Concert Archive

Jesu meine Freude

Sunday, 19.06.2022, 5 pm 

Charity Concert
Oldenburger Kammerchor
Conductor: Johannes von Hoff

Admission free! Donations requested for „Oldenburg helps Ukraine“

St. Ansgar – Oldenburg-Eversten

Organ Wish Concert Part 2

On Sunday, June 28, 2020, 5 p.m., the performance of Duke Ellington’s “Sacred Concerts” with the Oldenburg Chamber Choir, Vivid Voices and the big band “Fette Hupe” from Hanover was scheduled. Due to the Corona crisis, the concert has unfortunately to be postponed to next year (June 19/20, 2021). Instead, there is now a digital organ request concert from St. Ansgar with KMD Johannes von Hoff – Part II! Under the following link: you can watch the concert on youtube – from 5 pm or any time later, then you can also select individual pieces! You can also listen to the last organ request concert on May 10th at any time (including individual works) at the following youtube link:

The Organ Request Concerto Part II again offers a varied program: works by J. S. Bach, his most famous organ work, the Tocata in D minor, this time in an interesting arrangement, which also pays tribute to this year’s birthday boy L. v. Beethoven. You will listen to French, Norwegian and English music – the arc reaches from the 16th to the 21st century, furthermore a march and a short visit in a far away galaxy …..

The concert of the Oldenburger Kammerchor had to be cancelled this Sunday in St. Ansgar and more events have to fall victim to the Corona crisis! This is bad and threatens the existence of the dedicated musicians. You can also help this time with a donation to the “Förderkreiskonto der Kirchenmusik an St. Ansgar”, so that we can at least pay the musicians a cancellation fee. The account number can be found below and in the information about this concert on YouTube or the church music page of St. Ansgar.


Songs of Mary by Heinrich Schütz, Wolfram Buchenberg etc.

Saturday, 14 December 2019, 7 pm, Ansgarikirche Oldenburg, Edewechter Landstraße 23
Sunday, 15 December 2019, 5 pm, Trinity Church Hamburg-Hamm

Oldenburger Kammerchor, conductor: Johannes von Hoff
hamburgVOKAL, conductor: Matthias Mensching

„Pokoj – Frieden – Pax“ concert tour to Poland

Sa, Oct 5, 2019 I 6 pm
Torun, “Our Lady of Victory”
Mass and Concert, with the Academic Choir of the Nicolaus Copernicus University in Torun

Tu, Oct 8, 2019 I 7 pm
Poznan, Concert Hall “Aula Nova” of the Academy of Music in Poznan with the Paderewski Choir

Thu, Oct 10, 2019 I 7 pm
Wroclaw, Augsburskiego Church


Sa, Oct 12, 2019 I 6:30 pm
Görlitz, Peter and Paul Church

Successful chamber choir concert helps in Golzwarden

NWZ – 01.10.2019

by Andreas R. Schweiberer

OLDENBURG 34 singers of the Kammerchor Oldenburg under the direction of Johannes von Hoff sang a very dense and rich a cappella concerto in the Ansgari-Kirche with five great compositions by Heinrich Schütz, Felix Mendelssohn, Max Reger and Rudolf Mauersberger, which all belong to the indispensable repertoire. Seven contemporary Polish compositions for choir, including three world premieres, were woven into this strong German backbone of the programme “Pokój Frieden Pax”. The choir will also sing the programme grouped around the biblical request “Da pacem” (Gib Frieden) on a trip abroad in Thorn, Posen, Breslau and Görlitz.

The roof truss of the late Romanesque church in Golzwarden was destroyed by fire in summer. The Arp Schnitger organ was preserved, but has to be dismantled for the time being. As a benefit for the valuable organ, half of the concert revenue will be used for the renovation.

In addition to the thematic focus on peace, here especially with our Polish neighbours, and the meaningful benefit for an important organ in the organ landscape of north-western Germany, another focus of the successful concert with a high choral culture in three world premieres by contemporary Polish composers. The “Te Deum” by Andrzej Bielerzewski, “The Prayer of Saint Francis” by Jakub Neske and especially Katarzyna Danel’s “Da pacem, Domine” fit very well into the challenging and thematically bound programme. The excellently rehearsed chamber choir, which reacted cleanly and dynamically with great flexibility throughout, sang the three premieres sovereignly and with warm sympathy for the compositions, which were quite clearly influenced by the new English choral singing and drew from a rich pool of harmonies, rhythms and melodies.

The emotional highlight was the almost classically restrained and soothed mourning that makes Mauersberger’s composition “Wie liegt die Stadt so wüst” so haunting. Written in Dresden in view of the incomprehensible destruction of the war, it is lamented here without accusation, without exaggerated gestures. Everything is formally framed and therefore so insistent. In a vocally, technically and emotionally convincing performance, the chamber choir here, but also in Reger’s “Nachtlied” (Night Song), managed, through the intimate adaptation of the music, not to demand the longed-for peace and harmony as an exterior, but to create it from within and make it appear as always present.


