Lost in Fugues
Christopher Moulds and Julian Steckel
Bach's Orchestra Suite BWV 1068 and two Viennese classics
Johann Sebastian Bach Orchestersuite Nr. 3 D-Dur BWV 1068
Joseph Haydn Konzert für Violoncello und Orchester C-Dur Hob VIIb:1
Wolfgang Amadeus Mozart Sinfonie C-Dur KV 551 (“Jupiter”)
Christopher Moulds - Conductor
Julian Steckel - Violoncello
Christopher Moulds - Conductor
An experienced and versatile conductor, Christopher Moulds is in demand at opera houses throughout Europe. Enjoying strong links with both the Staatsoper Berlin and the Bayerische Staatsoper Munich, Moulds conducts repertoire ranging from Monteverdi, Handel and Mozart through to Britten’s Turn of the Screw and contemporary works such as Birtwistle’s Punch and Judy.
This season he makes his debut with Opera National du Rhin for Alcina and Theater an der Wien for Saul as well as joining the Moscow State Phiharmonic Society for a cycle of three Handel operas in the summer: Giulio Cesare, Tamerlano and Rodelinda. He also returns to Stuttgart Opera for Alcina and Bayerische Staatsoper Munich for Die Entführung aus dem Serail. Other houses he has worked with recently include Staatsoper Hamburg, Semperoper Dresden, Theater Basel, Norwegian National Opera and San Francisco Opera.
Moulds is often seen leading repertoire from the baroque era. In January 2015 he led Monteverdi’s L’Orfeo, a co-production between the Royal Opera House and the Roundhouse which received much critical acclaim. Other recent performances include Semele at the Händel-Festspiele Karlsruhe, La Calisto at Bayerische Staatsoper Munich and he returned to Madrid for Sasha Waltz’s acclaimed production of Dido & Aeneas. Outside Europe, Moulds has appeared in Russia numerous times at the Bolshoi Theatre including the Russian premiere of Rodelinda and also with the Musica Viva Chamber Orchestra Moscow. Most recently he joined the Moscow Chamber Orchestra for a concert performance of Handel’s Ottone.
Further afield Moulds has appeared in New York for performances of Semele with the Canadian Opera Company at the Brooklyn Academy of Music. Following a series of performances in Israel and the Sydney Festival, Sasha Waltz’s production of Handel’s Dido & Aeneas received performances at the Teatro Colón in Buenos Aires and the Teatro dell’Opera di Roma under Moulds’ baton.
On the concert platform Moulds has conducted orchestras including Akademie für Alte Musik Berlin, Concerto Köln, the London Philharmonic Orchestra, the Mozarteumorchester Salzburg, the Royal Liverpool Philharmonic Orchestra and the Vienna Symphony Orchestra. Recent highlights include performances with Concentus Musicus Wien at the Internationale Barocktage Stift Melk and the Kammerakademie Potsdam. His festival appearances include the Bregenz Festival, the Händel Festspiele Halle and performances of La Clemenza di Tito with the Vienna Philharmonic at the Salzburg Festival.
Moulds began his career in 1991 as a member of the music staff at English National Opera. From 1994-8 he was chorus master at Glyndebourne, after which he began his international career.
Julian Steckel - Violoncello
Written music is potential energy that a performer must unleash. Audiences can tell if a musician really feels that energy, or if their expression is second-hand. When Julian plays, he is sharing something fragile and alive.
“As an interpreter, I’ve started trusting my inner life more and letting the audience in,” he says. “It’s a kind of vulnerability that makes you stronger.” His first child was born at the end of 2018. Since then, his conviction has grown, his sense for metaphor expanded.
He knows that making music for an audience occasionally involves tipping the scales too far one way or another. But he is aware of his responsibility toward what is often called the “intentions of the composer.” He dives deep into scores, investigating the organic connections that give a work its unity. “If you know one room in an apartment, but not that the apartment has seven other rooms, you won’t even understand the room you’re in,” he says. When Julian plays, the music is in safe hands. You listen for his discoveries; what the music, through him, is trying to tell you.
Every life is a series of experiences, encounters, memories, places. Sometimes it’s possible to understand the contours of a musician’s ability through a list of these moments. Julian’s solo career was launched after he won the prestigious ARD Musikwettbewerb in 2010. Since then, he has soloed with the Gewandhausorchester Leipzig, the Symphonieorchester des Bayerischen Rundfunks, the Royal Philharmonic Orchestra, the Orchestre de Paris, the Rotterdam Philharmonic Orchestra and the St. Petersburg Philharmonic. He’s worked with the conductors Christoph Eschenbach, Sir Roger Norrington, Valery Gergiev, Jakub Hrůša, Mario Venzago, Fabien Gabel, John Storgårds, Lahav Shani, Antony Hermus, Christian Zacharias and Michael Sanderling. His chamber music partners include Janine Jansen, Christian Tetzlaff, Karen Gomyo, Antje Weithaas, Renaud Capuçon, Veronika Eberle, Vilde Frang, Antoine Tamestit, Lars Vogt, Elisabeth Leonskaja, Paul Rivinius, Denis Kozhukhin, the Modigliani, Armida and Ébène quartets.
For Julian, these experiences and encounters are the result of organic growth, not external pressure. It’s a development that tends to happen when a musician of his ability goes through life with an open mind.
His playing is effortless, unhindered by technical boundaries. He derives energy from appearing not to try. It’s a quality that many look for and few find. He sees his talent and his musical upbringing as a gift. His mentors are responsible for the rest.
