06-13-2019
Im Rahmen einer kleinen Schubertiade im Bösendorfer Stadtsalon in Wien in Kooperation mit Radio Klassik stellte Moderatorin Arabella Fenyves im Gespräch mit Florian Krumpöck das Vol. I seiner Gesamtaufnahme aller vollendeten Schubert-Sonaten vor. Auch die Presse reagierte prompt auf die Neuerscheinung. So schrieb die Wiener Zeitung: (…) in dieser Rolle legt [Krumpöck] ein fantastisches Album vor (…) (…) Schuberts Sonaten-Erstling begegnet er mit einer Klangkultur und Interpretationskunst, die Respekt abnötigen. Der Kurier verlautete: (…) Krumpöck spielt die a-moll und B-Dur-Sonate technisch makellos und stets mit Tiefgang. Schubert ohne Kitschfaktor. Man darf sich auf weitere Einspielungen freuen.
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05-25-2019
The Kulturverein Semmering purchase of a Bösendorfer 280 VC concert grand piano has sent an important signal about how culture can be fostered for the future in a region that was once so steeped in history. The resort where Alma Mahler, Stefan Zweig, Arthur Schnitzler among others spent once their summer months is now set to flourish especially during the summer’s cultural months. It was a great honour for Florian Krumpöck, as artistic director of Kultur.Sommer.Semmering, to make his own contribution to this development with a benefit concert entirely dedicated to the music of Beethoven at the legendary Südbahnhotel Semmering to help refinance the wonderful instrument.
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04-11-2019
The second evening of the Pilgerfahrt zu Beethoven [Pilgrimage to Beethoven] cycle at the MuTh in Vienna was dedicated to Beethoven’s youth, his separation from his difficult father and his first successes. Wolfram Berger captivated the audience with his incarnation of the genius composer, thrilling the audience with his exciting and emotionally stirring insights into the Viennese beginnings of one of the greatest composers of all times with a selection of texts by Karin Sedlak. Also on the program were Beethoven’s first two sonatas dedicated to Josef Haydn as well as the virtuoso and popular Sonata "The Hunt" op. 31/3. The multi-year cycle will resume next season at the MuTh with Gerti Drassl and Johannes Krisch among other guests. Subscriptions are already available!
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04-04-2019
On the second evening of the cycle dedicated to all of Franz Schubert’s completed piano sonatas, Florian Krumpöck played two epic monumental works: the "Fantasy Sonata" in G major D 894 and the Sonata in A major D 959. The popularity of the latter due largely to its disturbingly tragic "Andantino". The concert was also the occasion for a real premiere: the Bösendorfer 280VC concert grand piano, personally selected by Florian Krumpöck, was heard in concert for the first time. The instrument will be heard from 2020 on at the new Kasematten Concert Hall in Wiener Neustadt.
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03-20-2019
After devoting himself to Karl Weigl’s “Piano Concerto for the Left Hand” in 2015, Florian Krumpöck made a recording on the Capriccio label dedicated to chamber music from this unjustly forgotten composer. The CD includes the Piano Trio, a violin sonata, two pieces for violin and piano as well as two pieces for cello and piano played together with the wonderful David Frühwirth (violin) and Benedict Klöckner (cello).
02-23-2019
Florian Krumpöck had four premieres in a single evening this February: his first time at the side of star tenor Piotr Beczala, his first time in the Great Hall of the Vienna Konzerthaus, his first concert as part of the renowned "Great Voices" cycle, and his first time conducting the Bohuslav Martin? Philharmonic Orchestra. Some of the most famous tenor arias of the repertoire were framed by various overtures and symphonic works by Verdi, Puccini and Bizet. The sold-out concert ended with a standing ovation.
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01-29-2019
Zum 300-jährigen Landesjubiläum stand Florian Krumpöck erneut am Pult des SOL in Liechtenstein. Neben dem 2. Violinkonzert von Sergei Prokofjew mit der hochvirtuosen Solistin Sara Domjanić wurde hierbei eine zu unrecht vergessene Rarität wieder zum Leben erweckt: die grandiose und monumentale „Wallenstein-Sinfonie“ von Joseph Rheinberger. Verewigt wurde das imposante Werk mit einer Aufnahme des Labels „Ars-Produktion“, das von der ICMA bereits als „Label des Jahres“ ausgezeichnet wurde. Die CD soll bereits im Mai dieses Jahres erscheinen.
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01-23-2019
Die bereits in Toulous am Théâtre du Capitol gefeierte Ballett-Produktion „Dans les pas de Noureev“ fand gemeinsam mit Florian Krumpöck im Jänner 2019 seine Fortsetzung in der wunderschönen französische Stadt Montpellier. Bei frühlingshaften südfranzösischen Temperaturen wurde die beeindruckende Ballettproduktion im Rahmen des Tanzfestivals „Montpellier Danse“ innerhalb zweier restlos ausverkaufter Vorstellungen in der akustisch beeindruckenden Opéra National Montpellier vor knapp 4.000 Gästen neuerlich gezeigt und ebenso frenetisch bejubelt, wie man es bereits in Toulouse erleben durfte.
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01-01-2019
The new year began with the Symphony Orchestra of St. Gallen and works from the Strauss dynasty at the St. Gallen Tonhalle.
The arrival of the new year offers the opportunity to look back, but also to look ahead, to reflect on events of the past year and to look forward to what is to come. 2018 was a year full of enriching musical moments and encounters, some of which were particularly memorable: the debut at the Théâtre du Capitole in Toulouse (resulting in an immediate invitation for the 2019/20 season with a new production of Janá?ek’s opera Jenufa with, among others, the magnificent soprano Angela Denoke); the wonderful collaboration with the piano company Bösendorfer (combined with the opportunity to record and give concerts on their three Bösendorfer concert grand pianos); performances of the complete Beethoven and Schubert sonata cycles including CD recordings; another collaboration as a conductor with the Vienna Symphony Orchestra; and the beginning of an intensive musical collaboration with star tenor Juan Diego Flórez. The new year begins with two major debuts: the ballet production Dans les pas de Noureev at the Opéra National de Montpellier and the gala concert with Piotr Beczala as part of the “Great Voices” cycle in the Great Hall of the Vienna Konzerthaus. In between, I look forward to conducting the Liechtenstein Symphony Orchestra again with two symphony concerts and a recording session.
12-14-2018
The last concert of the year, the second installment of a Schubert Sonata cycle, took place in the quiet town of Weitra, Lower Austria. My deepest thanks go to the organizers of the recreate-Festival, who made it possible to end the year in such a wonderful way.
(...) Sometimes singing, sometimes dancing, sometimes meditating, sometimes at a breakneck speed, sometimes extremely quiet, sometimes extremely loud, but always with uncanny certainty. With high attention paid to stylistic considerations, [Florian Krumpöck] played the second of four recitals in front of an exceptionally captivated audience (...) I wonder if it was Florian Krumpöck or the Steinway grand, if it was Schubert or the Rathaussaal and the atmosphere all around. Or maybe it was all of this together. It was wonderful. (…)
12-08-2018
Austrian composer Richard Dünser has achieved a great musical success with his arrangement of Brahms’ Piano Quartet op. 25 in G minor for piano four hands and string orchestra. It was truly a great honour and a great pleasure to record this work for the Berlin Classics label with the brilliant Silver-Garburg Piano Duo and on the podium before the Vienna Symphony Orchestra.
11-08-2018
The first evening of the Schubert cycle was also a real box-office hit in the "Bösendorfer & More" cycle in Wiener Neustadt. Florian Krumpöck gave the first of his four planned concerts dedicated to the music of Schubert before a sold-out house. The Schubert cycle will resume on April 4, 2019 when he will perform the sonatas in G major D. 894 and in A major D. 959.
(...) Florian Krumpöck performed the Sonatas D. 537, D. 664 and D. 960 at his Schubert concert last Saturday and his performance was full of depth, balance and subtle pianistic touch. The last work was particularly impressive and was the highlight of the evening with its "heavenly lengths" in the first two movements, after which the following dance movements seemed like relaxed encores. The audience in the sold-out Bösendorfer Hall was thrilled. An experience. (NÖN)
10-28-2018
Florian Krumpöck started his Schubert Sonatas cycle in the beautiful atmosphere of the Rathaussaal in Weitra with the extensive Sonata in B flat major D. 960 as well as the Sonatas in A major D. 664 and A minor D. 537. All Schubert’s finished sonatas will be played during this 4-concert cycle on a very special grand piano, a Steinway from 1883. The next concert dates are 14 December 2018, 20 October 2019 and 17 November 2019.
10-19-2018
Florian Krumpöck made his successful debut at the famous Théâtre du Capitole in Toulouse with the ballet production Dans les pas de Noureev. An invitation for the new production of Janá?eks "Jenufa" in 2020 with a prominent cast followed immediately.
10-09-2018
It has been a great pleasure to open the cycle of Beethoven’s piano sonatas in the concert hall of the Vienna Boys’ Choir, the MuTh, in Vienna, together with Burgtheater actor Martin Schwab. In the coming years, in the course of the series Pilgerfahrt zu Beethoven [Pilgrimage to Beethoven], all piano sonatas of the Bonn master will be performed at the MuTh together with a prominent guide who will read texts from and about Beethoven and thus provide the audience with rare insights into the life of the great musical revolutionary. The next stage of this pilgrimage to Beethoven will take place on 11. April 2019, this time with Wolfram Berger.
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09-03-2018
As in previous years, at the end of the 2018 Kultur.Sommer.Semmering festival the Semmering Kurhaus was converted into a recording studio for two weeks, first for the continuation of the recording of the Beethoven’s complete sonatas cycle, this time with the Sonatas op. 2 no. 3, op. 10, no. 2, op. 10 no. 3, op. 27 no. 2 (“Moonlight” Sonata) and op. 31 no. 1. Chopin’s second Sonata and the four Ballads were also put "in the box". With consideration for their specific sound characteristics these works were recorded either on a Steinway D grand piano; on Bösendorfer’s latest, superbly successful, concert grand model the 280 VC; or on Bösendorfer’s "Imperial" grand, affectionately known as the "thick Berta".
