Strollers, prams, wheeled walkers, walking-stick umbrellas, bags sized A3 (42 cm x 30 cm) or above, sport bags, backpacks and luggage must be checked in at the cloakroom.
Jackets and handbags may be taken into the hall.
»Contest of the Gods«
Today, Johann Sebastian Bach is primarily known as the creator of church cantatas, passions, and sacred masterpieces. But the Thomaskantor of Leipzig was much more than just a devout musician: he left behind magnificent and dramatic works for festive, courtly, and university occasions. Two particularly colorful examples of this entirely secular Bach, who described his professional time as court conductor at the court of the Prince of Saxony-Anhalt in Köthen as the happiest of his life, are the focus of the closing concert of the IV International Bach Festival Hamburg.
The Satisfied Aeolus is a »dramma per musica« in which the god of the winds, Aeolus, is disturbed in his peace and quiet and in which the wind god is impressively staged with trumpets and drums, stormy choruses, and virtuoso arias. The plot is allegorical, the music magnificent: personifications of air, thunder, the seasons, and reason compete with each other until finally Pallas Athena appeases the enraged Aeolus. Bach takes the opportunity here to exploit the entire orchestral color spectrum: from the raging storm to the gentle breeze. Virtuoso. The result is a musical debate that remains charming and witty to this day.
Four years later, in 1729, Bach composed The Contest between Phoebus and Pan. This piece is also a »dramma per musica«, but the tone is even more pointed and the wit even sharper. The plot is borrowed from ancient mythology: Phoebus (Apollo), god of the arts, and Pan, the rural god of shepherds and flutes, compete to see who is the better musician. King Midas is asked to judge – and fatally decides in favor of Pan. As a result, Midas is punished by Phoebus with donkey ears.
Beneath the humorous surface lies a serious question: What is »good music«? Bach and his favorite librettist Christian Friedrich Henrici, who wrote under the pseudonym Picander, play with the contrast between artistic, scholarly composition (Phoebus) and folk-like, simple music-making (Pan). Unsurprisingly, Bach takes the side of art, but not without a wink: the music for Pan is deliberately »simple« and coarse, while that for Phoebus is elegant and virtuosic. The result is a musical debate that remains charming and witty to this day.
What would have happened if Bach had converted from Protestantism to Catholicism and, instead of Johann Adolf Hasse, had been appointed court conductor at the Dresden court of Augustus the Strong? The Dresden Court Opera House, with its 2,000 seats, was one of the largest opera houses in Europe at the time. Perhaps Bach might even have surpassed George Frideric Handel as a Baroque opera composer.
CPE.Bach.Chor.Hamburg
Barucco
Catalina Bertucci soprano
Sophie Rennert mezzo-soprano
Daniel Johannsen tenor
Shimon Yoshida tenor
Klaus Häger bass
Daniel Ochoa bass
David Chin harpsichord and director
Hansjörg Albrecht harpsichord and director
Johann Sebastian Bach
Der zufriedengestellte Aeolus: Zerreißet, zersprenget, zertrümmert die Gruft / Dramma per musica BWV 205
– Interval –
Johann Sebastian Bach
Der Streit zwischen Phoebus und Pan: Geschwinde, ihr wirbelnden Winde / Dramma per musica BWV 201
Fri, 17 Apr 2026 18:45
Pre-show: Bach & Japanese dance,
Laeiszhalle, Großer Saal
Promoter: Carl-Philipp-Emanuel-Bach-Chor Hamburg e.V.
Since 1908, the Laeiszhalle has been a meeting place for Hamburg's musical life. The neo-baroque Laeiszhalle Grand Hall accommodates over 2,000 guests. (Please note: The Laeiszhalle is a separate concert hall located three kilometres away from the Elbphilharmonie.)
Strollers, prams, wheeled walkers, walking-stick umbrellas, bags sized A3 (42 cm x 30 cm) or above, sport bags, backpacks and luggage must be checked in at the cloakroom.
Jackets and handbags may be taken into the hall.
Facilities for ladies are located behind the cloakrooms on all floors. Facilities for gentlemen can be found on the landing between the floors, also located behind the cloakrooms.
A fully accessible toilet for persons with mobility disabilities is located behind the cloakroom on the ground floor (Parkett links).
Laeiszhalle Hamburg
Johannes-Brahms-Platz
20355 Hamburg
The Laeiszhalle can be easily reached by bus, underground and bicycle.
The nearest stops include:
Underground line U2: Gänsemarkt / Messehallen
Underground line U1: Stephansplatz
Bus 3, X35, 112: Johannes-Brahms-Platz
Bus X3: U Gänsemarkt (Valentinskamp)
Bus 4, 5, 109: Stephansplatz
StadtRAD (public city bicycle) station: Sievekingplatz / Gorch-Fock-Wall
There are bicycle stands available in front of the Laeiszhalle.
Gänsemarkt multistorey car park: Dammtorwall / Welckerstrasse
Rate per hour or part thereof: €4.50
Night rate (18:00–06:00): maximum €11
24-hour rate: maximum €30
Please note: There are several construction sites in the immediate vicinity of the Laeiszhalle which may make it difficult to get to the concert. Please therefore plan enough time for your journey to the concert.
The Laeiszhalle is a separate concert hall located three kilometres away from the Elbphilharmonie.
We suggest visitors arrive at the Laeiszhalle main entrance not later than 30 minutes before the start of the concert or event. Late seating is not guaranteed and latecomers may not be admitted to the concert hall.
The entrance of the Recital Hall is located on Gorch-Fock-Wall.
Admission times Grand Hall and Recital Hall:
Events without pre-concert talk:
Foyer: 60 minutes before the start of the event
Hall: 30 minutes before the start of the event
Events with pre-concert talk:
Foyer: 90 minutes before the start of the event
Hall: 15 minutes before the start of the talk
If a pre-concert talk is offered for this event, it is noted above under PROGRAMME.
All halls and spaces are accessible for visitors with disabilities. More information at www.elbphilharmonie.de/en/accessibility.
Photography is permitted at the Laeiszhalle for private purposes only. Please respect the privacy of other visitors and help ensure an undisturbed concert experience for all guests and artists. Employees and artists may not be photographed.
Photography, audio or video recordings of concerts and events are strictly prohibited.
Event-related video recordings or photographs for editorial or commercial purposes must be authorised by the Press Office of the Elbphilharmonie and Laeiszhalle.
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