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Bach Consort Wien

VenueMusikverein Brahms Hall
CalendarSat 20 Feb 2027 - Fri 16 Apr 2027
Synopsis/Details

 

Founded by conductor Rubén Dubrovsky, Bach Consort Wien is renowned for its historically informed performances that bring Baroque and Classical music to life with vibrant energy and precision. The ensemble, comprising distinguished musicians, combines scholarly insight with expressive artistry, creating performances that are both authentic and emotionally compelling. Their programs often explore connections between European and Latin American traditions, reflecting Dubrovsky’s deep musical vision. Performing regularly at prestigious venues, including the Musikverein, Bach Consort Wien captivates audiences with its refined interpretations and dynamic presence. At the Brahms-Saal, the ensemble presents a program that highlights its commitment to musical excellence, blending virtuosity, depth, and historically inspired performance practice in an intimate and engaging setting.

  • Location
    • › The Musikverein is a renowned concert hall in Vienna, Austria, located in the city centre, near Karlsplatz and the Vienna State Opera. It is famous for its outstanding acoustics and rich musical history. 
    • › The address is Musikvereinsplatz 1, 1010 Wien.
  • Public transportation
    • › The Musikverein building is centrally located and very well connected to the public transport network. Support us in our commitment to environmental protection and sustainability and travel by public transport if possible.
    • → Subway:
    • -U1, U2 and U4 to station Karlsplatz (approx. 7 or 4 minutes away)
    • → Tram:
    • -Line 1, 2, 62 to station Oper, Karlsplatz (approx. 4 minutes away)
    • -Line 71, D to Schwarzenbergplatz (approx. 4 minutes away)
    • -Badner Bahn to the final destination Wien Oper (approx. 4 minutes away)
    • → Bus:
    • -Line 59A, to station ‘Oper, Karlsplatz’ (approx. 4 minutes away)
    • -Line 4A to station ‘Karlsplatz’ (approx. 4 minutes away)
    • ›Please note that tickets for using the public transport network must be purchased from the ticket machines or counters of Wiener Linien. Our admission tickets do not entitle you to use public transport free of charge.
  • Dresscode
    • › We would be delighted if you could attend our concerts and events in festive attire appropriate to the occasion. Please refrain from wearing sportswear or training gear when you visit.
  • Cloakroom
    • › For security reasons, coats, bags, rucksacks, umbrellas and folding chairs may not be taken into the hall, not even to the standing area. The Gesellschaft der Musikfreunde reserves the right to charge a fee for storing your clothing and larger bags or rucksacks. Please note that suitcases and large bags cannot be stored.
  • Punctuality
    • › Don’t come at the last minute. Bring a little time with you and let yourself be inspired by the ambience. Admire the rooms in which Anton Bruckner, Gustav Mahler and Johannes Brahms played …
    • › Take your seat in good time. A gong will remind you that it is time to take your seat. After the auditorium doors have closed, it is only possible to take your seat during the applause breaks or even after the first half of the concert out of consideration for the artists.
  • Admission time
    • › The Musikverein building opens 1 hour before the start of an event. Admission to the hall is usually granted 30 minutes before the start of the performance. Please note that after the start of a performance, admission for latecomers can only take place during the interval or during a possible applause break. Entry during a movement break is not possible. This also applies to seats in the parterre and balcony boxes as well as for visitors in the standing area.
  • Applause
    • › In Vienna, it is customary not to interrupt the music with applause. Even if you are particularly impressed by the performance, you should only clap once a piece has finished, not after a single movement – this allows you to savour that brief moment when the final note fades away and to appreciate the piece in its entirety. The performers are then all the more delighted by a round of applause. Applause is also very much welcome when soloists or conductors take to the stage or leave it.
  • At your seat
    • › All listeners benefit from your switched-off phone. Especially you, as you can concentrate all your senses on the music.
    • › Your new top hat is an eye-catcher, but your hairstyle also deserves admiration. Please refrain from wearing voluminous headgear out of consideration for those sitting behind you.
    • › Please avoid talking during the concert. Due to the unique acoustics of our halls, even the slightest whisper is very disturbing.
    • › Food and drinks may not be taken into the hall. Enjoy refreshments at the buffet during the break.
  • Accessible concert attendance
    • › The barrier-free entrance for wheelchair users is located at the main entrance on the right. Elevators are available in the building.
    • › The Musikverein has three wheelchair-accessible toilets: in the 2nd foyer (2nd basement floor), at the main entrance on the right and at the balcony boxes on the left.
Cast

