavel Haas Quartet.

His international concert schedule regularly takes him throughout Europe, Asia and the US. He has been performing around the world with leading orchestras such as the Bavarian Radio Symphony Orchestra, NHK Symphony Orchestra, the Tokyo Symphony Orchestra, the Baltimore Symphony Orchestra, the Royal Philharmonic Orchestra, the London Philharmonic Orchestra, the Opera National de Paris, the Academy of St. Martin in the Fields and the Zurich Chamber Orchestra, to mention a few. Among others, he performed under the baton of such famous conductors as Christoph Eschenbach, Vladimir Jurowski, Michael Sanderling and Leonard Slatkin.

Danjulo performs on the Wolfgang Schnabl cello, formerly played by Boris Pergamenschikow and provided by the Kronberg Academy, as well as the Stradivarius cello ‘Feuermann’ (1730) on loan to him from the Nippon Music Foundation, previously played by the legendary cellist Emanuel Feuermann.

Danjulo is Professor of Violoncello at the Music Academy Basel and at the University of the Arts Berlin (“Universität der Künste Berlin”).

Danjulo Ishizaka, Photo: Marco Borggreve

Jens F. Laurson

Jens F. Laurson is either listening to music or writing about it. As a musical omnivore, he enjoys anything from Guillaume de Machaut to Erkki-Sven Tüür, but he is particularly enamored by the bevvy of neglected 20th romantic century composers such as Othmar Schoeck, Mieczysław Weinberg, and Walter Braunfels. He has contributed several chapters on exactly such composers to the second edition of “Surprised by Beauty – A Listener’s Guide to the Recovery of Modern Music” (Robert R. Reilly, Ignatius Press).

Laurson, a one-time Regensburg cathedral chorister, got his start writing about classical music at the Washington Post, thanks to Tim Page. He has written classical music columns for Washington’s WETA 90.9, Forbes.com, and Andante.com.tr and contributed to Listen Magazine and the Claremont Review of Books. He has worked for Vienna’s Konzerthaus and collaborated with several record labels. His writing has won him a Deems Taylor Award granted by the American Society of Composers, Authors, and Publishers (ASCAP).

Jens F. Laurson, Photo: Aurelia Stechauner

Nils Mönkemeyer

Artistic brilliance and innovative programming are the trademarks with which Nils Mönkemeyer has rapidly made his name as one of the most internationally successful violists, and dramatically raised the profile of his instrument.

Under his exclusive contract with Sony Classical, Mönkemeyer has released numerous CDs over the past years, all of which have won critical acclaim and prestigious awards. His programmes run the gamut from rediscoveries and first recordings of original 18th-century viola literature, to contemporary repertoire and arrangements of his own. The two most recently released CDs are recordings of Walton, Bruch and Pärt with the Bamberg Symphony under the direction of Markus Poschner, and the chamber music album “Baroque”, in which Nils Mönkemeyer unveils a fascinating panorama of Bach and contemporaneous French music.

Nils Mönkemeyer works together with conductors such as Andrej Boreyko, Sylvain Cambreling, Elias Grandy, Christopher Hogwood, Cornelius Meister, Mark Minkowski, Kent Nagano, Michael Sanderling, Clemens Schuldt, Karl-Heinz Steffens, Markus Stenz, Mario Venzago and Simone Young, performing as a soloist with ensembles including Zurich's Tonhalle Orchestra, Helsinki Philharmonic Orchestra, Les Musiciens du Louvre, Vienna Radio Symphony Orchestra, Bern Symphony Orchestra, the Konzerthausorchester Berlin, Dresden Philharmonic, Hamburg Philharmonic, Frankfurt Opern- und Museumsorchester, MDR Leipzig Radio Symphony Orchestra, NDR Radiophilharmonie, Weimar Staatskapelle, Bremen Philharmonic, Dusseldorf Symphony Orchestra, Lausanne Chamber Orchestra and Berlin Barock Solisten.