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08-26-2018
The concert with musicians of the woodwind section of the Bremen Philharmonic Orchestra during the music festival in Goslar was a great pleasure. The program included a virtuosic performance of Friedrich Gulda’s cello concerto by Johannes Krebs the solo cellist of the Bremen Philharmonic. (... Johannes Krebs and conductor Florian Krumpöck performed Gulda’s Concerto together with the woodwind players with power and high energy in a highly dynamic manner...) Goslarsche Zeitung
07-26-2018
Angelika Kirchschlager could be heard this year once again at the 2018 Kultur.Sommer.Semmering festival. With their joint Schumann program, Kirchschlager, accompanied by Florian Krumpöck, charmed the audience and provided deep insights into the inner life of the Clara and Robert Schumann as well as the "house friend" Johannes Brahms.
06-30-2018
Birgit Minichmayr, together with Florian Krumpöck, opened the 2018 Kultur.Sommer.Semmering with texts by Ingeborg Bachmann and music by Franz Schubert. For the fourth time, Florian Krumpöck gathered great artists of today for his festival in Semmering. With 70 events spread over 10 weeks, Krumpöck wishes to bring back a bit of the original splendour to this historic place, once the gathering site of great artists of the fin-de-siècle era.
06-23-2018
For the second time, Florian Krumpöck conducted the "Klassik am Dom" Gala Concert with the Vienna Volksoper Symphony Orchestra and, this time, star tenor Juan Diego Florez. Together, they gave an unforgettable concert with arias from Mozart, Bellini, Puccini and many more. What a pleasure it is to work at this level!
(... the Vienna Volksoper Symphony Orchestra played on equal terms, whereby Florian Krumpock’s impulsive and at the same time very sensitively thought-out conducting and his feeling for the fine rubati of Italian opera contributed much to the success of the evening...) OÖ Nachrichten
06-16-2018
A concert of a different kind: satire meets classical music. The joint evening with Angelika Kirchschlager and Alfred Dorfer with the new program entitled "Death of a Poodle" was a great success. With great humour, Alfred Dorfer and Angelika Kirchschlager illuminated lesser-known aspects of artists’ life. Bizarre stories were framed by musical interludes. (... Six years ago, "when the ORF was still doing interviews", says Dorfer, he met Angelika Kirchschlager for the program series "Artgenossen". They organized the evening like they did back then: as a formal interview with Dorfer asking, and Kirchschlager answering. The singer expressed her longing for more risqué parts as she often plays “pants roles” in which she has to kiss women. And how indisposed singers are saved by pianists. The audience swayed happily to Bizet’s "Habanera" from Carmen, accompanied by the outstanding pianist Florian Krumpöck, who also had the opportunity to shine with Alfred Grünfeld’s "Fledermaus-Paraphrase". Also acting as a page-turner, Dorfer was a silent albeit great clown... two hours were much too short, a rare pleasure...) OÖ Nachrichten
read more...06-11-2018
Florian Krumpöck launched his recording of Franz Schubert’s complete piano sonatas with the Sonata in B flat major D. 960, the Sonata in A major D. 664 and the Sonata in A minor D. 537. This also marked the beginning of two close partnerships: first, this is the first recording on Florian Krumpöck’s own his new Bösendorfer "Imperial" grand piano, and second, it marked the first collaboration with the well-established Austrian record label Quinton. This recording, the first installment of a planned complete recording of the Schubert Sonatas, should be released in Spring 2019.
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06-04-2018
After 10 years of intensive and fruitful cooperation with the Blüthner piano-manufacturing company, Florian Krumpöck bid farewell with a piano recital with works by the Polish master Frédéric Chopin. As a new Bösendorfer artist and artistic director of the Bösendorfer concert series "Bösendorfer & More", Florian Krumpöck will now be heard regularly at the very place where the instruments of the traditional Viennese company are born: he will start a cycle dedicated to all Franz Schubert piano sonatas in Wiener Neustadt on November 8.
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05-26-2018
Under the title “Magicians of Romanticism - between Salon and Grand Concert”, Florian Krumpöck’s concert at the Braunlager Maikonzerten was dedicated to the virtuosos of the Romantic era with works from Robert and Clara Schumann, Franz Liszt and Frédéric Chopin.
Many thanks to the organizer and dramaturge Kaja Engel who, with much charm, offered the audience insight into [Robert?] Schumann’s tough but always highly thought-out and respectful opinions of his contemporaries. The duet performance of Clara Schumann’s Romances with the young and highly talented violinist Ioana Cristina Goicea was also a highlight.
04-28-2018
Florian Krumpöck was truly delighted with his first collaboration with the Loh Orchestra Sondershausen, one of the oldest orchestras in Germany (1600). For the sixth concert of the orchestra’s own cycle, on two consecutive evenings Florian Krumpöck performed Beethoven’s 3rd Piano Concerto which he conducted from his bench at the piano, Bruch’s "Loreley" Overture, and one of his favorite works, Schumann’s 3rd Symphony.
“(...) The 6th Symphony Concert ended with bravos and enthusiastic applause. (...) (...) Reviving the performance practice customary then, Florian Krumpöck ingeniously conducted the concerto from the piano. (...) The 2nd movement, a largo, was outstanding. The solo instrument began very movingly with the first theme and the orchestra picked up the mood and maintained it until the tension finally exploded in the 3rd movement in an almost effervescent, extremely virtuosic finale. Hardly anyone could escape this magical sound.”
04-17-2018
The collaboration between the Bösendorfer artist and one of the oldest piano manufactories started with a Chopin recital on his new Bösendorfer - Imperial grand piano specially set up for him. The instrument will now regularly accompany him to most concerts and recording sessions. This concert also inaugurated a new concert cycle, "Bösendorfer & more", curated by Florian Krumpöck.
“(...) in a room filled to capacity at the piano factor an excellent triumvirate of performer, instrument, and acoustics showed Chopin’s art at its best: Florian Krumpöck played short individual pieces (Ballads etc.) the Sonata op. 35 with the popular Funeral March (...) on the "Imperial" with a well-balanced touch. On this evening, I felt with an even intensity (from the second row as well as from the last) the rich palette of sounds the pianist conjured from the grand piano merely with his hands and calm posture (...)”
03-18-2018
Florian Krumpöck conducted the wonderfully poetic choreographies of Laurence Bolsigner-May to Gluck’s ballets Les Amours d’Alexandre et de Roxanne and Don Juan as part of a co-production with the Orchestre de Chambre du Luxembourg at the oldest still active theatre of France, the Opéra-Thèâtre de Metz. He extends his deep gratitude to the stellar company of the Ballet de l’ the Opéra-Thèâtre de Metz.
02-25-2018
State Opera singer Janina Bächle and pianist Florian Krumpöck paid tribute to the persecuted and silenced composers under the Nazi regime with their song collection "Fremd geh ich unter Fremden" as part of a cycle at the Blüthner Center in Vienna.
01-14-2018
With the last two concerts, Florian Krumpöck and the Orchestre de Chambre du Luxembourg made it two thirds of the way in the Schubert “marathon”: the recording of all the Schubert symphonies is nearing its completion. The soloists of the last two concerts were the wonderful Martha Khadem-Missagh with her rendition of Schubert’s Rondo for Violin and Strings and the solo part of the premiere for “Etwas träumt mich” by the brilliant Luxemburgish composer Camille Kerger, as well as the Principal Oboist of the Orchestre de Chambre du Luxembourg, Emmanuel Teutsch.
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11-22-2017
Florian Krumpöck played a seldomnly performed work created in Claude Debussy's youth in the second symphonic concert of the Schleswig-Holstein Symphony Orchestra dedicated to the theme of „French Nights“ in Husum, Rendsburg, Schleswig and Flensburg: the Fantaisie for piano and orchestra. The Flensburger Tagesblatt wrote about the concerts: „...Florian Krumpöck played sensitively and with a soft touch. It's not surprising since the student of Gerhard Oppitz, Rudolf Buchbinder and Elisabeth Leonskaja is also a conductor. Accordingly, the 39-year-old and the orchestra were able to come together in a harmonious and filigrane collaboration under the baton of music director Peter Sommerer...“ Fortunately, Deutschland Radio Kultur attended the last concert. It will be broadcast on December 3 at 20:03.
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11-08-2017
The inaugural concert of Florian Krumpöck as the new Chief Conductor of the Orchestre de Chambre du Luxembourg was defined by rarely heard repertoire.
In the first part Mozart’s Concertos for two and three pianos respectively were performed- Florian Krumpöck, as usual, excelling both as pianist and conductor. Additionally, a new piece by the Luxemburgian composer David Ianni had its world premiere.
The evening with the Orchestre de Chambre culminated in the performance of a “forgotten” masterpiece: Franz Schubert’s Symphony No. 7. Every note was composed by him, each bar completely planned- merely the score wasn’t fully constructed by him, but finished by Brian Newbould.
In this piece Schubert uses trombones for the first time. The slow movement already presages Brahms. An incredible discovery!
The Luxemburger Wort writes about the pianist Florian Krumpöck:
“...his soft touch corresponds accurately to a certain Mozartian sound and in performance communed in perfect symbiosis with his partner”
And furthermore:
“...the OCL managed to have all the elements of Schubert’s alchemy resonating”
10-27-2017
In a concert marking the 500th anniversary of the Reformation Florian Krumpöck gave his debut with the Bavarian Chamber Philharmonic (Bayerische Kammerphilharmonie). The concert took place in Gersthofen and was dedicated to the subject of „Music of Peace“. Appropriately, Felix Mendelssohns Symphony No. 5 The Reformation was performed. Additionally, two works by the Austrian composer Richard Dünser were heard for the very first time: a newly orchestrated version of the Piano quartet op.25 in G minor by Johannes Brahms arranged for Piano four hands and strings, as well as a piece written this year entitled Apocalypsis. (...) Under the baton of Florian Krumpöck the Bayerische Kammerphilharmonie shone through precise noblesse and refined instrumental colors. (Augsburger Allgemeine)
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09-27-2017
Big cause for celebration at the Blüthner showroom, 10 years after first opening its doors in Vienna. The festivities included a performance by Vienna State Opera singer Janina Baechle and Florian Krumpöck sharing a glimpse of their upcoming program Exiled Composers with works by Erich Wolfgang Korngold, Karl Weigl and Hanns Eisler. The complete program will first be shown on Feb 25 at the Haus der Ingenieure. The director of the Vienna Volksoper, Robert Meyer, was amongst the well-wishers: together with Florian Krumpöck at the piano he treated everyone to a little excerpt from his program When Christo wrapped The Three Tenors.
