Det sker: Nordby Kirke

Ludolf Nielsen (1876-1939): String Quartet No. 1, Op. 1I. Allegro moderatoII. Andante espressivoIII. Scherzo: Allegro moltoIV. Finale: Allegro con fuoco.

Zoltán Kodály (1882-1967): Serenade for Two Violins and Viola, Op. 12I. AllegramenteII. Lento, ma non troppoIII. Vivo
Johannes Brahms (1833-1897): Trio for Violin, Horn and Piano in E-flat major, Op. 40I. AndanteII. Scherzo: AllegroIII. Adagio mestoIV. Finale: Allegro con brio
SINI SIMONEN, VIOLIN · JULIETTE ROOS, VIOLIN · MICHEL CAMILLE, VIOLA · PAU CODINA, CELLO · JOKE WIJMA, HORN · VALDEMAR WENZEL MOST,
NIELSEN'S TREASURES AND THE GENIUS OF BRAHMS AND KODÁLY
The twelfth concert of Fanø Festival 2026, Nielsen's Treasures and the Genius of Brahms and Kodály, brings together an outstanding international ensemble of musicians drawn from some of Europe's leading chamber music traditions. Violinists Sini Simonen and Juliette Roos, violist Michel Camille, cellist Pau Codina, horn player Joke Wijma, and pianist Valdemar Wenzel Most join forces in a programme that explores musical identity, tradition, and innovation across Danish, Hungarian, and German musical cultures.
The evening opens with Ludolf Nielsen's String Quartet No. 1, Op. 1, a remarkable early work by a composer who was once regarded as one of Denmark's greatest symphonic talents. During his lifetime, Nielsen was admired for the ambition and craftsmanship of his music, yet much of his output has remained unjustly neglected. His First String Quartet already reveals a composer of considerable imagination and confidence, combining Nordic lyricism with the rich harmonic language of late Romanticism. The work stands as a fascinating reminder of a period when Danish music sought its own voice alongside the great musical traditions of Germany and Central Europe. Few works illustrate the spirit of Nielsen's Treasures and the Genius of Brahms and Kodály more clearly than this powerful and rarely heard quartet.
The programme then turns to Zoltán Kodály's Serenade for Two Violins and Viola, one of the Hungarian composer's most inventive chamber works. Written in 1919, shortly after the upheavals of the First World War, the Serenade combines folk-inspired vitality with sophisticated craftsmanship. Kodály's lifelong fascination with Hungarian folk music profoundly shaped his musical language. Together with Béla Bartók, he travelled throughout rural Hungary collecting and preserving traditional songs, discoveries that transformed the course of twentieth-century music. In the Serenade, echoes of folk melodies and dance rhythms are woven into a highly individual and expressive musical tapestry. At the heart of Nielsen's Treasures and the Genius of Brahms and Kodály lies this celebration of national identity transformed into music of universal appeal.
The concert concludes with Johannes Brahms's Horn Trio in E-flat major, Op. 40, one of the composer's most personal and beloved chamber works. Written in 1865 following the death of his mother, the trio balances moments of deep reflection with passages of radiant warmth and joy. Rather than using the modern valved horn, Brahms originally conceived the work for the natural horn, whose distinctive colour evoked memories of the countryside, distant hunting calls, and the sounds of his youth.
The Horn Trio occupies a unique place within Brahms's chamber music. The unusual combination of violin, horn, and piano creates a sound world unlike any other in the repertoire. Throughout the work, expansive lyrical melodies alternate with passages of intimacy and tenderness. The slow movement, often regarded as one of Brahms's most moving tributes to his mother, is followed by a spirited finale that transforms grief into affirmation and celebration.
At the centre of this concert is the idea of musical heritage. Ludolf Nielsen sought to create a distinctly Danish voice within the European tradition. Kodály drew inspiration from the folk music of Hungary while forging a modern musical language. Brahms, deeply rooted in the German Romantic tradition, transformed personal experience into music of universal emotional power. Together, these works reveal how composers across Europe drew upon local traditions, memories, and cultural identity to create music that continues to resonate far beyond national borders.
Presented in the beautiful surroundings of Nordby Church on Fanø, Nielsen's Treasures and the Genius of Brahms and Kodály offers audiences a rare opportunity to experience a gathering of internationally acclaimed artists in a programme rich in colour, character, and emotional depth. From Danish Romanticism and Hungarian folk-inspired vitality to the timeless humanity of Brahms, the evening promises an unforgettable journey through some of the most compelling chamber music of the nineteenth and early twentieth centuries.

Venue: Nordby Church, Fanø
Date: Wednesday 12th August 2026, 7:30 pmFestival: Nielsen's Treasures and the..

André Caplet (1878-1925): Quintet for Flute, Oboe, Clarinet, Bassoon and PianoI. Allegro moderatoII. ScherzoIII. AdagioIV. Finale. Ludolf Nielsen (1876-1939): String Quartet No. 2, Op. 5I.

