Contact
Maike Charlotte Fuchsmf@karstenwitt.com+49 30 214 594-220Kathrin Feldmann-Uhlkf@karstenwitt.com+49 30 214 594-241
General Management
Grażyna Bacewicz, Ouvertüre für Orchester
Jakub Sarwas, Verbum Creationis (The word of creation)
Hanna Kulenty, Concerto Rosso für Streichquartett und Streichorchester
Ignacy Jan Paderewski, Piano Concerto in A minor Op. 17
Jonathan Stockhammer, conductor
Deutsche Radio Philharmonie Saarbrücken Kaiserslautern
Claire Huangci, piano
Paul Hindemith, Mathis der Maler
Frank Zappa, G-Spot Tornado
Thomas Kessler, ...said the shotgun to the head - für Rapper und Orchester
Dai Fujikura, Tocar y luchar
Franz Liszt, Les préludes
Heiner Goebbels, Dwell Where The Dogs Dwell
Lili Boulanger, D'un matin de printemps
Rundfunk-Sinfonieorchester Berlin
Jocelyn B. Smith, mezzo-soprano
Igor Strawinsky, Concerto in E-flat "Dumbarton Oaks"
Igor Strawinsky, Violin Concerto in D major
Sergej Prokofjew, Sonata for two violins in C major, Op 56
Sergej Prokofjew, Violinkonzert Nr. 2 g-Moll op. 63
Dresdner Philharmonie
Patricia Kopatchinskaja, violin
Felix Mendelssohn Bartholdy, Overture 'The Hebrides' Op. 26
Arnold Schönberg, Konzert für Violine und Orchester opus 36
Johann Sebastian Bach, Musikalisches Opfer: Ricercare (arr. Anton Webern)
Alban Berg, Violin Concerto 'Dem Andenken eines Engels'
Claude Debussy, Gigues from Images
Karl Amadeus Hartmann, Concerto funebre for violin soloist and string orchestra
Béla Bartók, Violin Concerto No 2
Giuseppe Verdi, Messa da Requiem
Staatsballett Berlin, ballet
Orchester der Deutschen Oper Berlin
Rundfunkchor Berlin, choir
Ensemble Modern
Frank Zappa, Dog/meat
Frank Zappa, Revised Music for Low Budget Symphony Orchestra
Frank Zappa, Outrage at Valdez
Frank Zappa, Black Page #1 & #2
Frank Zappa, Naval Aviation in Art
Frank Zappa, Put a motor in Yourself
Frank Zappa, Moggio
Frank Zappa, The Adventures of Greggery Peccary
Ensemble Dissonance
Vlatko Stefanovski, E-Gitarre
George Antheil, Ballet mécanique (Revidierte Fassung für vier Klaviere und Schlagzeuger)
If one wants to do justice to Jonathan Stockhammer's broad spectrum of musical work and genre-spanning curiosity, one cannot think in pigeonholes. The Los Angeles-born conductor deals with so-called classical as well as contemporary repertoire with the same passion. Understanding and appreciating music in its universality is the driving force behind his work - for him, great music is not bound to a specific genre. He loves opera, classical ballet and modern dance theatre just as much as he loves experimental world premieres or unconventional concert formats that break down encrusted structures in favour of new listening experiences. His talent for explaining music and understanding the audience as a dialogue partner makes music understandable and experienceable in a new way. A charismatic communicator, he applies his interpretational sensibilities to both well-known, beloved repertoire as well as to overlooked masterworks of the past. Composers of today respect him as an experienced, flexible and astute partner in bringing their new works to life. On stage he forges strong bonds between performers and audiences. In rehearsal and performance alike, he has a gift for creating a community of the moment and for the moment.
Opera is central to Jonathan Stockhammer’s work. The operas he has conducted, including Zemlinsky’s Eine florentinische Tragödie, Sciarrino’s Luci mie traditrici and Monkey: Journey to the West by Damon Albarn, identify him as a conductor who welcomes and masters the difficulties presented by complex scores and special, interdisciplinary productions. He has been a regular guest at the Opéra de Lyon since first appearing there in 1998. In 2009, he conducted the Stuttgart Radio Symphony Orchestra in Wolfgang Rihm’s Proserpina and Deus Passus. In 2013, he made his debut at the New York City Opera in Thomas Adès’ Powder Her Face. In 2016, he made his debut at the Vienna State Opera in a new production of Peter Eötvös’s Tri Sestri (Three Sisters) and returned in the spring of 2020. In 2019, he made his debut at the Zurich Opera with Michael Pelzel’s Last Call and returned in the season of 2021/22. Following the new production of Philip Glass’ Satyagraha by Sidi Larbi Cherkaoui at the Komische Oper Berlin and Theater Basel, he opened Basel’s season 2019/2020 with Luigi Nono’s Al gran sole carico d’amore. In the 2022/23 season, he made his debuts at Opera Vlaanderen (Satyagraha), Oper Frankfurt (The Cunning Little Vixen) and Staatsballett Berlin (Onegin). In the 2023/24 season, he will conduct BOVARY, the opening production of Christian Spuck, the new artistic director of the Staatsballett Berlin.
Jonathan Stockhammer has worked with numerous renowned orchestras such as the London Symphony Orchestra, Oslo Philharmonic, NDR Symphony Orchestra Hamburg, Frankfurt Radio Symphony, Czech Philharmonic Orchestra, Philharmonia Orchestra, the Seoul Philharmonic Orchestra and the Sydney Symphony Orchestra, and has appeared at the Salzburg Festival, Lucerne Festival, Schwetzingen Festival, Donaueschingen Festival, Biennale Venice, the Wiener Festwochen and Wien Modern.