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09-23-2017
A further song recital with Angelika Kirchschlager took place at the „Inntrada“ Festival in St. Martin im Innkreis. This time the young soprano Theresa Grabner joined in for the occasion. Songs by Johannes Brahms, Robert Schumann, Franz Schubert, and Franz Liszt as well as duets by Felix Mendelssohn, Robert Schumann and Johannes Brahms made this evening an artistic delight.
09-05-2017
As in the past year, Florian Krumpöck made good use of the fantastic acoustics at the Kurhaus Semmering and made several recordings during the summer months. To start with, he recorded the Sonata in B minor and the Fantaisie in F major by Frédéric Chopin in June. These pieces will be combined with a live recording of Antonin Dvorák´s Piano Concerto at the Meistersinger Hall in Nürnberg made last year under the baton of Markus Bosch. At the beginning of September Florian Krumpöck continued his work and recorded the sonatas op.2 No 1, op.2 No 2, op.31 No 3 (The Hunt), op.31 No. 2 (The Tempest) and op.13 (Pathétique) by Ludwig van Beethoven, as a start to a complete recording of all 32 sonatas by the German master.
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09-01-2017
The new song recital program Du meine Seele, du mein Herz- Robert Schumann, Clara Schumann und Johannes Brahms: A ménage à trois? premiered during the last festival week of Kultur.Sommer.Semmering, featuring mezzo-soprano Angelika Kirchschlager. Through letters and songs of the three composers the singer, together with pianist Florian Krumpöck, entered their emotional world to reveal happiness, longing, pain and passion to the audience in an evening of song and spoken text.
08-27-2017
Yet again, the joint evening’s program with the director of the Vienna Volksoper Robert Meyer was terribly amusing. In his inimitably virtuosic way, he performed excerpts of Alfred Brendel’s grotesque poetry. To honor the great pianist Florian Krumpöck played works by Mozart, Beethoven, Schubert, Brahms and Liszt, that make up an integral part of Brendel’s repertoire.
08-15-2017
Im legendären Südbahnhotel vermischten sich bei einem Liederabend mit der großartigen Staatsopern - Sängerin Stephanie Houtzeel Stimmungen aus längst vergangener Zeit mit Eindrücken aus der Gegenwart. Mit ihrem samtvioletten Mezzo - Sopran entführte die Sängerin das Publikum gemeinsam mit Florian Krumpöck am Klavier mit Liedern von Gustav Mahler, Erich Wolfgang Korngold und Albin Fries in eine Welt zwischen Traum und Wirklichkeit. Einen herzlichen Dank auch an den Komponisten Albin Fries, den wir bei diesem Konzert persönlich begrüßen durften.
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07-29-2017
Bereits zum dritten Mal nimmt sich Florian Krumpöck der Mammut - Aufgabe an, die 32-Sonaten Ludwig van Beethovens zyklisch aufzuführen, dieses Mal jedoch ergänzt um eine Gesamteinspielung der Werke. Zum Auftakt dieser Pilgerfahrt zu Beethoven, die auf mehrere Jahre ausgelegt ist, erklangen heuer an zwei Abenden im Rahmen des Kultur.Sommer.Semmering die Sonaten op. 2/1, op. 2/2, op. 31/3 (Jagd-Sonate), op. 31/2 (Sturm-Sonate) und op. 13 (Pathétique). Umrahmt wurden die Abende mit Lesungen von Wolfram Berger und Burgschauspieler Martin Schwab, die mit Briefen von Beethoven sowie Richard Wagners Essay Eine Pilgerfahrt zu Beethoven dem Publikum einen wunderbaren Einblick in die Welt des großen Komponisten gaben.
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07-16-2017
Zum letzten Mal in dieser Saison gab es das Jahrhundertwende Programm mit Angelika Kirchschlager und Florian Krumpöck zu hören, dieses Mal Open-Air bei den Festspielen Stockerau. Bei Sonnenuntergang und leichtem Wind lauschte das Publikum gebannt den Liedern von Alma Mahler, Gustav Mahler, Erich Wolfgang Korngold und Richard Strauss.
07-14-2017
In ungezwungener Atmosphäre plauderten Tamara Metelka und Nicolas Ofzarek beim zweiten Künstlergespräch mit Florian Krumpöck im Rahmen des Kultur.Sommer.Semmering über die heutige Entwicklung der Schauspielkunst, über das must have eines jeden Schauspielers, der sowohl in Theater als auch im Film tätig sein möchte, über die Verantwortung und das Ziel eines Lehres am Max-Reinhardt-Seminar und über die Philosophie dieser weltbekannten Schauspielschule, die Generationen an großen Schauspielern hervorgebracht hat. Vielen Dank an diese beiden großartigen Künstler!
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07-08-2017
Einen großen Publikumsansturm mit ausverkauften Saal hatte das zweite Konzert innerhalb von acht Tagen bei den Gezeiten-Konzerten in Ostfriesland. Dieses Mal fand es in der stimmungsvollen, zum Teil mit Kerzenlicht beleuchteten spätgothischen Peter-und Pauls Kirche in Völlen statt und war ganz dem großen Meister Franz Schubert gewidmet. Beginnend mit der monumentalen B-Dur-Sonate gesellte sich nach den beiden As-Dur Impromptus im zweiten Teil Matthias Kirschnereit für die f-moll Fantasie zu vier Händen dazu. (…) Das mächtige viersätzige Werk spielte der Pianist und Dirigent mit unverhohlener Lust am dramatischen Affekt auswendig (…) (…) Sein ambitioniertes Spiel war vom ersten Ton an bestechend (…) ( Emder Zeitung)
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07-07-2017
Während einer lauen Sommernacht entführte das Orchestre de Chambre du Luxemburg unter der Leitung von Florian Krumpöck beim Festival de Wiltz vor der wunderschönen Kulisse des Wiltzer Schlosses das Publikum in der ersten Konzert-Hälfte in die träumerische Welt der Streicherserenaden von Dvorak und Elgar und tauchte in der zweiten Hälfte mit den vier Jahreszeiten von Astor Piazzola in Welt der Leidenschaft des argentischen Tangos ein. Umrahmt wurde die zweite Hälfte des Abend von einer Choreographie von Jean-Guillaume Weis. Die Luxemburgische Zeitung „das Wort“ kommentierte humorvoll, wie die extrovertierte Gestik von Florian Krumpöck mit der sehr feinen Interpretation der Werke kontrastierte (…et sa gestuelle parfois extravertie contrastent avec une grande finesse d’interprétation…)
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07-02-2017
Das sagenumwobene Südbahnhotel öffnete nach vielen Jahren wieder für das erste Künstlergespräch am Eröffnungswochenende des Kultur.Sommer.Semmering zum 90.Geburtstag der österreichischen Schauspiellegende Waltraud Haas seine Tore. Voller Energien erzählte Waltraut Haas im Gespräch mit Florian Krumpöck Anekdoten einer längst vergangenen Zeit und ließ so manch nostalgisches Herz höher schlagen…
06-30-2017
Sowohl beim Musiksommer Bad Schallerbach als auch eine Woche später in Aurich im Rahmen der Gezeitenkonzerte begeisterten Angelika Kirchschlager und Florian Krumpöck erneut mit dem Programm „Lieder der Jahrhundertwende“
„ ...Die Mezzosopranistin ( Angelika Kirchschlager) durchlitt während ihres Auftritts sämtliche geforderten Emotionen. Mit beeindruckender Atemtechnik hauchte sie den Liedern Leben ein. Krumpöck unterstützte sie kongenial: er brachte sein Klavier förmlich zum Erzählen. Vor dem inneren Auge der Zuhörer entstanden Landschaftsszenen, Seelenqualen und sogar einen Wettstreit zwischen Kuckuck und Nachtigall. Bravorufe und Fußgetrampel drückten die Wertschätzung der begeisterten Zuhörer aus.“ ( Ostfriesische Zeitung)
06-18-2017
Vier herausragende junge Künstler machten das Finale des zum ersten Mal stattfindenden luxemburgischen Wetbewerbs "Prix Anne et Françoise Groben" zu einem musikalischen Erlebnis auf höchstem Niveau. Elegant ließ Florian Krumpöck das Orchestre de Chambre du Luxembourg die jungen Künstler begleiten. Dieses kurzfristig übernommene Konzert im großen Saal der Philharmonie Luxemburg war ein großartiger Moment!
05-29-2017
The Orchestre de Chambre du Luxembourg appointed the Austrian artist Florian Krumpöck their chief conductor: exciting world premieres of Luxembourgian composers as well as the full cycle of Schubert's symphonies including the "forgotten" seventh symphony in the Philharmonie Luxembourg are scheduled for the first season. The collaboration with outstanding solo artists of the classical music scene and cooperations both in and outside Luxembourg are meant to place the orchestra internationally.
05-15-2017
As it is known opportunity makes love – or in our case magnificent artistic collaboration! The tour with the Norrköping Symphony Orchestra and the brilliant soloists Malin Byström, Emmanuel Tjeknavorian, Sivan Silver, Gil Garburg, Christine Maria Höller and the Silver-Garburg piano-duo was a total success! Thankfully the swedish world-class orchestra could jump in fort he Jerusalem Symphony Orchestra on short notice, with whom the tour was originally planned. The program included monumental oeuvres like Bruckner’s Symphony No. 4, Mahler’s Symphony No. 1 and „Blumine“ which was originally part of his Symphony No. 1, as well as concertinos from Beethoven and Mendelssohn-Bartholdy. The rehearsals were accordingly exciting and work-intensive but it paid off! All concerts of the tour were a great success: the two concerts in Salzburg’s Festspielhaus, the ones in Maribor and Villach and also the interjectional concert in Norrköping were completely sold out. Audience and Press were equally impressed. The verdict: "Overwhelming, magnificent!“ (aus: DrehPunktKultur 26.04.2017)
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03-29-2017
After some exciting weeks this April’s tour – originally planned with the Jerusalem Symphony Orchestra – took an unexpected turn:
At short notice the Norrköping Symphony Orchestra from Sweden takes over the tour, which will lead them to Maribor, Villach and for two concerts to the Festspielhaus Salzburg. Huge thanks to the Norrköping Symphony Orchestra and its team, which accomplished an almost superhuman planning performance and showed a maximum of flexibility during the last weeks. Furthermore, due to a short-term absence, arises the amazing possibility to take over a symphony concert in Norrköping as a substitute just one week before the tour. The debut with this wonderful orchestra, which was formed by significant chief conductors like Franz Welser Möst and Herbert Blomstedt in the past, also contains extracts from the tour programme. The repertoire of the tour includes A. Bruckner's Symphony No. 4, G. Mahler's Symphony No. 1 and the "Blumine", originally a part of Symphony No. 1, as well as solo concertos by L. v. Beethoven and F. Mendelssohn-Bartholdy with the soloists Christine-Maria Höller, Emmanuel Tjeknavorian and the Silver-Garburg piano duo. Moreover, the celebrated swedish soprano Malin Byström will interpret the final scene from R. Strauss' "Salome" in Norrköping.
