Programme

For children 3–5 years old.

Get close to the musicians in the Grünewald Hall – and discover the orchestra's string instruments in a classical concert with listening games, together with a music teacher. 

After this approx. 30-minute concert, there is a chance to try out different instruments in the foyer.

For children 3–5 years old.

Get close to the musicians in the Grünewald Hall – and discover the orchestra's string instruments in a classical concert with listening games, together with a music teacher. 

After this approx. 30-minute concert, there is a chance to try out different instruments in the foyer.

For children 3–7 years old.

Get close to the musicians in the Grünewald Hall – and discover the orchestra's instruments in a classical concert with listening games, together with a music teacher. At this concert you will meet the percussion.

After this approx. 30-minute concert, there is a chance to try out different instruments in the foyer.

***

Please note

The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.

For children 3–7 years old.

Get close to the musicians in the Grünewald Hall – and discover the orchestra's instruments in a classical concert with listening games, together with a music teacher. At this concert you will meet the percussion.

After this approx. 30-minute concert, there is a chance to try out different instruments in the foyer.

***

Please note

The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.

For children 3–7 years old.

Get close to the musicians in the Grünewald Hall – and discover the orchestra's instruments in a classical concert with listening games, together with a music teacher. At this concert you will meet the percussion.

After this approx. 30-minute concert, there is a chance to try out different instruments in the foyer.

***

Please note

The possibility of bringing a pram into Konserthuset is very limited, so please consider leaving the pram at home.

The Glenn Miller Orchestra draws attention to world peace 80 years after the end of World War II, and highlights the importance of Glenn Miller’s music in this context. The big band welcomes 21 additional musicians at this concert, thus replicating the lineup of the Glenn Miller Army Air Force Band. We hear a series of original arrangements, some of which have not been played since the war.

Through his music and the unique sound of the orchestra, Glenn Miller created his own genre of swing in the jazz world. In just four years, he launched 23 number one hits – more than Elvis and The Beatles. Glenn Miller became the biggest music icon in the US. He volunteered to join the military and brought his music to Europe through his military orchestra. This would ultimately cost him his life: he disappeared in an airplane over the English Channel. But his orchestra still performs his music all over the world, more than 80 years after his passing.

Glenn Miller Orchestra Scandinavia formed in 2010 with a license from Glenn Miller Productions, Inc., New York, USA. Based in Stockholm, the orchestra is led by trombone player Jan Slottenäs and regularly tours Sweden, Norway, Denmark and Finland. Regarded by many internationally as the leading Glenn Miller orchestra, the ensemble includes several young musicians from Sweden’s jazz elite.

Denis Kozhukhin is one of the most sought-after pianists of our time, and only a little over a month ago he last appeared at Konserthuset – in a duo performance with the brilliant violinist Janine Jansen. Kozhukhin combines outstanding technique with mature musicianship and sensitivity. He has a unique ability to sharpen the listener’s focus and create a sense of closeness with the audience.

In this programme, Kozhukhin brings together the clarity and elegance of Joseph Haydn with the introspection and melancholy of Franz Schubert. The first half is devoted to Haydn, followed by Schubert’s final piano sonata after the interval – the grand Sonata in B-flat major.

When we think of Haydn, it is not primarily his piano music that comes to mind, but rather his inventive symphonies and string quartets. Indeed, his piano sonatas seem to have been overshadowed – despite the fact that they contain some of his most forward-looking music. The selection here, drawn from Haydn’s mature output, presents a meeting of the elegant world of classicism and the expressive sturm und drang of early romanticism. It is easy to understand the influence Haydn had on his wilful young pupil, Beethoven.

Franz Schubert was gravely ill when he composed his final three piano sonatas, just a few months before his death in 1828. And although he was only 31 at the time, it is as if he were settling accounts with his life. In this final sonata in B-flat major we hear his inner turmoil, and towards the end a struggle between light and darkness unfolds. The sonata is one of the repertoire’s most beloved – and most enigmatic – works.