The 18/19 season takes him once again onto the greatest international concert platforms, including the Wiener Musikverein, Amsterdam’s Royal Concertgebouw, London’s Wigmore Hall, Barcelona’s L’Auditori, Brisbane, Lausanne’s Salle Métropole, Geneva’s Victoria Hall, the Berlin Philharmonie and Konzerthaus, the Elbphilharmonie, Cologne Philharmonie, Dresden Philharmonie, Frankfurt Alte Oper and Munich’s Prinzregententheater. Numerous festival appearances include the Mito Festival in Milan and Turin, the Montreal Bachfest, Rheingau Music Festival, Schleswig-Holstein Music Festival and the Festspiele Mecklenburg-Vorpommern. Chamber music projects for this season include trios with Julia Fischer and Daniel Müller-Schott, and piano quartets with Alina Ibragimova, Christian Poltera and William Youn.

Mönkemeyer has been a professor at the University of Music and Performing Arts in Munich since 2011 - the same institution at which he himself studied with Hariolf Schlichtig. Previous tenures include a two-year professorship at the Carl Maria von Weber University of Music in Dresden, and an assistant professorship at the Reina Sofia College of Music in Madrid.

Nils Mönkemeyer, Photo: Irène Zandel

Anna Picard

Anna Picard studied voice, piano and harpsichord at the Royal Academy of Music, London, and with Dr Thomas Lo Monaco in New York. She worked in the field of early music, with groups including the Gabrieli Consort, the Tallis Scholars, the Academy of Ancient Music and His Majestys Sagbutts and Cornetts, before moving into journalism.

From 2000-2013 she was classical music critic of the Independent on Sunday. In 2013, she joined The Times. She is a regular contributor to the Times Literary Supplement and BBC Radio Three’s Record Review, reviewing new releases of repertoire from madrigals and motets to chamber music, symphonies and contemporary music, and scripting and presenting the programme’s Building a Library segment on Purcell Songs, Handel’s Orlando, Mascagni’s Cavalleria rusticana, Stravinsky’s The Rake’s Progress, and Puccini’s Il tabarro.

In 2017, she joined Opera Holland Park in the newly created role of research and repertoire consultant, working across the company’s production and communications departments to develop its programme of interdisciplinary talks and panel discussions. In 2018, she was awarded an associateship of the Royal Academy of Music (ARAM) for her work as a writer and broadcaster on classical music.

Picard Anna, Photo: Cameron Millar

Christian Poltéra

Christian Poltéra was born in Zürich. After receiving tuition from Nancy Chumachenco and Boris Pergamenschikow, he studied with Heinrich Schiff in Salzburg and Vienna.

As a soloist he works with eminent orchestras including the Munich Philharmonic Orchestra, Leipzig Gewandhaus Orchestra, Los Angeles Philharmonic, Oslo Philharmonic Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, Orchestre de Paris, BBC Symphony Orchestra, Orchestre Révolutionnaire et Romantique and Chamber Orchestra of Europe under such conductors as Bernard Haitink, Riccardo Chailly, Christoph von Dohnanyi, Andris Nelsons and Sir John Eliot Gardiner.

He also devotes himself intensively to chamber music together with such musicians as Gidon Kremer, Christian Tetzlaff, Leif Ove Andsnes, Mitsuko Uchida, Lars Vogt, Kathryn Stott, Esther Hoppe and Ronald Brautigam, and with the Auryn and Zehetmair Quartets. Together with Frank Peter Zimmermann and Antoine Tamestit, Christian Poltéra has formed a string trio, the Trio Zimmermann, which performs at most prestigious concert venues and festivals all over Europe.

In 2004 he received the Borletti-Buitoni Award and was selected as a BBC New Generation Artist.

He is a regular guest at renowned festivals (such as Salzburg, Lucerne, Berlin, Edinburgh and Vienna) and made his BBC Proms début in 2007. Christian Poltéra’s discography, which has won acclaim from the international press, reflects his varied repertoire that includes the concertos by Dvorak, Dutilleux, Lutoslawski, Walton, Hindemith and Barber as well as chamber music by Prokofiev, Fauré, Beethoven and Schubert.

Christian Poltéra teaches at the Lucerne University.

Poltéra Christian, Photo: Neda Navaee

Marco Rizzi

Having won prizes at major international violin competitions (Tschaikowsky, Queen Elisabeth and Indianapolis), Marco Rizzi has attracted much attention and is especially esteemed for the caliber, strength and intensity of his interpretations. On Claudio Abbado’s recommendation he was awarded the “Europäischer Musikförderpreis” (European Advancement Award for Music).