03-08-2017
Ein farbenreiches, klangprächtiges Programm mit der neuen Lausitzer Philharmonie führte von Görlitz über Zittau und Bautzen bis nach Hoyerswerda. Die teils selten zu hörenden Werke (O.Respihis „Antiche danze ed arie per liuto“, B. Brittens „Les Illumniations“ und J. Iberts „Symphony Marine“) sowie das in anderen Sphären schwebende Meisterwerk „Ma mère L’Oye“ von M. Ravel machten diese 5 Konzerte unter dem Motto „Farben“ zu einem regelrechten Fest der Sinne.
01-15-2017
Das zweite Konzert mit dem Orchestre de Chambre du Luxembourg stand ganz im Zeichen der Klassik. Diesmal auf dem Programm: Beethovens Egmont-Ouvertüre op. 84 sowie die Violinromanze Nr. 2 op. 50, Mozarts Sinfonia concertante KV364 für Violine und Viola sowie die „Tragische“ Sinfonie Nr. 4 D417 von F. Schubert.
Meisterhaft vom Orchestre de Chambre du Luxembourg gespielt, fein und virtuos von den Solisten Alena Baeva und Nikita Gerkusov interpretiert, war dieses Rendezvous mit den großen Meistern ein immenses Vergnügen.
01-05-2017
Ein fesselnder Abend mit tollen Kammermusikpartnern und einem grandiosen Orchester! Erstmals zu Gast beim Orchestre de Chambre du Luxembourg widmete Florian Krumpöck das Konzert ganz dem Komponisten Dimitri Schostakovitsch. Von dem zutiefst aufwühlenden Klaviertrio Nr. 2 e-moll op.67 über das Streichquartett Nr. 8 c-moll op.110 in der Kammersinfonie-Fassung op.110a von R. Barshai, das als Schlüsselwerk des Antifaschisten Schostakovitsch gilt, bis hin zu Hamlet, einer Suite für Schauspielmusik für Orchester op.32 a wurde ein kleiner Umriss der Vielseitigkeit des russischen Komponisten skizziert.
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11-13-2016
Since the time as general music director at the Volkstheater Rostock the returns as a guest – this time as pianist – are always a great pleasure. The third philharmonic concert of this season was one of ten "Flügelfeste" – a series of concerts to celebrate the 120th anniversary of the Norddeutsche Philharmonie Rostock. Under Michael Boder’s conduction Arnold Schönbergs’s Piano Concerto could delight the audience as well as the critics. "He [Florian Krumpöck] delivers a very light, very airy, nevertheless concentrated Schönberg, and his accord with the orchestra appears nearly tangible.", was the NNN’s (Neue Norddeutsche Nachrichten) opinion on the soloistic performance.
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11-07-2016
This year’s Tallinn Piano Festival took place in the beautiful and snow-covered capital city of Estonia. The performance of a solo-recital with a varied programme from Mozart and Schubert to Strauss/Grünfeld was a great concert experience, also thanks to the wonderful support from the festival team!
09-30-2016
Great concert at the Inntrada Music Festival in St. Martin im Innkreis with the wonderful artist couple Brigitte Karner and Peter Simonischek. An intense evening of hope, deprivation, persistence and, finally, happiness, reflected through spoken words and music. Clara and Robert Schumann - genius and passion.
09-08-2016
After many years, the famous Israel orchestra comes back to Europe! We are particularly happy to welcome them and share great musical moments at the Großes Festspielhaus Salzburg, then in Villach and Maribor. The major work of the tour is Gustav Mahlers monumental Ninth Symphony and, in addition in Salzburg, Anton Bruckners Fourth Symphony. The tour also hosts various concertos, especially with the celebrated Silver-Garburg Piano Duo.
09-01-2016
We are happy to announce the cooperation with Georg Lang of Parnassus Arts Management as new worldwide general agency.
08-03-2016
Florian Krumpöck experienced some intense but also inspiring moments during his work on three different CD recordings last month. In the course of the next year a CD with piano pieces by Johannes Brahms and Alban Berg, the already long awaited CD with chamber music works by Karl Weigl containing the Piano Trio and the premiere recording of the Cello Pieces with David Frühwirth and Benedict Klöckner and a CD with Franz Schubert’s Winterreise with the wonderful Wolfgang Bankl will be released.
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07-24-2016
Artistically intense and unforgettable moments at the Kultur.Sommer.Semmering with great artists like Roland Neuwirth and the Extremschrammeln, Angelika Kirchschlager and Janina Baechle.
06-21-2016
At the end of the season the North German Philharmonic Orchestra attained a full house and thundering applause with Florian Krumpöck. Claudio Abbado’s version of Felix Mendelssohn-Bartholdy’s Midsummer Night’s Dream, which he composed as incidental music for the stage with the same name, perfectly matched the season. The interdisciplinary collaboration of the actors Sandra-Uma Schmitz and Ulrich K. Müller, the vocal soloists Theresa Grabner-Ertl and Jamila Raimbekova and the singers of the opera choir and the choral society allowed the audience to enjoy the benefits and the value of a multi genre theater. The subsequent performance of Robert Schumann’s Symphony No. 3 Rhenish was equally celebrated.
06-14-2016
During the last two months amongst many other wonderful concerts two particularly special events took place. At the Lux Festival in Ruhla a nowadays rare opportunity emerged: the world premiere of a 19th century symphony! Florian Krumpöck conducted the premiere of Friedrich Lux’s 1st Symphony, a treasure which will hopefully find its way into the world’s concert halls.
Furthermore Florian Krumpöck enjoyed another overwhelming success with his own revision of the piano part of Antonín Dvořák’s rarely performed Piano Concerto in g minor with conductor Marcus Bosch with the Nuremberg State Philharmonic Orchestra. „The Austrian artist presented his chamber music inspired new version with high sensibility and gently sparkling touch. The audience is already looking forward to the release of the CD, which has been recorded during the concert.“
04-06-2016
As part of the 8th concert in the subscriptiom series of the North German Orchestra Florian Krumpöck presented his own revision of the piano part of Antonín Dvořák’s rarely performed Piano Concerto in g minor, which is way more influenced by the pianistic texture of the composer’s late piano chamber music than the mostly performed version of Vilém Kurz, which is rather influenced by the late romantics. Making music together with "his" orchestra again was a great pleasure for Florian Krumpöck! After this inspiring first cooperation with conductor Marcus Bosch this new version will be recorded on CD in the course of the concert with the Nuremberg State Philharmonic Orchestra in collaboration with "Deutschland Radio Kultur" in May.
02-05-2016
Angelika Kirchschlager enchanted one of Vienna’s most beautiful chamber music halls with a fascinating musical portrait of the "Fin de siecle". Together with Florian Krumpöck on the Blu?thner grand piano in the historic hall of the "Haus der Ingenieure" she took the audience into the atmosphere of the turn of the twentieth century. Amidst the intimate setting of the recently renovated concert hall some mostly undiscovered and rare songs by Alma Mahler and Erich Wolfgang Korngold together with some of the most famous songs by Richard Strauss and Gustav Mahler enthralled the audience.
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01-21-2016
With Ludwig van Beethoven’s 2nd Piano Concerto Florian Krumpöck enjoyed another great success in his dual role as conductor and pianist with one of the most renowned Danish orchestras. The breathtaking ambience of the young concert hall was the perfect setting for the broad program, whose magnificent finale was Richard Strauss’ "Death and Transfiguration" and the Adagio from Gustav Mahler’s 10th Symphony. It was an impressing experience in a city, of which we will definitely hear more about, once it will be Capital of Culture in 2017.
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12-19-2015
The inspired concert with conductor Florian Krumpöck was greeted with "enthusiastic applause" in Pforzheim on December 12th, whereby the Viennese guest conductor motivated the Badische Philharmonie Pforzheim to accomplish a peak performance. "There was rumbling, banging, humming and whistling as it can possibly be during witches’ sabbath depicted by Mussorgsky" was said about the Night on the Bare Mountain, whose "thrilling and brilliant" performance caused enthusiastic cheers. "A truly passionate concert" summarized the impressed Pforzheimer Zeitung.
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10-20-2015
On Sunday Florian Krumpöck made his debut in Kiel – with a program, which was dedicated to his home town Vienna: "With clear and forward-thinking gestures the conductor lead the well-disposed Kiel Philharmonic Orchestra through the tricky score" of the Sinfonietta by Alexander Zemlinsky, a downright discovery. A true piece of the Classical period is the Flute Concerto in D major by W. A. Mozart with the solo flutist of the Munich Philharmonic Orchestra Michael Martin Kofler as soloist. Arnold Schönberg’s adaptation of Johannes Brahm’s Piano Quartet No. 1 completed the program.
"If there is in fact huge applause for the orchestra and the conductor after this snappy finale, which depicted kind of an enormous Hungarian dance, it is entirely justified!" (Kieler Nachrichten).
09-01-2015
Even though you can’t feel the cooling down in the lovely and well preserved concert hall in the Kurhaus Semmering yet, even the hottest summer has to come to an end someday. Last Friday Florian Krumpöck presented himself in the role of the modest landlord and attended Wolfgang Bankl at Franz Schubert’s Winterreise.
Life and work continued instantly for Florian Krumpöck: on Saturday he had his debut with the Brandenburg Symphony Orchestra on the occasion of the annual "Wassermusiken", a big open air event on a boat race course. Skillful he built a bridge from Felix Mendelssohn-Bartholdy’s "Calm Sea and Prosperous Voyage" to Nikolai Rimsky-Korsakov’s "Scheherazade" and knew well how to enthrall the audience with his moderation. The fascinating open air scenery and the perfect weather made the two times completely sold out concerts a unique experience for all participants.