Aside from conducting classical and romantic masterpieces and contemporary classical works, he enjoys delving into music that blurs the boundaries between classical music, rock, pop, and hip-hop. His CD Greggery Peccary & Other Persuasions with Ensemble Modern (RCA, 2003), featuring works by Frank Zappa, won an Echo Klassik Award. He also recorded a new soundtrack to Sergei Eisensteins’s 1925 film The Battleship Potemkin, composed and performed by the Pet Shop Boys. His live recording of The New Crystal Silence with Chick Corea, Gary Burton and the Sydney Symphony Orchestra won a Grammy in 2009. His collaboration with spoken word artist Saul Williams on Said the Shotgun to the Head, featuring music composed by Thomas Kessler, has also been particularly successful. To date, he has conducted the work with the WDR Symphony Orchestra, Stuttgart Radio Symphony Orchestra and the Oslo Philharmonic.
Jonathan Stockhammer first studied Chinese and political science before moving on to studies in composition and conducting in his hometown of Los Angeles. During his studies, he filled in for a series of concerts with the Los Angeles Philharmonic, after which he was asked to become chief conductor Esa-Pekka Salonen’s assistant. After completing his studies, he moved to Germany where he formed close relationships with well-known European ensembles such as Ensemble Modern, Collegium Novum Zürich and Ensemble Resonanz.
2023/2024 season
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“The performance of the Rundfunk-Sinfonieorchester Berlin under the direction of Jonathan Stockhammer is first class. The orchestra shows itself in top form and masters Kaun's demanding scores with bravura. Stockhammer confidently leads the orchestra through the sometimes turbulent music, and his sensitive interpretation superbly brings out the emotional nuances of the works.”
Onlinemerker.com, Dirk Schauß, 30 September 2023
“Jonathan Stockhammer stood in for an ailing Rattle with thrilling results. An evening of Adams, Debussy and Ravel allowed all sections of the London Symphony Orchestra to shine in a rich and varied programme of musical blockbusters. Working with an impressionistic musical canvas revealed Stockhammer’s adaptability as a conductor, as he revelled in Debussy’s masterly use of instrumental textures. There was a real sense of nature awakening.”
Opera and Classical Music Reviews, April 2023
“The energy was there, but so too was the expressiveness and the detail: the playing had an extraordinarily clean, gleaming, pristine quality (…). It yielded nothing to Adams’s own performance with the LSO 20 years ago, in its brilliance, its emotional clout and its sense of epiphany.”
Seen and Heard International, April 2023 (about “Harmonielehre” by John Adams)
"Stockhammer delivered a stirring interpretation of the confessional work, far removed from the use of the Ninth as stately celebration music that is often experienced today. He answered the question of the right Beethoven tempo with: brisk and energetic, contrast-emphasizing and conflict-rousing, eruptive in sound and obsessed with detail. All this within great arcs of tension."
Lausitzer Rundschau, Peter Buske, January 2, 2023
"The "Eroica" is gorgeous (...) It has class. The sound was slender and roughened, with the brass pulled out, and the strings degreased and positioned in an unusual way, especially for Beethoven (...). The audience was completely enthusiastic and delighted the conductor with bravos and shouts of joy."
Neue Presse Hannover, Henning Queren, December 6th, 2022
"The Konzerthausorchester under Jonathan Stockhammer continued seamlessly with six pianists, including the GrauSchumacher piano duo, with "limited approximations" by Georg Friedrich Haas, in a wonderfully well-rehearsed and dramaturgically coherent interpretation."
Berliner Zeitung, Peter Uehling, November 23th, 2023 (about the Festival «Aus den Fugen» at the Konzerthaus in Berlin)
"Jonathan Stockhammer who led the Dresden Philharmonic with an almost crystalline view, had the same intellectual sensibility for these tones of sharply inexorable, icy illusion-free clarity as for Schmidt's dark red-black or devouringly over-bright tongues of sound."
F.A.Z., Gerald Felber, October 6th, 2021 (about the World Premiere of Christfried Schmidt's 2nd Symphony)
“Like in a "welcome symphony" the musicians only appear when it's their turn – there are a few show elements, when the horns emit elephant tones, incredible rhythms are danced by the conductor Jonathan Stockhammer – a rock-like spectacle in seven movements. Enthusiastic applause!”
Frankfurter Neue Presse, 02/12/2019
“In conducting the Basel Symphony Orchestra, Jonathan Stockhammer accomplishes the remarkable feat of bringing forth from a large apparatus a broad range of tones. The choir of the Theater Basel, in their supporting role as a collective, was also a tour de force.”
Neue Zürcher Zeitung, Martina Wohlthat, 16/9/2019
“The Basel Symphony Orchestra plays with utmost focus and reveals the full range of musical extremes, in part accompanied by Nono's prescribed tape recordings. The end result, as conjured by conductor Jonathan Stockhammer, are sonic clouds that rise again and again to the threshold of pain and then blaze gently into the ether.”
Deutschlandfunk, Franziska Stürz, 16/9/2019
Jonathan Stockhammer I London Symphony Orchestra I Debussy: La mer
Jonathan Stockhammer | Konzerthausorchester Berlin | Antonín Dvořák: Symphony No. 9 "From the new world" | Livestreaming concert
Jonathan Stockhammer | WDR Sinfonieorchester | Leonard Bernstein - Divertimento
Jonathan Stockhammer | WDR Sinfonieorchester | Charles Ives - Variations on "America"