Marco Rizzi performs regularly under the direction of distinguished conductors and prestigious orchestras in the leading European and American concert halls. Numerous contemporary works have been dedicated to him by composers such as A. Corghi, L. Francesconi, F. Vacchi, C. Galante and U. Leyendecker.

Recordings for Deutsche Grammophon, Amadeus, Nuova Era, Dynamic, Warehouse and other labels document his versatile artistic activities. His CD recordings of 20th century Italian sonatas have been enthusiastically acclaimed.

Marco Rizzi is a professor at the College of Music and Performing Arts in Mannheim and teaches a master class at the renowned Escuela Superior de Musica Reina Sofia in Madrid. He is invited to judicate at notable international violin competitions such as the Queen Elisabeth Competition (Brussels), the Joseph Joachim Competition (Hanover) and the Paganini Competition (Genoa).

Marzo Rizzi, Photo: Timo Hecht

Erik Schumann

Erik Schumann was born in Cologne in 1982 to German/Romanian-Japanese parents. Since 2008 he has been the primarius of the Schumann Quartet, which won the Schubert Competition in Graz in 2012, the 1st Grand Prix at the Quatuors à Bordeaux in 2013 and the Jürgen Ponto Prize 2014. As a Chamber Music Society artist at Lincoln Center since 2016, the Schumann Quartet is playing concerts in the US for three years.

The ensemble plays regularly in concert halls such as the Concertgebouw in Amsterdam, Wigmore Hall in London, the Vienna Konzerthaus and the Vienna Musikverein and plays at all well-known festivals at home and abroad.  In 2017, their CD “Landscapes” was awarded the annual German Record Critics’ prize. A new recording, „Intermezzo“, was released in May, 2018 and has been highly praised.

Erik Schumann’s career also features regular appearances with orchestras in Europe, Asia and the United States. These include the NDR Symphony Orchestra Hamburg, the WDR Symphony Orchestra Cologne, the Gewandhaus Orchestra in Leipzig, the Bamberg Symphony, the Tonhalle Orchestra Zurich, the Orchestre de Paris, the Orchestre National de France, the Sinfonia Varsovia, the BBC Philharmonic, the Helsinki Philharmonic Orchestra, the NHK Orchestra Tokyo as well as the National Symphony Orchestra in Washington D.C. and the Chicago Symphony.

He has worked with Christoph Eschenbach, Gianandrea Noseda, Jiří Bělohlávek, Muhai Tang, Vassily Sinaisky, Günther Herbig, Marin Alsop, Howard Griffiths, Toshiyuki Kamioka, Juanjo Mena, Michael Sanderling, Matthias Pintschers, David Afkham, Leoš Svárovský and other conductors.

Erik Schumann is regularly invited to perform at festivals such as the Salzburg Easter Festival, the Lucerne Festival, the Kissinger Summer, the Mecklenburg-Vorpommern Festival, the Pacific Music Festival, the Schleswig-Holstein Music Festival, the Mozartfest Schwetzingen, the Rheingau Music Festival and the Ravinia Music Festival Chicago.

Erik Schumann’s interpretation of Johannes Brahms’ monumental violin concerto with the Nuremberg Symphony under the baton of Alexander Shelley appeared in the spring of 2015.

Since 2013 he has been professor for violin at the College of Music and Performing Arts in Frankfurt/Main.

Erik Schumann plays a violin made by G. F. Pressenda in 1830, a cordial loan from a private owner.

Erik Schumann, Photo: Kaupo Kikkas

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10th International Violin Competition Leopold Mozart starts 31 May

28 of the world’s best young violinists will be in the German Mozart city of Augsburg at the end of May to showcase their musicality and stage presence at the newly conceptualized violin competition headed by Linus Roth. For music lovers, much will be offered over a brief period: two exciting competition rounds on four days, Finals and Prizewinner Orchestra Concert with the Munich Radio Orchestra, top-class concerts with jury members and a master class with Honorary President Salvatore Accardo.