07-20-2015
Die Festivalsaison ist eröffnet! In seiner ersten Intendanz beim Kultur.Sommer.Semmering begrüßte Florian Krumpöck bislang nicht nur heimische Stars wie Angelika Kirchschlager, Heinz Marecek und Roland Neuwirth im Kurhaus Semmering: Am vergangenen Samstag brachte er "Wienerisches" mit. Sein fulminanter Klavierabend mit Werken von Franz Schubert und Johann Strauß fesselte das Publikum im einmaligen Jugendstilambiente des Kurhaus Semmering, in dem Otto Schulhof, dessen Bearbeitung der Pizzicato-Polka ebenfalls auf dem Programm stand, seinerzeit ein und aus ging.
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06-28-2015
Ein krönender Abschluss der Konzertsaison 2014/15 war die "Klassik am Dom" Gala in Linz am vergangenen Freitag, die Florian Krumpöcks erste Zusammenarbeit mit Universal darstellte: Ein schöneres dirigentisches Debüt beim Bruckner Orchester Linz hätte sich Krumpöck nicht wünschen können.
Die Publikumslieblinge Angelika Kirchschlager und Michael Schade sowie die Salzburger Sopranistin Theresa Grabner liefen zu Höchstleistungen auf, und nicht zuletzt lockte das wunderbare Wetter ein begeistertes Publikum zum Domplatz in Linz.
06-12-2015
Florian Krumpöcks Debüt bei der Neubrandenburger Philharmonie fand in "Deutschlands aufregendster Konzerthalle" statt: im atemberaubenden Ambiente der Konzertkirche Neubrandenburg. Zudem war das die erste Zusammenarbeit von Florian Krumpöck mit dem fantastischen Klavierduo Sivan Silver und Gil Garburg.
06-04-2015
Zum Saisonende kehrte Florian Krumpöck mit einem fulminanten Konzert nach Rostock zu seinem früheren Orchester zurück: Zum 1. Mal trat er als Solist unter der Leitung von Michael Boder, dem Chefdirigent und künstlerischen Leiter der Königlichen Oper Kopenhagen, auf.
"Und der breitete ihm dann einen gut gewirkten Teppich aus, auf dem Krumpöck die virtuose Brillanz von Webers Konzertstück für Klavier und Orchester op. 79 und der "Burleske" von Richard Strauss darbieten konnte: hochkonzentriert, mit lyrischer Vertiefung" begeisterte sich die Ostsee Zeitung.
02-23-2015
Am vergangenen Wochenende war Florian Krumpöck bereits zum zweiten Mal bei den Brandenburger Symphonikern zu Gast - diesmal nicht nur als Pianist, sondern in der Doppelrolle am Klavier und am Pult. Der Kulturradio-Moderator Clemens Goldberg führte gemeinsam mit Krumpöck durch den Abend.
"Den Pianisten und die Symphoniker zu hören, war am Samstagabend eine wahre Wohltat für die Ohren. Wunderbar wenig anstrengend gestaltete sich das Genießen der nie auftrumpfenden Virtuosität des Klavierkonzerts von Haydn. Krumpöck verstand es, sich auf die Anforderungen einzustellen, den Witz und die extrem sprühende Agogik der Ecksätze auszudeuten. Die Symphoniker agierten punktgenau, folgten dem Pianisten agil in jede Richtung und vermochten die Feinheiten in feinsinnigen Klang umzusetzen." so die Märkische Allgemeine, die auch anmerkte, dass das Konzert enthusiastischen Beifall und Bravorufe für ein außerordentliches Konzert erntete.
01-30-2015
Die Kulisse des geschichtsträchtigen Kurhauses inmitten der überwältigenden Landschaft des Semmerings sowie das traditionsreiche Grandhotel Panhans, ehemals Begegnungsstätte der gesellschaftlichen Größen des Fin de siècle, sind heuer bereits zum fünften Mal Schauplatz künstlerischer Vielfältigkeit. Unter der neuen Intendanz von Florian Krumpöck werden hier ab dem 4. Juli bis zum 5. September neben ernster Musik auch Highlights der Kleinkunst und musikalisch Vielfältiges von Chanson bis Jazz geboten.
Künstler wie Angelika Kirchschlager, Roland Neuwirth, Heinz Marecek, Andrea Händler, Miguel Herz-Kestranek, Georg Breinschmid, Willi Resetarits, Matthias Schorn, Wolgang Bankl, Maria Bill, Erwin Steinhauer u.a. präsentieren über 2 Monate ein buntes Programm quer durch viele Bereiche der Kultur.
Nähere Informationen finden Sie unter www.kultursommer-semmering.at
01-25-2015
When the square in front of the Saint Mary Cathedral in Linz is bathed in dark, warm light by a mild summer evening, this is just the perfect mood for classical concerts that delight the heart and flatter the ear. The Classic Festival at the Cathedral in the rich Austrian summer concert-scenery has long since built up a reputation of quality. Angelika Kirschlager, Michael Schade and the Bruckner Orchestra Linz have provided for a special enjoyment of art with a grand "Klassik am Dom" in what is the fifth season already.
Angelika Kirschlager - a likeable Austrian mezzo-soprano who is at home on all stages and in all renowned concert halls in the world, has earned the audience's love and cheers at different occasions such as "Cherubino," "Composer" or "Octavian" on the opera stage, at intimate song recitals, where she scores with particularly delicate interpretations, or lately in Linz together with Konstantin Wecker in the programme "Liebestoll" ("Love-Stricken"). The woman from Salzburg never fails to let the sparks fly when she captures her audience.
At the ?Classical Music Gala" Michael Schade will be at Kirschlager's side. He has been a top class tenor for many years and his repertoire covers a wide range from all important Mozart parts through Richard Strauß ("Capriccio") and the Prince in Dvorak's "Rusalka" to his latest role debuts: Eisenstein in the "Bat" or Britten's "Peter Grimes".
The Bruckner Orchestra Linz conducted by Florian Krumpöck accompanies those two exceptional singers.
01-24-2015
Last weekend Florian Krumpöck revelled in his celebrated conducting-debut in China with the Hangzhou Philharmonic Orchestra and Barry Douglas at the piano. Krumpöck started the evening that was exclusively dedicated to music by Ludwig van Beethoven, with the Leonore Overture No. 3. This was followed by the famous 5th Piano Concerto with the renowned Irish pianist Barry Douglas at the piano. After the break the evening was concluded with the 5th Symphony of the composer from Bonn. The result thereof was the prompt expression of an invitation to return!
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01-14-2015
Only two weeks after conducting for the New Year, Florian Krumpöck returned to Salzburg's Grand Festival House with his former orchestra, the North German Philharmonic Orchestra Rostock. This time the programme featured Aram Khachaturian's dramatic Violin Concerto in d-minor with Christine-Maria Höller as violinist, as well as Tchaikovsky's 5th Symphony.
"Their enthusiasm upraised by an excellent conductor who knows its strengths so well, the Philharmonic Orchestra played at their very limit with beautiful, homogenous culture of sound and an impressively devoted joint intensity." (Heinz-Jürgen Staszak, Ostsee Zeitung). The fastidious Salzburg audience was so enthralled that their deafening applause even managed to charm their Rostock guests into obliging them with an encore.
12-14-2014
After stepping down as the North German Philharmonic Orchestra's chief conductor and music director at the People's Theatre Rostock, Krumpöck returned to the theatre for the first time as a guest for the 4th Philharmonic Concert. In addition to Khachaturian's Violin Concerto (soloist: Christine-Maria Höller) the programme also featured Antonin Dvorak's "New World" Symphony.
Orchestra, audience and press were enthusiastic about the former chief conductor's guest appearance: "«Sensational!» somebody in the stalls breathed. Another voice's loud "Bravo" mingled with the applause." (quoted from the Norddeutschen Neuesten Nachrichten dated December 13, 2014).
Please klick here for the complete review of the evening.
12-01-2014
The New Year's Concerts at the great Festival House Salzburg keep breaking records year after year. The continuing strong demand saw in 2011 for the first time the extension from to two and in 2013 even to three New Year's concerts in one day. On New Year's Day in 2014 the Salzburg Cultural Association welcomed for the first time the unbelievable number of 6,500 guests at the grand Festival House Salzburg. 2015, too, will be ushered in with musical fireworks extraordinaire.
The performance of one of the most popular works of classical music will be the highlight of the morning and afternoon concert at 11 am and 3 pm. Ludwig van Beethoven's 9th Symphony, where the main theme of the last movement has in 1975 become the European Community's official anthem, is one of those works that is cherished by people who are determined not to lose sight of all that is good. Under Florian Krumpöck's musical direction Bizet's Carmen Suite (in parts) and Carmen fantázia by Jenö Hubay will ring out at the turn of the year.
Here you will find more information about the concerts
11-30-2014
On November 28 the second of the two anniversary concerts in honour of Josef Gabriel Rheinberger's 175th birthday of took place at the great concert hall at the College of Music and Theatre in Munich. This was at the same time also the first guest appearance of the SOL in the Bavarian capital.
The Bavarian-Liechtensteinian project directed by Florian Krumpöck had already proved to be a great success two days before at the SAL in Schaan. The musical programme contained vocal pieces by Rheinberger for a-capella choir, minor works by Beethoven and Schumann for mixed choir and orchestra and was concluded with "Wallenstein", Rheinberger?s Symphony No. 1. The Madrigal Choir of the College of Music and Theatre in Munich and the Symphonic Orchestra Liechtenstein offered at the full concert hall a musical highlight to an audience more than 450 and earned great applause. The performance was recorded by the classical radio station Bayerischer Rundfunk.
10-18-2014
After the two open air concerts Florian Krumpöck conducted Richard Strauss' Rosenkavalier on the rostrum of the Royal Danish Orchestra.
08-24-2014
On August 23 and 24 Florian Krumpöck celebrated his eagerly awaited debut with the Royal Danish Orchestra with open air performances in front of Rosenborg Palace and on Skamlingsbanken before thousands of appreciators of classical music. Among others, the programme contained works of W. A. Mozart, R. Strauss, G. Puccini, C. Nielsen, P. I. Tschaikowsky, A. Copland and L. Bernstein. Those two open air concerts are the beginning of a tight cooperation between Krumpöck and the Royal Danish Theater. In these next months Krumpöck will, among others, conduct operas like The Knight of the Rose and Lulu at the desk of the Royal Danish Orchestra.