Choir concert „Fire and Water“

Saturday, 23 March 2019, 6 pm, St. Johannes Hamburg Eppendorf
Sunday, 24. March 2019, 5 pm, Ansgarikirche Oldenburg

Choir Concert “Fire and Water”

in literature and choral works by Th. Morley, H. Distler, E. Whitacre and many others.
Speaker: Bernhard Hackmann
Oldenburger Kammerchor, conductor: Johannes von Hoff


NWZ 26 March 2019

Chamber choir impresses with precision

By Christoph Keller

EVERSTEN “And then I want to dive into the depths, immerse myself in the glow of wonders, and I feel as if angels were calling me into the old city of wonders” (Wilhelm Müller) – A deeply impressive concert in the Ansgari Church on Sunday showed what powerful images poets and composers were inspired to by the allegories of fire and water. Under the inspiring direction of Johannes von Hoff, the Oldenburg Chamber Choir sang a cappella works on the theme “Fire and Water” from different stylistic eras. Even in Thomas Morley’s oldest choral work “Fyer, Fyer!”, the 30 or so singers unfolded an effective sound space through extremely precise phrasing and rapidly changing accents in the individual voices. That the fire can not only consume in the longing for love, but also destroy enormously, became clear in Eduard Mörikes dramatic “Feuerreiter”, set to music by Hugo Distler, who was presented expressively by the choir with intensive density and engaging dynamic variety.

Bernhard Hackmann recited suitably selected texts in a lively manner, including “Aus Feuer ist der Geist geschaffen” by Ernst Moritz Arndt. These offered numerous supplementary perspectives on the basic theme.

In the poem “Vineta” by Wilhelm Müller, set to music by Johannes Brahms, the chamber choir sang with longing melodic swings from the sunken old wonder city. Water as an element of transformation became clear in Ralph Vaughan Williams’ harmonically advanced “Full fathom five”, where the choir depicted the enchanting bell tones of the all-changing nymphs with striking dissonances.

It was extremely impressive to experience the precision and intonation certainty with which the chamber choir created even the densest harmonic structures and overlapping harmonies in the works of the 20th century. In Eric Whitacre’s “Water night” and J. W. Goethe’s “Song of Spirits over Water”, the allegory of water was transformed into manifold images of the human soul.

A Latvian folk song formed the main melody in Erik’s Esenvald’s “Northern Lights” composed in 2012. The singers also used water glasses and bells to colour the enchanting atmosphere of the wonder of the blazing polar lights “on which dreams travel to unknown worlds”.

The light installation by Rainer Martens expressed both elements in the modified basic colours red and blue. Only with the “Northern Lights” did they merge, and at the end the large cross in the sanctuary above the choir had a transforming effect through the flowing light movements.

A choir of great homogeneity

 NWZ Region Wesermarsch Culture 26.09.2018

The Kammerchor Oldenburg inspires with its desire and ability to sing out subtle details. At the end the audience thanks with standing ovations.

by Reinhard Rakow

BERNE Everything is sound, flawless and sublime. The basses prepare the ground earthy, tenor and alto strive upwards, gain height and form, artfully fan themselves out until the soprano finally rises above everything. With compelling radiance he occupies the zenith of the sound firmament, conjures surfaces that glow, dots that shine, arches that sparkle and glisten: the Oldenburg Chamber Choir under Johannes von Hoff gives a guest performance in St. Aegidius, and the enthusiasm knows no bounds.

The performance was the result of cooperation between fellow cantors Natalia Gvozdkova (Berne) and von Hoff (Oldenburg). The concert was repeated the following day in Oldenburg. Natalia Gvozdkova took part in both performances as organist.

The three-part 90-minute programme, entitled “Praise and Lament”, framed the middle block with short organ pieces, a lamento by Jehan Alain (1911-1940) and Felix Mendelssohn-Bartholdy’s Fugue in F minor, two works attributable to the lamenting ductus, which Gvozdkova performed in touching austerity, but each in its own distinctive tone.

Strict and delicate simplicity also characterized the choral works of the evening. In his introduction, von Hoff emphasized that the Christian three-movement had inspired lament, consolation and praise for composers of all epochs to create great choral works. Nevertheless, the programme was able to dispense well with the opulent melismatics of the pompous late Baroque. Instead, it concentrated entirely on pieces that demanded the singing out of clear lines, the artistic colouring and layering of even simple phrases, the architectural creation of sound spaces through pure vocal culture – chorically even the greater challenge.

In addition to psalm settings by Schütz und Schein from the beginning of the Baroque and the neo-romanticists Frank Martin (1890-1974) and Georg Schumann (1866-1952), Mendelssohn-Bartholdy’s “German Liturgy” from 1846 and Francis Poulenc’s “Mass in G” from 1947, which was actually regarded as harsh, marked the highlights of colourful and lively music; the 30 singers staged Poulenc’s Gloria so intensively and so splendidly that they had to repeat it as an encore.

Breathing a single breath, the Oldenburg Chamber Choir acts in great homogeneity, intonation-safe even with difficult harmonies and delicate rhythms, always excellently articulating. The desire and ability to sing out subtle details is always inspiring; especially where quiet, seemingly simple lines cautiously touch one another, it becomes audible how highly developed the sense of sound of the choir is: organic tonal spaces grow there, chords follow one another in natural flow, crescendi blossom, diminuendi extinguish, nothing is what might be different.

So this evening two miracles could be inscribed into the Annals of St. Aegidius: Firstly, that even in the eleventh row of the high room the final consonant, breathed in the polyphonic pianissimo, was clearly heard as “t”.

Secondly, after an hour and a half of liturgical singing, visitors jumped up who couldn’t help but get rid of their exuberant enthusiasm with loud Bravo calls.

Choir concert – praise and lament
Sa, Sept 22nd, 2018 | 7pm
St. Aegidius-Kirche zu Berne
Su, Sept 23rd 2018 | 5pm
Ansgari-Kirche, Oldenburg – Eversten

Hodie Christus natus est – Choirconcert Christmas Carols

Sa, 2. December, 2017, 7pm St. Ansgari Oldenburg

Mo, 4. December, 2017, 7pm Eglise Notre-Dame du Sablon, Brussels