The participants will arrive in time to attend the opening concert with Jury Chairman Benjamin Schmid and the Augsburg Philharmonic Orchestra on 31 May. Almost all the guests will stay with families in Augsburg, supported by Swabian hospitality as they prepare for the tough demands of the competition. A limit of fewer than 30 violinists makes the number of participants much lower than in previous competitions; expectations therefore are all the higher. Only outstanding artists with extensive concert and competition experience will be in Augsburg, including Simon Wiener from Switzerland (Rodolfo Lipizer prizewinner) and Christine Lim of South Korea, currently in the semi-finals of the Queen Elisabeth Competition in Brussels and winner of the Menuhin International Violin Competition. The young Londoner Mathilde Milwidsky has also won several prizes, including the Royal Overseas League String Competition. "The performances will be of extremely high caliber in the first round on 1 and 2 June," says Linus Roth.

In this 10th edition of the competition, the violinists will be tested for their musical powers of persuasion, their ability to communicate and their stage presence. In addition to all the necessary technical perfection, it will be crucial to be able to convey one’s musical conceptions in the competition rounds, which include the evaluation of a chamber music rehearsal, and to captivate the (professional) audience with one’s conviction. This time the international jury consists not only of violinists, but also of cellists, music critics and music managers. In order to rule out bias in the awarding of the prizes, students of the jury and the artistic director are not admitted.

Two concerts in the Schaezlerpalais on 5 and 6 June offer a top-level supplement to the competition rounds. Here, some members of the jury as well as Artistic Director Linus Roth themselves will be performing. At two master classes on 6 and 7 June for students of the Leopold-Mozart-Zentrum, the Honorary President of this year's competition, Salvatore Accardo, will provide valuable insights into the high art of violin playing. A public audience may audit the classes.

The competition honors Leopold Mozart, who was born 300 years ago in Augsburg and was Wolfgang Mozart's most important teacher. Leopold’s school for the violin, which is still well known today, was printed in Augsburg.

All competition rounds are open to the public and may be viewed by livestream on www.leopold-mozart-competition.de

For tickets and information see www.leopold-mozart-competition.de

“300 years of Leopold Mozart in 2019” – the festival year has begun!

German Mozart tricentennial 2019: Augsburg is dedicating a glittering year of festivities to Mozart’s father in celebration of the 300th anniversary of his birth.

Without Leopold, there would have been no Wolfgang – Augsburg, Leopold’s native city, played a decisive role for the prodigy that was Mozart! Confident in its position as Germany’s only Mozart city, Augsburg is celebrating Leopold’s special birthday with a year-long programme of events. The highlights will be the Mozart Festival, the first Leopold Mozart biography, a new museum and a gala concert that includes a world premiere.

“This year of celebration will span a long musical period: starting with the music of Bach, which Leopold grew up with, the German Mozart Festival in May will focus on Leopold Mozart as a teacher, composer, networker, humanist and European. Then we will transport him to the present with a world premiere – Moritz Eggert has composed a piece especially for Leopold’s birthday on 14 November,” says Simon Pickel, artistic director of the Leopold Mozart Year, describing the staging of the festival year.

Leopold Mozart’s native city is really the only place to celebrate this anniversary. Augsburg, as an authentic German Mozart City, is using this important occasion to step out of Salzburg’s shadow and finally pay proper tribute to Leopold Mozart’s invaluable achievements in the music world. As a far-seeing, tireless mentor, teacher and manager for his son Wolfgang, it was Leopold who truly created the once-in-a-millennium composer that was Mozart, decisively influencing music history in the process.

The publication in autumn 2019 of the world’s first biography of Leopold Mozart will bring him to the public attention: the renowned musicologist Silke Leopold has just completed the manuscript. As well as this, a large-scale exhibition entitled “Mozart’s World of Fashion” in the award-winning State Textile and Industry Museum is bound to attract many visitors to Augsburg. Likewise, the newly designed museum in the Mozart House (opening in November) and the 10th International Leopold Mozart Violin Competition in June will be big draws. The musical high point of the year will be the six concerts at the German Mozart Festival in May: with performances by an array of international stars, each concert will illuminate one facet of Leopold Mozart through music. None other than Christian Tetzlaff will then personally congratulate Leopold on his 300th birthday.

www.mozartstadt.de

300 years of Leopold Mozart in 2019, photo: Fabian Schreyer

We proudly present our new Prize Winner CD! Ji Won Song and José Gallardo - MOZART.BEETHOVEN

We very proudly present our Mozart Prize – 1st Prize Winner’s CD production with Rondeau / klanglogo: Ji Won Song and José Gallardo - MOZART.BEETHOVEN