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04-28-2014
Dmitri Shostakovich's Symphony No. 7, the doubtlessly most famous and historically so very relevant opus of the Russian composer was played again for the first time in more than 25 years at the 8th Philharmonic Concert in Rostock. Accordingly, the Great Hall at the Volkstheater Rostock was well-attended.
In order to master this tremendous opus the North German Philharmonic Orchestra Rostock was reinforced with students from the Hanseatic City's music college. "[...] As soon as the marching rhythm of the drums became audible, quietly, as if coming from afar, one immediately knew for sure: These are the German fascists marching into the Sovjet Union - that is what we were told in the olden days. Yet Krumpöck did not let himself be guided by such obvious interpretations. Bit by bit he unleashed a maelstrom that was completely and utterly fed by music, putting layers of sound on top of each other. He demonstrated with precision how the composer cunningly entangled the recurring subject in a polyphony that keeps changing and condenses and amplifies the sound step by step until the hall threatened to burst under the sonority's force."
Read the entire review here
03-17-2014
The programme of the debut concert included Johannes Brahms' Second Piano Concerto (performed by the extraordinary US-American pianist Nicholas Angelich) and Hindesmith?s symphony "Mathias the Painter".
The orchestra, the audience and the press were as enthusiastic as Krumpöck himself.
"[...] the chemistry with the State Philharmonic (and Krumpöck, N.B.) was obviously right: No matter whether strings or winds - all of them performed far above standard and impressed with their homogeneity and ability to differentiate."
"The State Philharmonic Orchestra plays highly focused and demonstrates together with the vastly superior chief conductor of the North German Philharmonic Orchestra Rostock, Florian Krumpöck (36) that the "Mathias-Symphony" is not merely about interpreting altarpieces but also about the conflict between existential threats and religious promises."
Click here for the complete review.
02-09-2014
Four young people caught in total "emotional confusion": Will the relationships break off or the weddings be called off? The successful and/or failed partner swap of two magnanimous ladies and two attractive guys in this "happy drama" unsettled the audience of the Romantic period and is only nowadays intelligible. Mozart composed a brilliant score on the highs and lows of desire and love: Doubts turn into certainty, pretence turns into truth. Or not... but then maybe yes?? The performers attempt to approximate this aesthetic "squaring of the circle".
All dates here
01-21-2014
On January 21, 2014 Florian Krumböck had his debut with the Hagen Philharmonic Orchestra in his usual dual role as pianist and conductor. Together with the soprano singer Jaclyn Bermudez he performed works of W.A. Mozart and G. Bizet. This "surprising musical pairing" (Westdeutsche Allgemeine Zeitung) was well-received by both audience and press: "The soprano singer Jaclyn Bermudez and Florian Krumpöck as pianist as well as conductor weave an enchanting mood between the dramatic pain of love and heart-breaking longing in the symphonic concert with the Hagen Philharmonic Orchestra."
The press had also nothing but words of praise for Mozart?s Piano Concerto, KV 466 in d minor: "The young Austrian Pianist impresses with a singing Legato touch that makes the virtuous passages glitter elegantly and at the same time lets the lyrical sections swing off gently."
Read the complete review here.
01-02-2014
Florian Krumpöck will start a close cooperation with the Royal Opera in Copenhagen and will among other things conduct "The Knight of the Rose", "Lulu", "Swan Lake" and concerts both as soloist and conductor at the Royal Chapel Copenhagen.
12-24-2013
Bericht aus der Ostsee Zeitung vom 24.12.2013:
Theater: Orchester bald ohne Führung
Der Vertrag von Generalmusikdirektor Florian Krumpöck wird nicht verlängert. Ein Nachfolger ist nicht in Sicht.
Das Orchester des Volkstheaters steht ab Juli 2014 ohne Generalmusikdirektor (GMD) da. Der Vertrag von Florian Krumpöck wird nicht verlängert. Dabei stimmten die Musiker der Norddeutschen Philharmonie mit Mehrheit für den Österreicher. Der zukünftige Intendant Sewan Latchinian entschied anders. Einen Nachfolger soll es nicht geben. Im Januar wird sich der Aufsichtsrat mit der Personalie befassen.
"Der Vertrag läuft aus", bestätigt Sewan Latchinian. "Wir sind an einer Fortsetzung der Zusammenarbeit mit Dirigent Krumpöck interessiert und haben das beschlossen", sagt der künftige Intendant. "Das zweite philharmonische Konzert im Oktober wird unter seiner Leitung stattfinden", kündigt er an. Jedoch spielt der Titel dann keine Rolle. "Es gibt erst mal keinen Generalmusikdirektor", so Latchinian.
Damit entschied sich der Schauspieler gegen die Stimmen der Musiker. "Das Orchester hat deutlich für Krumpöck gestimmt", bestätigt Martin Goffing vom Orchestervorstand. "Für die nächste Saison herrscht jetzt große Unklarheit. Schade, dass die Zusammenarbeit nicht weitergeht." Denn Florian Krumpöck wird nicht in Rostock bleiben. Der Dirigent geht nach Kopenhagen an die Königliche Oper.
"Ich habe das Angebot von Herrn Latchinian, den Dirigenten ohne Titel zu machen, abgelehnt", sagt Krumpöck. Es wäre ein Vertragohne die Entscheidungsbefugnis eines GMDs gewesen. Und die künftige Zusammenarbeit? "Er hat bei mir für ein philharmonisches Orchester angefragt. Das hat aber nichts mit den 50 Dirigaten zu tun, die ich gemacht habe", sagt Krumpöck. "Ich hatte Glück im Unglück, gleichzeitig das Angebot von der Königlichen Oper in Kopenhagen zu bekommen." Aufgrund des Hin und Hers habe er angenommen. "Es ist nicht klar, wie lange ich Rostock nach dem Sommer noch zur Verfügung stehe."
In finanzieller Hinsicht sieht er die Entscheidung Latchinians kritisch. Für das Theater bedeutet das Mehrkosten. "Gastdirigate sind teurer. Sie kosten doppelt so viel wie das Gehalt eines Generalmusikdirektors", sagt Krumpöck. Keine guten Nachrichten im Hinblick darauf, dass eine Insolvenz des Theaters durch den Austritt aus dem Deutschen Bühnenverein gerade erst abgewendet werden konnte. Mit der Lösung aus dem Tarifvertrag kommt das Theater um eine Lohnnachzahlung von etwa einer Million Euro sowie eine Lohnerhöhung um 8,9 Prozent herum (OZ berichtete).
Jetzt muss für das Orchester ein Haustarifvertrag ausgehandelt werden, mit der Aussicht, dass der Posten des Generalmusikdirektors unbesetzt bleibt. "Was das Orchester betrifft, ist die Entscheidung unklug", sagt Krumpöck. Zudem sieht der Pianist ohne GMD auch die künstlerische Kontinuität nicht gewährleistet. Auch der Posten des Operndirektors sei nicht besetzt. "Es ist normal, dass beim Intendantenwechsel auch das künstlerische Personal wechselt", sagt Theater-Aufsichtsratsvorsitzende Eva-Maria Kröger (Linke). Jedoch auch für sie problematisch: Mit Weggang des GMD sowie mit Vertragsauslauf von Noch-Intendant Peter Leonard fehlt die Konzert-Kompetenz. Anders als Leonard, der die Norddeutsche Philharmonie dirigieren kann, hat Sewan Latchinian einen schauspielerischen Schwerpunkt. "Ich frage mich, wer die Lücke füllen soll", sagt Kröger. Diese Frage soll in der Januarsitzung des Aufsichtsrates geklärt werden.
11-23-2013
The North German Philharmonic Orchestra Rostock under Florian Krumpöck gave a charity concert for the German War Graves Commission between the National Day of Mourning and Eternity Sunday. The guests at the fully occupied Church of St. Nicholas, among them the Minister of the Interior Lorenz Caffier, experienced a moving performance of Johannes Brahms' German Requiem. The full symphonic lineup of the North German Philharmonic Orchestra Rostock was backed by the concert choir of the Berlin State Opera and the Rostock Vocal Academy. Exceptional soloists of the evening were Theresa Grabner (soprano singer) and Olaf Lemme (baritone).
Here you find the reviews for the evening.
10-11-2013
Last weekend Florian Krumpöck made his exceedingly successful debut as pianist and conductor with the Würzburg Philharmonic Orchestra at the Mainfranken Theater. Krumpöck opened the first symphonic concert of the season as conductor at the piano with Beethoven?s Fourth Piano Concerto. After the break the orchestra under Krumpöck delighted the audience with Schubert's Great C major Symphony. The present press representatives were very impressed by "pianist who exemplary performed Beethoven?s Piano Concerto No. 4 G major Op. 58 both as soloist and conductor at the same time".
Here you find the reviews for the evening.
07-01-2013
Von 25. bis 28. Juni unternahm die Norddeutsche Philharmonie Rostock eine der spannendsten aber auch schwierigsten musikalischen Reisen, die man innerhalb der grossen Sinfonik machen kann: Wir spielten an vier aufeinander folgenden Abenden alle neun Sinfonien von L. v. Beethoven in Rostocks wunderbarem IGA-Park.