Icelandic Víkingur Ólafsson is currently one of the world's most acclaimed and sought-after pianists. The New York Times coined him ”Iceland's Glenn Gould”, and his recordings are showered with five-star reviews. This season, he is the Artist-in-Residence at Konserthuset Stockholm.

Following the success of Bach's Goldberg Variations, which he performed to a full house here at Konserthuset last season, he takes on more of the classical music world’s great Bs – Brahms and Beethoven. A few days before this concert, he  performs Beethoven’s late piano sonatas in a solo recital. Last autumn, he played Brahms' first piano concerto, and now Beethoven’s Emperor Concerto with the Royal Stockholm Philharmonic Orchestra.

When Beethoven moved to Vienna, it was as a pianist that he first made his breakthrough. Audiences were captivated by his dazzling technique and improvisational skill. At the heart of his piano output are the five magnificent piano concertos, with the Emperor Concerto being the fifth. The title Emperor Concerto refers to the majestic first movement, which begins with powerful orchestral chords and virtuosic arpeggios and runs spanning the entire keyboard.

French conductor Stéphane Denève also leads the Royal Stockholm Philharmonic Orchestra in American Stacy Garrop's beautiful Penelope Waits from 2013, inspired by Greek mythology, and mythological music with dance themes by Paul Dukas and Richard Strauss.

Through Konserthuset’s popular organ matinée subscription, audiences get to hear Sweden’s leading organists play the building’s organ – one of the largest in Europe, with 6,100 pipes.  

Tobias Olofsson has been working as an organist in Nylöse parish in Gothenburg since 2003, where he also obtained his organist degree from the Academy of Music and Drama. Olofsson regularly performs concerts as an organ soloist, as well as in collaboration with symphony orchestras. He is also active as a pianist, accompanist, and arranger.

He begins with Prelude and Fugue in A minor, one of Bach's most beloved and performed organ works. It features explosive drama and breathtaking virtuosity, with the fugue possessing an almost dance-like character. We also hear music by Elfrida Andrée, a pioneering figure in Swedish music. Andrée composed a series of works for organ, including the evocative and melodic Cantilena.

As a contrast, Tobias Olofsson plays well-known themes from Star Wars and Piazzolla's evocative Oblivion and Libertango. He concludes with his own piece titled Improvisation, Passacaglia and Fugue in G minor.

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The bar is open before and after the concert.

You are welcome to eat or drink something before or after the organ concert. The bar in the Main Foyer is open at 11.45–12.15 and 13.15–14.15, offering a variety of delicious food and drinks in our beautiful surroundings.

Icelandic Víkingur Ólafsson is currently one of the world's most acclaimed and sought-after pianists. The New York Times coined him ”Iceland's Glenn Gould”, and his recordings are showered with five-star reviews. This season, he is the Artist-in-Residence at Konserthuset Stockholm.

Following the success of Bach's Goldberg Variations, which he performed to a full house here at Konserthuset last season, he takes on more of the classical music world’s great Bs – Brahms and Beethoven. A few days before this concert, he  performs Beethoven’s late piano sonatas in a solo recital. Last autumn, he played Brahms' first piano concerto, and now Beethoven’s Emperor Concerto with the Royal Stockholm Philharmonic Orchestra.

When Beethoven moved to Vienna, it was as a pianist that he first made his breakthrough. Audiences were captivated by his dazzling technique and improvisational skill. At the heart of his piano output are the five magnificent piano concertos, with the Emperor Concerto being the fifth. The title Emperor Concerto refers to the majestic first movement, which begins with powerful orchestral chords and virtuosic arpeggios and runs spanning the entire keyboard.

French conductor Stéphane Denève also leads the Royal Stockholm Philharmonic Orchestra in American Stacy Garrop's beautiful Penelope Waits from 2013, inspired by Greek mythology, and mythological music with dance themes by Paul Dukas and Richard Strauss.