Saturday, February 20, 2027 – Brahms Hall | 19:30
Bach Consort Wien
Rubén Dubrovsky, conductor and colascione
Agnes Stradner, violin
Nils Mönkemeyer, viola

 

Program
Johann Sebastian Bach
Trio Sonata in E-flat major, BWV 525
Trio Sonata in C minor, BWV 526
Trio Sonata in D minor, BWV 527
Trio Sonata in E minor, BWV 528
Trio Sonata in C major, BWV 529
Trio Sonata in G major, BWV 530
End approx. 21:30

 

Friday, April 16, 2027 – Brahms Hall | 19:30
Bach Consort Wien
Rubén Dubrovsky, conductor
Dorothee Oberlinger, recorder

 

Program
The Apotheosis of Corelli
Arcangelo Corelli
Sinfonia from the oratorio Santa Beatrice d’Este
Concerto grosso in C minor, op. 6/3
Concerto grosso in B-flat major, op. 6/11
Sonata for violin and harpsichord in F major, op. 5/10 orchestrated by Francesco Geminiani
Sonata for violin and harpsichord in D minor, op. 5/12 La Folia orchestrated by Francesco Geminiani

 

François Couperin – Le Parnasse ou l’Apothéose de Corelli Grande Sonade en Trio
Georg Philipp Telemann – Concerto for alto recorder, TWV 51:C1
End approx. 21:30

Venue
Musikverein Brahms Hall

For many years, this hall was known only as the “Kleine Musikvereinssaal”, until in 1937, during the 125th anniversary year of the Gesellschaft der Musikfreunde in Wien, it was given a name that truly reflects its importance: the Brahms Saal. Johannes Brahms not only performed in person in this hall, he was also behind the very first concert to be performed here, by Clara Schumann on 19 January 1870. The standards set that day have been maintained ever since. The Brahms Saal remains one of the most prized locations for the greatest chamber music ensembles and lieder singers performing in the world today.

 

With just under of 600 seats, the hall is designed to showcase the intimate aspects of classical music. The hall acoustics are perfectly attuned to deliver this: the Brahms Saal – 32.50 metres long, 10.30 metres wide und 11 metres high – possesses a similar acoustic brilliance to the Große Musikvereinssaal.

 

When the Musiverein building was opened in 1870, the Kleine Musikvereinssaal was described as a “true little treasure chest”. It was even suggested that this hall might warrant greater praise and wonderment than the Große Musikvereinssaal: “One might even wish to award the prize to this hall for its peacefulness and simple grandeur.” It is abundantly clear that Theophil Hansen’s design for the Brahms Saal created an architectonic masterpiece of the Historicism period. His commitment to the “Greek Renaissance”, evident in the design’s allusions to classical Hellas, make this concert hall an authentic temple of chamber music.

 

In 1993 the Brahms Saal underwent a comprehensive restoration programme. The restoration project involved consulting the original designs held at the Print Room at the Academy of Fine Arts in Vienna.  This made it possible to reconstruct the original colour scheme created by Hansen as the Musikverein’s architect: green walls, red columns and the liberal use of gold.

 

When the Brahms Saal reopened to the public in its new form in 1993, a Vienna newspaper wrote: “Without wishing to raise expectations too high, this has been transformed into the most beautiful, magnificent and prestigious chamber music concert hall we are likely to find anywhere in the world.”

Accomodation

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