Vielleicht fragen Sie sich, was die Beweggründe einer solchen künstlerischen Kraftanstrengung sind? Bitte erlauben Sie mir dazu ein paar persönliche Gedanken:
Das Zyklische in der Musik hat mich seit jeher fasziniert, da sich dabei sowohl für den interessierten Hörer als auch für die ausübenden Künstler die Möglichkeit einer Gesamtschau auf die künstlerische, aber oft auch menschliche Entwicklung eines Komponisten bietet. Ein enger zeitlicher Rahmen fördert dabei die Erinnerung, die Konzentration und die Bildung eines übergeordneten Bogens. Bei kaum einem Komponisten bietet ein Gesamtzyklus ein so messerscharfes Porträt einer einzigen Musikerpersönlichkeit, quasi im Zeitraffer, wie beim Titanen Beethoven, der als erklärter Humanist nicht nur Utopien über Menschlichkeit und Brüderlichkeit wie in der neunten Sinfonie, sondern auch Politisches wie in der dritten und fünften Sinfonie, Naturbilder wie in der sechsten Sinfonie, beissende Ironie (achte Sinfonie), versteckte Leidenschaften (vierte Sinfonie) oder jubilierende Lebensfreude wie in der zweiten und siebten Sinfonie komponierte. Eine solche Gesamtschau ermöglicht auch einen Blick auf den Umsturz der klassischen Sinfonik, wie sie davor von Haydn und Mozart perfektioniert wurde. Wir erleben die Entwicklung der Sinfonie an sich, die mit der Anlehnung an die Tradition in der ersten Sinfonie beginnt. Bereits in der dritten Sinfonie mit ihren gigantischen Ausmaßen wird diese Tradition komplett durchbrochen, in der achten karikiert, um schliesslich, wenn instrumentale Mittel nicht mehr ausreichen, um eine der größten und wichtigsten Botschaften der Menschheit zu übermitteln, in der neunten Sinfonie komplett ad acta gelegt zu werden. Mit dem Hinzufügen der menschlichen Stimme schlägt Beethoven bereits eine direkte Brücke zu Gustav Mahler, dem wahrscheinlich wichtigsten Sinfoniker des 20. Jahrhunderts. Es ist nur zu verständlich, dass die Komponisten um und nach Beethoven (insbesondere Schubert, später Schumann, Brahms und Bruckner) wohl so niedergeschmettert von der utopischen Anlage (die vielleicht auch nur durch die völlige Ertaubung Beethovens so möglich war?) der neunten Sinfonie waren, dass sich erst Mahler wieder an die menschliche Stimme in seinen frühen Wunderhorn-Sinfonien wagte.
Nachdem ich bereits zweimal die 32 Klaviersonaten von Beethoven zyklisch zur Aufführung brachte, ist es mir eine ganz besondere persönliche Freude, Ihnen zusammen mit der Norddeutschen Philharmonie meinen ersten geballten Zyklus der Sinfonien des Bonner Meisters zu präsentieren. Die Programmzusammenstellung erfolgte absichtlich nicht chronologisch, um auch jedes einzelne Konzert zu einem dramaturgisch spannenden Erlebnis zu machen.
Herzlichst,
Ihr Florian Krumpöck
06-01-2013
Taking a bow to the digital developments, all pictures of Maestro Krumpöck can now be found on flickr. To enjoy the new photostream click here. Enjoy!
03-23-2013
Das 7. Philharmonische Konzert war in mehrfacher Hinsicht etwas ganz besonderes. 2 Dirigenten, 2 Solisten und selten gespielte Werke vom österreichischen Komponisten Karl Weigl: Florian Krumpöck war mit dem Klavierkonzert für die Linke Hand zu hören um nach der Pause den Geiger David Frühwirth mit Weigls Violinokonzert am Pult der Norddeutschen Philharmonie Rostock zu begleiten. Dem Abschluss machte Krumpöck mit dem Adagio aus der Symphonie Nr. 10 von Gustav Mahler.
Hier einige persönliche Gedanken Krumpöcks zu Karl Weigl:
Verehrte Musikfreunde,
Den meisten Musikliebhabern wird heute der Name Karl Weigl nichts mehr sagen. Zu gründlich haben die politischen Schreckenstaten des zweiten Weltkrieges dafür gesorgt, einen wesentlichen Teil einer ganzen musikalischen Epoche quasi auszulöschen. Viele ehemals hoch geschätzte Komponisten mussten Wien verlassen, verloren ihre kulturellen Wurzeln, ihre Heimat und viele von Ihnen ihr gesamtes Hab und Gut. Am Schlimmsten erging es denjenigen, die es nicht rechtzeitig nach Amerika oder beispielsweise Argentinien schafften. Werke der sogenannten "Theresienstädter Komponisten" geben heute noch Zeugnis darüber, dass selbst in den Konzentrationslagern der Nazis noch bedeutende Werke jüdischer Komponisten entstanden. Nicht alle hatten das Glück, wie etwa E. W. Korngold, der ein angesehener Filmkomponist wurde, eine zweite grosse Karriere in Amerika starten zu können. Auch Karl Weigl, der von seinen Kollegen und Zeitgenossen hoch geschätzt wurde, ging nach Amerika, musste sich dort allerdings mit Gelegenheitsjobs durchschlagen. Auf seiner grossen Reputation, die er in Wien genoss, konnte er im komplett neuen Umfeld nicht aufbauen. Die kulturelle und menschliche Entwurzelung schlug bei ihm aufs Schärfste ein.
Die erste Bekanntschaft mit den Werken des Komponisten Karl Weigl machte ich über den damals sehr aktiven Orpheus-Trust in Wien, einer gemeinnützigen Vereinigung, die es sich zur Aufgabe machte, vieles von der vertriebenen jüdischen Kultur wieder in die Heimat zu holen. Dies geschah insbesondere durch den Kontakt zu sehr aktiven Musikern, denen ein ganzes Archiv an zumeist handschriftlichen Quellen zur Verfügung stand. Es wurde aber auch eine eigene Konzertreihe veranstaltet, die den Titel "Mit leichtem Gepäck" trug und im Zuge derer viele Werke von Komponisten, die emigrieren mussten, Aufführungen, Erstaufführungen und sogar Uraufführungen erlebten. Ich entdeckte damals für mich beispielsweise die Klaviersonaten von V. Ullmann, die ich seither in mein Repertoire aufgenommen habe, aber auch zwei Werke von E. W. Korngold und E. Wellesz, die ich im Zuge meines Debüt-Klavierabends bei den Salzburger Festspielen uraufführte.
Und schliesslich das Klavierkonzert für die linke Hand von Karl Weigl:
Ein grosses Paket mit kopierten autographen Partiturseiten wurde mir mit der Bitte um Prüfung, ob man das aufführen könnte, übergeben. Nach der Widmung zu urteilen handelte es sich um eines der Klavierkonzerte, die für Paul Wittgenstein, den Bruder des Philosophen Ludwig Wittgenstein geschrieben wurden. P. Wittgenstein hatte im ersten Weltkrieg den rechten Arm verloren und bei mehreren Komponisten wie M. Ravel, P. Hindemith, S. Prokoffiew, F. Schmidt und anderen Werke in Auftrag gegeben. Die meisten davon hatte er allerdings nie gespielt. Einem eher konservativen Musikgeschmack zugetan, konnte er beispielsweise mit dem Werk von Prokoffiew reichlich wenig anfangen. Warum das Werk Weigls liegen geblieben ist, entzieht sich meiner Kenntnis, könnte aber in den enormen (leider nicht immer hörbaren) spieltechnischen Anforderungen begründet liegen. Autographe Einrichtungen Weigls in der Klavierstimme zur Aufteilung auf 2 Hände deuten an, dass es bei privaten Proben auf zwei Klavieren wohl sehr schwierig war, das mit einer Hand zu spielen.
Nach knapp 80 Jahren der Entstehung dieses Manuskript in Händen zu halten, erzeugte in mir sofort das Gefühl, Teil einer zutiefst berührenden Geschichte werden zu können. Mit dem einarmigen Pianisten P. Wittgenstein und dem später vertriebenen Komponisten K. Weigl stossen im Nachhinein gesehen zwei Schicksale aus zwei Weltkriegen aufeinander. Ich war sofort gefesselt von der Idee, die Uraufführung dieses Werkes zu spielen. In mühevoller Kleinarbeit wurde daraufhin das gesamte Notenmaterial erstellt und es kam 2002 tatsächlich im grossen Sendesaal des österreichischen Rundfunks mit dem RSO Wien unter H. Andreescu zu einer live übertragenen Uraufführung.
Seither war es mein Wunsch, eine geeignete Möglichkeit zu finden, das Werk einem breiteren Publikum zugänglich zu machen und es auf CD einzuspielen. Da auch die orchestralen Anforderungen enorm sind, war es mir immer bewusst, dass dafür ein Orchester mit herausragenden spieltechnischen Fähigkeiten und dem Willen zu intensiver Auseinandersetzung mit dieser Musik gefunden werden muss. K. Weigl arbeitete in Wien als Assistent von G. Mahler an der Wiener Hofoper (der heutigen Wiener Staatsoper) und wurde von Mahler hoch geschätzt. Die Norddeutsche Philharmonie Rostock, die sich intensiv mit der Musik Mahlers auseinandersetzt, schien also ideal für dieses Unterfangen. Von Deutschlandradio Kultur, dem Geiger David Frühwirth, der bei unserem Konzert Weigls Violinkonzert von 1928 interpretieren wird, und einem renommierten CD-Label kam dann der entscheidende Vorschlag, das Violinkonzert, beide Klavierkonzerte, sowie die Sonate und zwei Charakterstücke für Violine und Klavier von Weigl auf CD einzuspielen. Durch diesen Vorschlag schloss sich für mich ein Kreis, der 2001 mit der Übergabe der autographen Partiturseiten seinen Anfang genommen hatte.
Nicht nur für mich, sondern sicherlich auch für die Nachkommen von K. Weigl, die extra aus Amerika zu unserem 7. Philharmonischen Konzert nach Rostock reisen, wird es also ein ganz besonderer Moment, wenn Deutschlandradio unsere Konzerte im grossen Haus aufnimmt und sie für eine CD-Veröffentlichung zur Verfügung stellt, die später weltweit vertrieben wird.
Es wäre mir eine ganz besondere Freude, wenn Sie bei diesem geradezu historischen Moment dabei sein könnten, die Entdeckung des Komponisten K. Weigl zahlt sich aus!
Mit den besten Wünschen grüsst Sie Ihr
Florian Krumpöck
GMD
02-11-2013
The label Solo Musica offers young South Korean-born cellist YuJeong Lee as the featured artist on this album, placing her picture on the cover and giving her billing above everyone, including the composer. But, to me, the real star of this CD is the conductor Florian Krumpöck. This is not to suggest that the cellist turns in less than stellar work. I'll talk more about her later. Krumpöck (b. 1978) is the General Director and Principal Conductor of the North German Philharmonic (Norddeutsche Philharmonie Rostock) and Rostock Municipal Theater. He is also a virtuoso pianist with several acclaimed recordings of music by Schubert, Liszt and Mozart to his credit. In addition, he has twice given performances of the complete cycle of the thirty-two Beethoven piano sonatas in concert. Here he conducts Prokofiev's First Suite from Romeo and Juliet with such insight and imagination as to make you wish he had recorded the whole ballet. In fact, after hearing this reading, I would like to hear him in a variety of repertory. He is supposedly doing a cycle of the Mahler symphonies with his orchestra, and hopefully some or all or those will be recorded.
