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© Julia Wesely
Bach Consort Wien
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April 2026  | ||||||
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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.
Program and cast
Thursday, April 30, 2026 – Brahms Hall | 19:30
Bach Consort Wien
Rubén Dubrovsky, conductor
Kathrin Zukowski, soprano
Program
Handel on travels
George Frideric Handel – Concerto for oboe, strings and basso continuo in G minor, HWV 287; Silete venti Motet, HWV 242
Interval
George Frideric Handel – Delirio amoroso Da quel giorno fatale Cantata, HWV 99
End approx. 21:30
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
Photo gallery
© Julia Wesely
© Julia Wesely
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.”
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