Ji Won Song, the Mozart Prize – 1st Prize Winner of the 9th International Violin Competition Leopold Mozart Augsburg 2016, presents with the pianist José Gallardo a charming compilation of works by Wolfgang Amadeus Mozart and Ludwig van Beethoven:

Wolfgang Amadeus Mozart (1756-1791)
Violin Sonata in E-Flat major, KV 481
Violin Sonata in F major, KV 376

Ludwig van Beethoven (1770-1827)
Romance in F major, op. 50
Rondo in G major, WoO 41

Fritz Kreisler (1875-1962)
Rondino on a theme of Beethoven

Pablo de Sarasate (1844-1908)
Fantasy on Mozart's Magic Flute

You can place your orders at a preferential price of 12 Euro (free delivery within Germany, to other countries, specific postage fees apply - please ask in advance) with the
Leopold-Mozart-Kuratorium e. V.
Maximilianstraße 59, 86150 Augsburg, Germany
phone +49 (0) 0821 / 324-4892
info@leopold-mozart-competition.de
 

CD-Cover Song Gallardo MOZART.BEETHOVEN Klanglogo

The association – who we are and what we do

The Leopold-Mozart-Kuratorium Augsburg e. V. (registered association) was founded in 1986 and represents the sphere of friends and patrons of the Leopold-Mozart-Zentrum of the University of Augsburg – a partner of the University of Augsburg.

2019 is a special year for us: 14 November is the 300th anniversary of the birth of Leopold Mozart (1719-1787). Leopold Mozart is the eponym not only of the Leopold-Mozart-Kuratorium Augsburg e. V. but also of Augsburg’s violin competition and of the Center for Music and Music Education of the University of Augsburg. 2019 marks another jubilee for us as well: the 10th International Violin Competition Leopold Mozart Augsburg (31 May – 8 June 2019).

The now internationally well-known Violin Competition Leopold Mozart honors a great composer, music educator and figure of the Age of Enlightenment, born in Augsburg in 1719. With the name Leopold Mozart we are committed to the advancement of the internationality of the city and of the Leopold-Mozart-Zentrum of the University of Augsburg.

● We promote talented young artists by holding the International Violin Competition Leopold Mozart every three years.

● We encourage the students of the Leopold-Mozart-Zentrum of the University of Augsburg and are involved in their projects.

● We support the Leopold-Mozart-Zentrum’s cultural events.

● We enable students to get an inside view of music management during the course of the competition.

 

Commemorative Catalogue 25th Anniversary Leopold-Mozart-Kuratorium Augsburg e. V.

In 2011 the Leopold-Mozart-Kuratorium Augsburg e. V. celebrated its 25th anniversary. On this occasion a commemorative catalogue was published which is available for downloading.

Commemorative Catalogue 25th Anniversary Leopold-Mozart-Kuratorium Augsburg e. V. (PDF)

The association – join now!

Encouragement of young artists is important to you?
You enjoy an active encounter with music?

Then join the Leopold-Mozart-Kuratorium Augsburg e. V. now and celebrate with us the 10th Violin Competition in 2019!

Sponsor as a friend, patron or corporate member.

Our sponsors have these advantages…

● Personal invitations to events and receptions with artists and jurors of the International Violin Competition Leopold Mozart

● Contact to artists, professors and students of the international music world

● Free admission to concerts at the Mozart House Augsburg

● Free admission to the Mozart House Museum Augsburg

● Information in our newsletter about concert dates, CD announcements plus news about our prizewinners as well as students and others connected with Leopold-Mozart-Zentrum of the University of Augsburg

Membership fees and donations are tax-deductible.

Support this singular anniversary — Become a member now!

Membership Flyer (PDF)

The Leopold-Mozart-Kuratorium Augsburg e. V. will gladly answer any questions you have about membership.

Your contact: Helga Müller
Telephone +49 821 324-4892
Mobile number: +49 175 529 4582
Telefax +49 821 450-6981
E-Mail info@leopold-mozart-competition.de
hm@mueller-dr.de

Support the Competition with your donation!

You, too, can be a patron of the arts and support talented young, international violinists. A competition such as this is only possible through the support of sponsors.

Every donation, no matter how small, is welcome!