“My very first teacher considered lightness and simplicity to be at the core of cello playing,” Julian says. “Listen to yourself, plan what you’re doing, get it right the first time. I owe everything to these insights.” He studied with Ulrich Voss, Gustav Rivinius, Boris Pergamenschikow, Heinrich Schiff and Antje Weithaas. Now he is a teacher too, at the Hochschule für Musik und Theater in Munich.
In the 2020/2021 season Julian will appear amongst others with the Yomiuri Nippon Symphony, London Philharmonic Orchestra and Bamberger Symphoniker. In October 2020 he will play the world premiere of Gerald Barry’s cello concerto at the Cello Biennale Amstedam, together with the Netherlands Philharmonic Orchestra under Hannu Lintu, and will premiere Karola Obermüller’s cello concerto in February 2021 with the Philharmonic Orchestra Heidelberg under Elias Grandy.
Along with this, chamber music remains for him a source of inspiration and a hotbed for communication: concerts with long time partners as Antje Weithaas, Tobias Feldmann, Lise Berthaud und William Youn are planned, amongst other venues in the Concertgebouw Amsterdam, in the Liszt Akademie Budapest and at the Schubertiade in Hohenems. Furthermore, in spring 2021 he will be on tour with Sharon Kam and Enrico Pace.
Thu 24 September 2020 - 8 pm Konzerthaus Berlin
- from € 20
Tickets for the December 2020 concerts are expected to be obtained from mid-November from the RSB visitor service in person, by phone, post, fax or by e-mail:
RSB Visitor Service
Charlottenstrasse 56 (2nd floor)
Telephone: 030 202 987 15
Fax: 030 202 987 29
E-mail: tickets@rsb-online. de
Information for the individual price categories can be found here.
The box office of the Philharmonie opens one hour before the concert begins.
An box office cannot be offered in the foyer of he Konzerthaus Berlin. The box office in the visitor service of he Konzerthaus Berlin is open one hour before the start of the concert for short-term ticket purchases and questions. You can only book double seats online for all events. Single seats are only available via the ticket hotline and the visitor service.
FFP2 masks without a valve will be mandatory throughout the building, including the entrance area and outside of the venue. This also applies during the concert.
General distance and hygiene measures
Please observe the general distance and hygiene measures: Keep a minimum distance of 1.5 metres to other people, cough and sneeze in the crook of your arm, use the disinfectant dispensers and stay at home if symptoms of illness occur.
Around the concert
Concert goers must carry a current identity card or an appropriate official document such as a passport (photographic proof of identification), a FFP2 mask (surgical masks and certificates are not allowed) and one of the following three documents with them:
- Your personalized negative SARS-CoV-2 antigen test result from the day of the event from a test centre certified by the State of Berlin or,
- if you have been fully vaccinated against the Corona virus for at least two weeks, your proof of vaccination, e.g. an entry in your vaccination card.
- If you have been infected with the virus in the last six months and your illness dates back at least 28 days, we will also accept an appropriate medical or official certificate.
It is possible to get tested at the Philharmonie Berlin after booking an appointment. You can book an appointment here: https://covidzentrum.de/en/corona-test-berlin/.
Route directions & parking location
The Konzerthaus can be accessed easily by the following means of public transport:
Bus M48 to U Stadtmitte/Leipziger Straße + 5 minutes walk, 100 to Unter den Linden/Friedrichstraße + 5 minutes walk, 147 to Französische Straße, 200 to Unter den Linden/Friedrichstraße + 5 minutes walk
Underground U2 to Hausvogteiplatz + 3 minutes walk or Stadtmitte + 5 minutes walk, U6 to Französische Straße + 4 minutes walk or Stadtmitte + 5 minutes walk, U55 to Brandenburger Tor + 10 minutes walk
S-Bahn (city railway) S1, S2, S25, S26, S3, S5, S7, S9 to Friedrichstraße + 15 minutes walk, S1, S2, S25, S26 to Brandenburger Tor + 10 minutes walk
For those arriving by car, the following underground car park is available : Taubenstraße/Jägerstraße run by Contipark Parkgaragengesellschaft mbH (address of entrance: Taubenstraße 14, 10117 Berlin, The-Q). The cost of parking here is 2.00 Euros per hour. Exclusively for concert audiences: the Konzerthaus rate is 5.50 Euros for a full six hours parking. Simply get your parking ticket marked at the service desk in the foyer of the Konzerthaus.
The concert hall opens 45 minutes before the concert begins. There are additional entrances and exits, please follow the local signposting system. The walkways in the stairwells are marked accordingly in colour on the floor. For further information please refer to the protection and hygiene concept of the Konzerthaus.
Konzerthaus: Barrier-free Accessibility
The elevators may be occupied by a maximum of 2 guests as well as a front of house staff member to guide the elevator.
There are floor markings in front of the elevators to help visitors keep the distance.
Konzerthaus: In the concert hall
All tickets are bonded to seats.
Seats that are not to be occupied will be blocked to the extent necessary to maintain a minimum distance of 1 meter in all directions. Blocked seats (also in the blocked rows of seats) are locked with a clearly visible Velcro strip so that the seats cannot be folded down and are therefore blocked for use.
This results in different seating options in the individual hall areas due to the structural conditions. There are double and single seats.
All concerts take place without a break and last about 60 to 90 minutes.
Cloakrooms are not available in any of the concert halls. You can take your jackets and bags up to A4 size with you into the concert halls.
At the moment, there will be no catering on offer in any of the concert halls.
Introduction / Pre-Concert Talks
Concert introductions cannot currently take place at the venue.
The programmes can be downloaded digitally on the concert webpages of the RSB about two days before the concert and are also available free of charge on the concert evening.