Riccardo M Sahiti & Sinti und Roma Philharmoniker © Bjoern Hadem

Riccardo M Sahiti & Sinti and Roma Philharmonic

The musical culture of the Sinti and Roma is very much part and parcel of European musical history. The great representatives of Viennese classicism Haydn, Mozart and Beethoven wove elements of these traditional music and dance forms into their works, a tradition gratefully taken up by later virtuosi like Franz Liszt and Pablo de Sarasate. This is the first time the Sinti and Roma Philharmonic has paid a visit to Heidelberger Frühling. Most of its members are of Sinti and Roma origins, the conductor is Riccardo M Sahiti. On the programme are works from the 19th and 20th centuries centrally inspired by the culture of the Sinti and Roma.

“Zugabe” Jörg Tröger in conversation with Riccardo M Sahiti

Special thanks to





In cooperation with Dokumentations- und Kulturzentrum Deutscher Sinti und Roma

Avhishai Cohen © Youri Lenquette

Avishai Cohen Trio & Stuttgart Chamber Orchestra

In 2013 Israeli singer and string bass player Avishai Cohen was awarded the Echo Jazz Prize as “best international bassist of the year”. But even before that he had established his reputation as one of the greats in the contemporary jazz arena. After his “discovery” by Chick Corea he has worked with legendary figures like Herbie Hancock, Wynton Marsalis and Bobby McFerrin, finding his own unmistakable style in the process. He denies fixed boundaries between jazz and classical music and at last year’s Frühling his project “Avishai Cohen & Strings” (his original trio supplemented by string quartet and cor anglais/oboe) went down well with the audience. In 2015 we have another crossover concert in store with the Stuttgart Chamber Orchestra playing Cohen’s music in conjunction with the singing bassist and his trio. The Heidelberg concert will be the world premiere of a programme that the musicians will be going on tour with in 2016.

Special thanks to
Heidelberger Volksbank


Fazil Say © Marco Borggreve

Fazıl Say & Orpheus Chamber Orchestra

Joseph Haydn spent much of his life as the music director of a provincial court. He relished this seclusion as it gave him the scope he needed to “become original”, as he once put it. It is a tribute to Haydn’s genius that notably with his symphonies he was able to stay faithful to his provincial roots and at the same time turn into one of Europe’s most prominent composers. In his luxurious “Siegfried Idyll” of 1870, a birthday serenade for Cosima, Richard Wagner is both eminently original and at the same time unswervingly true to his own self. Fazil Say is not only the soloist in Mozart’s A major piano concerto of 1786 (K. 488). Just as versatile a composer as he is a pianist, he has written a new orchestral work commissioned by the Orpheus Chamber Orchestra, who will be premiering it at this concert.

Live broadcast of the concert by
Deutschlandradio Kultur

Thomas Hampson © Kristin Hoebermann

Thomas Hampson & The Deutsche Kammerphilharmonie Bremen

“Serious” music in the United States was long defined solely by the musical traditions of Europe. Gradually, however, the ethnic and cultural diversity of the inhabitants asserted themselves and specifically “American” idioms began to emerge. These range from Samuel Barber’s “Serenade for Strings”, composed when he was only 18, and Aaron Copland’s celebration of the first settlers in his ballet “Appalachian Spring” with its folksong reminiscences to Leonard Bernstein’s exuberant overture to “Candide”. Thomas Hampson, who for many years has so greatly enriched the Frühling both musically and personally, presents a work written for him in 2009 by Michael Daugherty: “Letters from Lincoln”, a musical homage to the famous president and champion of the abolition of slavery.

Special thanks to
Freundeskreis Heidelberger Frühling



The concert will be recorded by
Deutschlandradio Kultur


Broadcast: 6 April 15 8:03pm Deutschlandradio Kultur

Christian Tetzlaff © Giorgia Bertazzi

Christian Tetzlaff & Deutsches Symphonie-Orchester Berlin

For many generations of composers, Beethoven has been the supreme ideal, the leading light. This is not only a function of his towering genius, expressing itself in magnificent works like the violin concerto of 1806 with its unprecedented insistence on long paragraphs and symphonic proportions, it is also due to his courageous life as an independent musician. Emulating this ideal, Franz Schubert attempted to achieve fame, financial security and artistic independence with music for the stage. Though much applauded, his overture to “Die Zauberharfe”, later used as incidental music for the play “Rosamunde”, suffered from being pressed into service to embellish a drama universally badmouthed as “boring nonsense”. A far cry from the 21-year-old Mendelssohn’s “Italian” Symphony, which immediately and gloriously conjures up impressions of delightful vistas and joyous departures. The ideal curtain-raiser for a spring festival!

Special thanks to
Prime Partner

Sabine Meyer © Thomas Rabsch EMI Classics

Sabine Meyer & Kammerorchester Basel

Working with Mozart or Mozart the Collaborator. These would be possible titles for the concert performed by world-ranking clarinettist Sabine Meyer and the Basel Chamber Orchestra. The first symphonic essay by the 8-year-old Salzburg prodigy (complete with corrections by über-father Leopold) and his great G minor symphony begin and end the programme. From the numerous arias written by Mozart for other people’s operas (either as a favour or for money) Andreas Tarkmann has made a selection of gems that he has reworked for clarinet and orchestra. In a work commissioned by Heidelberger Frühling, Marko Nikodijevič uses electronic samples from works by Mozart which he transforms into binary codes and then sensitively combines with field recordings of Serbian burial chants.

Special thanks to
Klaus Tschira Stiftung gGmbH



Logo Konzert des Deutschen Musikrats



The concert will be recorded  by



Broadcast: 06 June 15 8:03-10pm SWR2


Interview with Marko Nikodijevic (German)