Donation account of the Leopold-Mozart-Kuratorium Augsburg e. V.
Deutsche Bank AG Augsburg
Account no. 0177 774 00 / Sort code: 720 700 24
IBAN number: DE73 7207 0024 0017 7774 00
BIC-Code (SWIFT-Code): DEUTDEDB720

Membership fees and donations are tax-deductible.

The Leopold-Mozart-Kuratorium Augsburg e. V. will be glad to answer your questions about sponsorship and donations.
 

Your contact: Helga Müller
Telephone +49 821 324-4892
Mobile number: +49 175 529 4582
Telefax +49 821 450-6981
E-Mail info@leopold-mozart-competition.de
hm@mueller-dr.de

 

Support the violin competition by getting involved!

Volunteer at our various events!

In order to prepare for and carry out the 10th International Violin Competition Leopold Mozart Augsburg we are seeking active volunteers. Whether in the competition office, ticket desk, as chauffeur during the competition or as an usher – we’ll be glad for you to get in touch with us!

Your contact: Helga Müller
Telephone +49 821 324-4892
Mobile number: +49 175 529 4582
Telefax +49 821 450-6981
E-Mail info@leopold-mozart-competition.de
hm@mueller-dr.de

 

LMK, Competition-Team 2016, Photo: Christina Bleier

Paul Waning, Chairman

As the birthplace of Leopold Mozart, the father of Wolfgang Amadeus, and as the regional location of the Mozart family roots, Augsburg must certainly be recognized as the German Mozart city.

We are greatly pleased that, after long discussion, various groups and organizations which are concerned with Mozart are combining their efforts in Augsburg. This is a good prerequisite for Augsburg to become better known in Germany and internationally in connection with Mozart.

The Leopold-Mozart-Kuratorium Augsburg e. V. is glad to tie its flagship, the International Violin Competition Leopold Mozart, to this endeavor. The next competition, the tenth, will take place in 2019 – the year of the 300th anniversary of Leopold Mozart’s birth. In view of this special anniversary I’m asking all friends and patrons to continue their support and have a hand in making the competition an especially wonderful event.

Paul Waning
Chairman of the Leopold-Mozart-Kuratorium Augsburg e. V.

Leopold-Mozart-Kuratorium, Chairman Paul Waning, Photo. Christina Bleier

Dieter R. Kirchmair, Vice-Chairman

It’s a pleasure to think that back in 1986, together with colleagues from other companies, we were able to set up the Leopold-Mozart-Kuratorium Augsburg e. V. and we have greatly enjoyed playing our part in enabling the progress of the 'International Violin Competition Leopold Mozart'. For one thing, this has spread the name of the Augsburg region throughout the world, but of equal importance, we have also contributed to simply bringing about more quality of life here.

The Chamber of Commerce and Industry in Swabia is of course mainly concerned with the economic development of the Augsburg region, in which I have been actively involved for more than 20 years on an honorary basis. Promotion of the regional economy means always bearing in mind that our location be able to stand up to competition from other locations. Naturally, “hard” location factors are involved here but “soft” factors such as cultural aspects also play an important role. Flourishing companies rely on the commitment of satisfied employees for their market success. The quality of any business location is enriched through the cultural features its environment offers. Ultimately, the quality of life for everyone depends on this.

Dieter R. Kirchmair
Vice-President of the Leopold-Mozart-Kuratorium Augsburg e. V.
Supervisory board of the International School Augsburg

Leopold-Mozart-Kuratorium, Vice-Chairman Dieter R. Kirchmair

Georg Bauer, Treasurer

The Mozarts were at home in Augsburg before they took to the road. Here Leopold, the father, published the first edition of his “Fundamental Principles of Violin Playing” in 1776 – a work which still today plays an important role in the training of the violinist. This is sufficient reason for Augsburg’s promotion of violin playing to bear the name Leopold Mozart.

The Leopold-Mozart-Kuratorium Augsburg e. V. supports the work of the University of Augsburg particularly through the international violin competition, which is held regularly every three years. The competition has brought forth excellent violinists who have been acclaimed by the public and in the professional world. We greatly thank our supporters and sponsors for making the competition possible.

