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3D sound for the classical music of tomorrow

Siemens Arts Program publishes cello works by Tchaikovsky and Gulda in 3D sound technology

During the project, a music video was produced in which the Siemens Art Program staged the musicians of the Orchestra Academy at Siemens headquarters.
Music video for the "Overture" (1st movement) of the Gulda Cello Concerto

During the project, a music video was produced in which the Siemens Art Program staged the musicians of the Orchestra Academy at Siemens headquarters.


In conjunction with the Orchestra Academy of the Bavarian State Orchestra and Jakob Spahn, solo cellist at the State Orchestra, the Siemens Arts Program has recorded works by Peter Tchaikovsky and Friedrich Gulda, producing them in several “immersive sound formats”. In intensive cooperation with the Siemens Arts Program, its artistic director Stephan Frucht and the Immersive Audio Network IAN, a completely new sound experience has been born which unites the traditional cello repertoire with a technically innovative audio method.


All three spatial dimensions are represented in the immersive 3D sound. The recipient is in the middle of the acoustic space and can experience the spatial quality of the sounds three-dimensionally. The “Cello Concertos” album in 3D sound quality will be out on the hänssler Classic label as a Blu-ray and CD on 11 May. The sound recordings were taken at the group headquarters of Siemens AG and in the Bruno-Walter hall of the Bavarian State Opera. The 3D immersive production is also being presented at the Siemens Headquarters in Munich on 28 April as part of the “Long Night of Music” event.



The following works have been recorded on the new CD and Blu-ray:

  • Friedrich Gulda: concert for violoncello and wind ensemble
  •  Peter Tchaikovsky: rococo variations for violoncello and wind quartet (arrangement: David Stromberg)


Press release
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The Siemens Arts Program brings together newcomers and virtuosos at Carnegie Hall

Full of self-confidence, conductor Marie Jacquot steps out in front of the orchestra. Violinist Sarah Christian can sense her fellow musicians behind her, while Fabian Müller at the piano is calm personified. Three “newcomers” are introducing themselves to an orchestra. And not just any orchestra, but the Bavarian State Orchestra, and not at just any venue, but New York’s Carnegie Hall.

ARD Music Competition Finalists Featured at Carnegie Hall in New York (01:08 min min)
Big stage, Bright Lights: Watch the video

ARD Music Competition Finalists Featured at Carnegie Hall in New York

01:08 min

In March 27 the Siemens Arts Program initiates a concert between debutants and virtuoso musicians from the international music world. The Bavarian State Orchestra – the orchestra of the Bavarian State Opera – accompanies the winners of the ARD Music Competition 2017, Sarah Christian (violin) and Fabian Müller (piano) at Carnegie Hall in New York. Conductor Marie Jacquot fronts the evening concert.


Making their debut at Carnegie Hall is an accolade for the young musicians, and during their interviews, the three artistes report on their collaboration with the Bavarian State Orchestra.

Marie Jacquot

Ms. Jacquot, could you describe for us how it feels to conduct an ensemble like the Bavarian State Orchestra? Just routine or an unnerving experience?

“Neither routine nor unnerving! As I assisted Mr. Petrenko on “South Pole” in 2016, I am already familiar with many faces in the orchestra. I look forward to meeting the musicians again and getting to know them better, as well making the acquaintance of other members of the orchestra. It is of course always an honor to have the chance to be able to work with musicians of such a caliber. It is a special opportunity, and a shared responsibility to be able to serve the composer and their art even more effectively.”



The Siegfried Idyll, like many of Wagner’s works, strikes many people as being dominated by maleness. Despite its subtlety. So as the conductor, what sort of perspective do you bring to a piece like this?

“Richard Wagner’s Siegfried Idyll is a particularly intimate work, full of deep personal sentiments. With everything from tender, flowing moments, landscapes painted through the music, highly pleasant feelings, right up to the expression of the utmost passion. At every moment, Richard Wagner succeeds in captivating the musicians and audience alike in such a way that they all have no other choice than to immerse themselves in his world. As conductor, I try to convey the emotions in the music through my own life experiences, without my feelings being front and center, but rather helping me to serve a greater purpose.

Having composed the work to mark the 33rd birthday of his wife Cosima and in memory of the birth of their son Siegfried, Wagner was long reluctant to publish the piece. It was intended always to retain its special intimacy, always to sound as if nobody in the room should actually be allowed to hear it. This highly personal declaration of love is one of the most beautiful in music. It is the calm and stillness between the notes that moves us so.”

Sarah Christian

It is impossible to state definitively whether men or women approach music in different ways. What is certain is that since the days of Clara Schumann and Fanny Mendelssohn, it is not only woman conductors but also their instrumentalist counterparts who are subject to particular pressure. As someone who ranks among the most talented female violinists of her generation, how does Sarah Christian cope with the pressure?

 “Firstly, I try not to put myself under so much pressure. I tend to shy away from seeing myself in this way and I can be hard on myself. For me, the most important thing is quite simply the music. Not me. So when I go on stage I am there to convey the music, and do not see myself as being at the center of things,” says Sarah Christian.



In truth, what sounds so simple here is a challenge for every “performer” – and that applies in industry too. Major deals are often accompanied by a degree of nervousness. The young violinist explains her method.

“If I am nervous, I try to imagine the composer standing in front of me as a “shield”, so to speak, and that I am playing through them. I believe there are many professions where it helps to concentrate on the matter at hand or the greater purpose and not to regard oneself as being too significant -  in today’s era of Facebook et al, this is sometimes no easy task,” continues Sarah Christian.