He conducts Prokofiev here in a thoroughly convincing way, boldly italicizing details and drawing splendid playing from his orchestra. His phrasing of the love theme in Romeo and Juliet (No. 6; track 9) soars with such beauty and passion as to bring goose bumps, and the ensuing Death of Tybalt brims with energy and drive, with all sorts of meaningful detail emerging. The fifteen percussion-laden chords that ring out following the frenetic music representing the duel between Romeo and Tybalt are laced with ominous portent in their oddly hollow but threatening strokes, and the brassy funereal music that ensues comes across with a deliciously crushing sort of anti-bombast and militarism. The other numbers show the same sort of spirited character, again with so much detail vividly emerging as to infuse the music with more color and character than one is accustomed to hearing.
From the notices I have read it would be accurate to conclude that Krumpöck the pianist is a rare talent, but Krumpöck the conductor may even be better, and certainly if I can judge solely from his work here, he may well become one of the world's finest maestros.
YuJeong Lee is also a talent to watch. I don't mean to slight her contribution here by pouring on lavish tributes to the conductor: she turns in an excellent performance of the Sinfonia Concertante, ranked by many as the most difficult work in the cello concerto repertory. Also, known as the Symphony-Concerto for Cello and Orchestra, this composition (1950-1952) is a revision and expansion of Prokofiev's Concerto for Cello and Orchestra (1933-1938). At about forty minutes, it's the composer's longest and arguably most lyrical concerto, a work chock full of big, Romantic-style themes, many of them sharing the same flowing, lush character of Romeo and Juliet, which makes the coupling on this disc a quite logical one. Indeed, the opening motto is a sped-up version of its counterpart in Romeo and Juliet, also heard at the outset in the complete score.
Lee meets the concerto's technical challenges with room to spare, and her tone is accurate and her phrasing of the many beautiful themes sensitive. Krumpöck turns in fine work here as well, and his orchestra once again performs with spirit and accuracy. The sound reproduction is vivid in both works and the album's notes informative. Cello mavens will want this disc to hear the talented Ms. Lee in what appears to be her debut album as a soloist. Those interested in what promises to be an exciting, relatively new face on the conducting scene will want to acquire this disc as well. Highly recommended!
Die Kritik im Original auf www.casslical.net
01-15-2013
Die Insolvenz des Rostocker Volkstheaters ist abgewendet. Die Bürgerschaft der Hansestadt fasste am Dienstagabend einstimmig den Beschluss, die Finanzlücke des Theaters für das Jahr 2013 in Höhe von rund 1,3 Millionen Euro zu schließen. Oberbürgermeister Roland Methling (parteilos) hatte im November Widerspruch gegen die Einstellung dieser Summe in den städtischen Haushalt für 2013 erhoben. Parallel zu diesem Beschluss wurden nun umfangreiche Finanzkontrollen installiert.
Der jährliche Zuschuss der Stadt ans Volkstheater wurde damit von rund 7,9 Millionen Euro um rund 430 000 Euro erhöht. Zusätzlich erhielt das Volkstheater die Möglichkeit, eine Summe von 867 000 Euro zu nutzen, die eingefroren waren, um einen bundesweiten Tarifstreit der Orchestermusiker abzusichern. Für das Jahr 2014 soll der Zuschuss dann um weitere 900 000 Euro wachsen. Nach Einschätzung Methlings könne die Stadt nun gestärkt in die Verhandlungen mit dem Land um die Zukunft der Theaterlandschaft in Mecklenburg-Vorpommern gehen.
Vor der Sitzung hatte die Belegschaft des Volkstheaters mit einer Protestaktion auf ihre prekäre Lage aufmerksam gemacht. Das Tanztheater Bronisav Roznos trommelte auf dem Neuen Markt lautstark auf Ölfässern, im Rathaus spielte die Norddeutsche Philharmonie. Generalmusikdirektor Florian Krumpöck bedankte sich bei der Bürgerschaft für die Unterstützung des Volkstheaters und brachte zum Ausdruck, dass die Existenz des Vierspartentheaters in der Hansestadt kein Selbstzweck sei.
Quelle: www.welt.de
01-10-2013
Der Chefdirigent und künstlerische Berater der königlichen Oper Kopenhagen Michael Boder kommt erstmals nach Rostock. Der international gefragte Dirigent und frühere Mentor von Florian Krumpöck wird gemeinsam mit Krumpöck (diesmal am Klavier) und einem Wiener Programm beim 5. philharmonischen Konzert der Norddeutschen Philharmonie Rostock zu hören sein.
12-31-2012
Honoured concert audience, dear friends of the Norddeutschen Philharmonie Rostock, dear music lovers,
This year, we would like to celebrate the New Year with Friedrich Schiller's ode To Joy "An die Freude", which Ludwig van Beethoven elevated to a grandiose choral finale in his masterful 9th symphony.
I would hereby like to take the opportunity to reflect upon why this particular work happens to be the preferred New Year performance piece all over the world. Why is it that this piece touches everybody so deeply, regardless of their ability to understand German, or their physical location, spread as they are over the entire globe?
?This work premiered 189 years ago in the Kärntnertortheater in Vienna, Austria. Even then, the response to this masterpiece was frenetic and jubilant. The composer - by then utterly deaf - was himself able to experience the performance. For the first time the two disciplines of instrumental- and vocal music were joined: a move that was to prove decisively influential for the symphonic music of the 19th Century, all the way up to Gustav Mahler. Purely instrumental possibilities were no longer enough for Beethoven (the revolutionary) to express his worldly humanism. Nothing is more human than the human voice. In order to convey the message of humanity, fraternity, and what amounts to a secular ideal of world peace ? freed from religious confession ? Beethoven was prepared to break with tradition and write (what for those days) would have sounded like truly revolutionary, futuristic music. Simultaneously, at the peak of classical symphonic music, Ludwig van Beethoven introduced a new era of music history. It is my deepest personal wish that we continue to believe in this ideal, and in the message of humanity as well as in the absolute and life-affirming quality of the arts. On a personal note, ever since my childhood I have been unable to conceive of a New Year without Beethoven's 9th symphony.
It would bring me great joy to completely rediscover this work together with you! A beginning as an end, as in the sense of music-history: in 2013 we would like to celebrate this together with you, and to again wish you luck for the New Year. I would like to do this, true to the Schillerian ideal that ?all people become as brothers and sisters? with this international hymn for peace and cultural understanding.
Best regards,
Florian Krumpöck
11-19-2012
On Sunday 18.11 on the eve of the national day of mourning Florian Krumpöck spirited the Rostock audience away with a grand and meaningful special concert of the Norddeutschen Philharmonie Rostock in the Nikolaikirche to a: "Gripping and moving performance of deep beauty."
Verdi?s dramaturgically appropriate Missa da Requiem was on the program. A high ranking soloist quartet as well as a choir comprising the Singakademie Rostock and the Konzertchor der Deutschen Staatsoper Unter den Linden, accompanied by Krumpöck?s Rostock orchestra presented the audience with a concert evening as atmospheric as it was thought-provoking.
Full critiques can be found here.
09-29-2012
Over the next three years of his commission Florian Krumpöck will give priority to the creation of a homogenous, high-quality, musical entity. A musical outreach offensive targeting school visits, introductory talks and public dress rehearsals. He aims to promote this analogously with the orchestra board, its director, and the musicians themselves. Further, Florian aims to help build the newly created Orchesterakademie together with help from the International Musikakademie of the principality of Liechtenstein. The goal is to increase the reach, and international footprint of the symphony orchestra.
In 2012/13 Florian Krumpöck will conduct both benefit concerts, as well as all three subscribers? concerts "SOL im SAL" on the 29th of January, the 28th of May, and the 19th of November 2013. The subscriber series focuses on classical stars and new talent. The forthcoming star series is given over to Maximillian Hornung, Ingolf Wunder and Radovan Vlatkovic. Moreover, upcoming contemporaries are also granted a performance platform for short works. In addition there will be a season-spanning program fixture in the form of a three-year cycle encompassing all Schubert symphonies. The proceeds from the benefit concert in the Bregenzer Festspielhaus (otherwise known as the SAL Schaan) on the 2nd and 3rd of December 2012 will go to the charity "Ma Hilft" of the Vorarlberger Nachrichten and the Special Olympics Liechtenstein. In the first half of the concert the symphony orchestra accompanies four promising young local musicians who have proven their mettle several times already in international concerts and competitions. In the second part the Sinfonieorchester Liechtenstein performs Beethoven?s 5th Symphony with selected members of the orchestra, and last but not least, the new head conductor will perform the new SOL chamber music series "Four Seasons" as pianist with individual members of the orchestra in the town hall of Vaduz.
09-24-2012
The press praised the all-round successful production, especially those responsible for the musical component: ?The highlight of the show is surely the unbelievably buoyant music which affects a permanent smile on one?s face from the very first notes of the overture to the very last curtain. Aside from the performance of the singers, it is the commendable work of the Norddeutschen Philharmonie Rostock, under the direction of Florian Krumpöck which was responsible for transferring the Southern joie de vivre into the auditorium Das Große Haus.? (Rostock Heute) ?
A noteworthy part of this success was doubtlessly due to the Norddeutsche Philharmonie as directed by Florian Krumböck. [?] Then there followed an excellently rehearsed orchestral part, which offered the singers a good musical foundation.
Krumpöck created exciting tempi with light, nimbistic articulation organising seamless transitions, and a varied dynamic palate. It is not often that one can hear the strings in such precise unity and intonation as on this evening.
You can find comprehensive critiques here
09-01-2012
In his first year as chief conductor of the Norddeutschen Philharmonie Rostock Florian Krumpöck has recorded a CD with his orchestra. Krumpöck presents two important works of the Russian composer Sergei Prokofiev: firstly the melody-rich and technically demanding Sinfonia concertante for Violoncello and Orchestra op. 125 with the Korean cellist Yu Jeong Lee.
?Her rhythmic and acoustic presentation are shown impressively by Krumpöck and the Norddeutsche Philharmonie through the second piece the popular and first suite on Prokofjew?s ballet Romeo und Julia (1936). Throughout the seven movements, Krumböck spans the spectrum from initial ebullient lightness, via lyrical intensity, to the captivatingly tragic portrayal of Tybalt.
For more on the CD here
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Comprehensive CD critique here.
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