Bremer Philharmoniker
Christian Kötter-Lixfeld is the artistic director of the Bremen Philharmonic Orchestra,[1] and Marko Letonja has been its Generalmusikdirektor since the 2018/2019 season.
Even today, the Bremen Philharmonic Orchestra still feels a special affinity to Johannes Brahms: His compositions are among the most frequently performed in the repertoire.
The inflation that set in as a result of the First World War made it impossible at the beginning of the 1920s to maintain the Philharmonic Orchestra, which had been engaged on a private basis until then, in this form.
In 2002, the orchestra changed its legal form to a limited liability company (Germany) and was renamed Bremer Philharmoniker GmbH.
After the first edition focused on Johannes Brahms' four symphonies for four days, Markus Poschner and the orchestra, together with the SWR Big Band, dedicated the second edition to the interplay of composition and improvisation and the encounter between classical music and jazz, symphony orchestra and big band.
The core repertoire of the concerts ranges from the First Viennese School, Romanticism and Post-romanticism to Classical Modernism and Neue Musik.
World-class soloists and conductors are continuously engaged, such as Frank Peter Zimmermann, Gidon Kremer, Midori, Julia Fischer, Julian Rachlin, Rudolf Buchbinder, Boris Beresowski, Sabine Meyer, Christopher Hogwood, Mario Venzago and Heinz Holliger.
[7] The Bremen Philharmonic Orchestra accompanies more than 10,000 children and young people every year with a wide variety of events in and outside school.
The "Musikwerkstatt Bremen" was created in cooperation with the State Institute for Schools and pursues the goal of actively bringing children and adults into contact with music through personal experience.
It was involved in Bremen's musical life on a voluntary basis and made a significant contribution to its development and diversity.
[10] Through a cooperation with Bremen University,[11] a joint seminar is held to introduce the world of European art music.