We have seen, however, that young talent is in need of patrons in order that classical music can be performed for us listeners. For this reason, the Leopold-Mozart-Kuratorium Augsburg e. V. seeks sponsors who will donate financial support to the violin competition and to the young musicians. We are gladly available to discuss the broadly diversified possibilities. Take advantage of the numerous events and concerts presented by the Leopold-Mozart-Zentrum of the University of Augsburg in order to experience the accomplishments of the students as well as their professors and instructors and to get to know the Leopold-Mozart-Zentrum.

Georg Bauer
Secretary of the Leopold-Mozart-Kuratorium Augsburg e. V.

Leopold-Mozart-Kuratorium, Secretary Georg Bauer

Heribert Göggerle, Secretary

The International Violin Competition Leopold Mozart will again in 2019 bring many talented young people from all over the world to Augsburg. In addition to taking part in the competition, we hope that they also have an opportunity to get acquainted with the German Mozart city of Augsburg, that they feel at ease here and experience Augsburg’s hospitality.

Heribert Göggerle

Leopold-Mozart-Kuratorium, Heribert Göggerle

Prof. Dr. Sabine Doering-Manteuffel

As president of the University of Augsburg, I attach particular importance to the support and promotion of emerging artists and researchers.

In this respect, the International Violin Competition Leopold Mozart provides an excellent opportunity for young musicians to present themselves and to further their careers. Through this high-caliber competition, Augsburg as the German Mozart city enjoys international renown. As a member of the board I will follow the violin competition and support the exemplary work of the Leopold-Mozart-Kuratorium Augsburg e. V.

Prof. Dr. Sabine Doering-Manteuffel
President of the University of Augsburg

Leopold-Mozart-Kuratorium, Sabine Doering-Manteuffel, Photo: Klaus Satzinger-Viel

Prof. Andrea Friedhofen

In the spirit of Leopold Mozart, the development of students' artistic and educational personalities is the central focus of their studies at the Leopold-Mozart-Zentrum (LMZ) of the University of Augsburg. Here, young people can experience excellent training as musicians, educators and musicologists with practical application. Artistic instruction is the basis for the students' own musical profile with which they can authentically present contemporary music as well as music of the past. It is this foundation which enables them to develop independently and to discover and communicate music, which was of such importance to Leopold Mozart. The Leopold-Mozart-Kuratorium Augsburg e. V. is an important partner: as a group of friends and sponsors of the LMZ, it supports and encourages the students in a multitude of ways.

Prof. Andrea Friedhofen
Head of the Leopold-Mozart-Zentrum at the University of Augsburg

Leopold-Mozart-Kuratorium, Andrea Friedhofen, Photo: Konstanze Frölich

Prof. Julius Berger, Honorary Board Member

The International Violin Competition Leopold Mozart is a podium for a diversity of musical disciplines. The competition program reflects the changing profile of the modern, responsible musical performer. The assignments range from virtuoso mastery of the instrument to the creative handling of the commissioned piece; from a knowledge of the performance practice of every epoch to the intricate requirements of being part of a piano trio.

Setting new artistic impulses as well as carrying on the tried and tested, thus preserving Leopold Mozart’s spiritual wellspring – these are the essentials of our concept. The competition is meant to be of personal benefit for everyone and naturally we are looking forward to splendid prizewinners.

Prof. Julius Berger
Professor for chamber music and cello & head of the interdisciplinary forum for artistic interpretation at Leopold-Mozart-Zentrum of the University of Augsburg

Leopold-Mozart-Kuratorium, Julius Berger, Photo: Aloisia Behrbohm

Agnes Maria Schilling, Honorary Chairwoman

This is now our 10th International Violin Competition and we are still full of new ideas! We are proud that today with the Mozart city Augsburg we are one of the most attractive competition venues in the world.

Leopold Mozart and his famous “Fundamental Principles of Violin Playing” are a constant source of inspiration for us and continue to show us the way. We are very grateful to all our co-workers, our sponsors from the business world and to all the many families in Augsburg, the volunteers and host families and our loyal audiences. We are indebted to you all for your generosity and cordiality. You play an essential role in creating the high standing of our competition through your friendly welcome to the contestants, the jury and visitors from many different places, enabling them to spread the good name of Augsburg throughout the world.

Agnes Maria Schilling
Honorary Chairwoman

Leopold-Mozart-Kuratorium, Agnes Maria Schilling

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