Listen and learn: The 30 minutes long introductory talks contain all necessary information that you need to know about the played artist's life and work.

A risk-averse German idiom warns: «water has no joists». But that’s exactly why it fascinates us so much, including and especially in music. Whether in the ancient curse of whipped-up waves that break over the ship in Wagner’s «Flying Dutchman» or the billowing nobility of the song cycle «Sea Pictures», which was premiered (conducted by Edward Elgar in person), with a soloist dressed as a mermaid. At this performance, the audience can look forward to hearing the expressive mezzo-soprano Raehann Bryce-Davis. The conductor Jun Märkl has a number of CD recordings under his belt to testify to his affinity to the water music of Toshio Hosokawa and Debussy. In «Circulating Ocean», Hosokawa celebrates the sea and the water cycle as a metaphor for life. Debussy fascniates us with his «La Mer», seemingly formless but with ingeniously constructed motifs and dramaturgy, once more.

Listen and learn: The 30 minutes long introductory talks contain all necessary information that you need to know about the played artist's life and work.

A risk-averse German idiom warns: «water has no joists». But that’s exactly why it fascinates us so much, including and especially in music. Whether in the ancient curse of whipped-up waves that break over the ship in Wagner’s «Flying Dutchman» or the billowing nobility of the song cycle «Sea Pictures», which was premiered (conducted by Edward Elgar in person), with a soloist dressed as a mermaid. At this performance, the audience can look forward to hearing the expressive mezzo-soprano Raehann Bryce-Davis. The conductor Jun Märkl has a number of CD recordings under his belt to testify to his affinity to the water music of Toshio Hosokawa and Debussy. In «Circulating Ocean», Hosokawa celebrates the sea and the water cycle as a metaphor for life. Debussy fascniates us with his «La Mer», seemingly formless but with ingeniously constructed motifs and dramaturgy, once more.