Allegro moderatoII. AndanteIII. Scherzo: Allegro moltoIV. Finale: Allegro con fuoco
KERSTIN THIELE, FLUTE · DAVID DANIEL DINU, OBOE · RON CHEN-ZION, CLARINET · SOFIA OBANDO, BASSOON · VALDEMAR WENZEL MOST, PIANO · SINI SIMONEN, VIOLIN · JULIETTE ROOS, VIOLIN · MICHEL CAMILLE, VIOLA · PAU CODINA, CELLO
The thirteenth concert of Fanø Festival 2026explores two remarkable voices of European chamber music. Nielsen's Nordic and Caplet's French Visions brings together the richly expressive late-Romantic world of Danish composer Ludolf Nielsen and the refined, colouristic soundscape of French composer André Caplet. Performed by an outstanding international ensemble, the programme reveals two contrasting yet complementary musical perspectives from the turn of the twentieth century.
The evening opens with Ludolf Nielsen's String Quartet No. 2, Op. 5, a work that demonstrates why Nielsen was once regarded as one of Denmark's most promising symphonic composers. Written in a richly expressive late-Romantic style, the quartet combines Nordic lyricism with impressive structural ambition and emotional depth. Throughout the work, expansive melodies and dramatic contrasts reveal a composer deeply engaged with the Austro-German Romantic tradition while searching for a distinctive Nordic voice of his own.
Although Nielsen enjoyed considerable success during his lifetime, his music later fell into relative obscurity. Today, audiences are increasingly rediscovering the remarkable craftsmanship and individuality of his works. The Second String Quartet stands among his finest chamber compositions and offers a fascinating glimpse into a chapter of Danish musical history that deserves renewed attention.
The programme then turns to André Caplet's Quintet for Flute, Oboe, Clarinet, Bassoon and Piano, a masterpiece of French chamber music distinguished by its refinement, colour, and imagination. Caplet was one of the most gifted French composers of his generation and is perhaps best known for his close friendship and artistic collaboration with Claude Debussy. His music reflects many of the qualities associated with French musical impressionism: luminous textures, delicate instrumental colours, and an extraordinary sensitivity to atmosphere.
At the heart of Nielsen's Nordic and Caplet's French Visions lies the contrast between two distinct musical worlds. Nielsen's quartet emerges from the grand Romantic tradition of Northern Europe, with its broad melodies, dramatic architecture, and emotional intensity. Caplet's Quintet inhabits a more translucent and colouristic universe, where subtle shifts of timbre and atmosphere become central expressive elements. Together, the works reveal the extraordinary diversity of European chamber music during a period of profound artistic change.
Both composers sought new ways of combining tradition with innovation. While Nielsen developed a distinctive Scandinavian voice rooted in Romantic expression, Caplet explored new possibilities of colour and texture within the French tradition. Their works demonstrate how composers across Europe responded differently to the same artistic currents, creating music that remains fresh, distinctive, and deeply rewarding. The title Nielsen's Nordic and Caplet's French Visions reflects this fascinating dialogue between two composers separated by geography yet united by artistic imagination.
Presented in the intimate surroundings of Nordby Church on Fanø, Nielsen's Nordic and Caplet's French Visions offers audiences a rare opportunity to experience two exceptional chamber music masterpieces side by side. Through the richness of Nielsen's late-Romantic imagination and the elegance of Caplet's French sound world, the concert provides an unforgettable journey through contrasting musical cultures and artistic ideals.
For lovers of chamber music, the meeting of Nielsen's Nordic and Caplet's French Visionspromises an evening of discovery, beauty, and extraordinary musicianship, performed by some of Europe's finest artists.
VENUE: NORDBY CHURCH, FANØ
Date: Thursday 13th August 2026, 7:30 pmFestival: Nielsen's Nordic and Caplet's French Visions in EICMF,Klassisk Sommer Festival 2026

Paquito D'Rivera (1948-): Aires Tropicales for Wind QuintetI. AlboradaII. SonIII. HabaneraIV. Vals VenezolanoV. DizzynessVI. AfroVII. Contradanza.

Mario Castelnuovo-Tedesco (1895-1968): Capriccio Diabolico, Op. 85 for Solo Guitar
Maurice Ravel (1875-1937): String Quartet in F major, M. 35I. Allegro moderato - Très douxII. Assez vif - Très rythméIII. Très lentIV. Vif et agité
KERSTIN THEILE, FLUTE · DAVID DANIEL DINU, OBOE · RON CHEN-ZION, CLARINET · SOFIA OBANDO, BASSOON · JOKE WIJMA, HORN · JONAS EGHOLM, GUITAR · JULIETTE ROOS, VIOLIN · JOEL BARDOLET, VIOLIN ·MICHEL CAMILLE, VIOLA · PAU CODINA, CELLO
The eighteenth concert of Klassisk Sommer Festival 2026, Latin Fire Guitar Virtuosity French Impressionism, brings together three strikingly different musical worlds united by colour, imagination, and expressive brilliance. From the vibrant rhythms of Latin America to the dazzling possibilities of the classical guitar and the shimmering soundscapes of French Impressionism, the programme offers a journey through some of the most distinctive musical voices of the twentieth century.
The concert opens with Paquito D'Rivera's Aires Tropicales, one of the most popular works in the wind quintet repertoire. Born in Cuba and celebrated internationally as a virtuoso clarinettist, saxophonist, and composer, D'Rivera combines classical craftsmanship with the infectious rhythms and energy of Latin American music. The seven movements - from the exuberant Alborada and lyrical Habanera to the jazz-infused brilliance of Dizzyness, the powerful Afro, and the playful Contradanza - create a vivid musical panorama of Latin American cultures and traditions. Each movement presents a distinct character while showcasing the virtuosity and individuality of every member of the wind quintet.
At the heart of Latin Fire Guitar Virtuosity French Impressionism stands Mario Castelnuovo-Tedesco's Capriccio Diabolico, one of the most celebrated works ever written for solo guitar. Composed in homage to Niccolò Paganini, the legendary violin virtuoso whose technical brilliance astonished nineteenth-century audiences, the work pushes the guitar to its expressive and technical limits. Rapid passagework, dramatic contrasts, lyrical episodes, and dazzling displays of virtuosity combine to create a work of theatrical flair and irresistible energy.
The performance is given by Jonas Egholm, one of Denmark's leading classical guitarists. Widely admired for the refinement of his playing and the breadth of his musical imagination, Egholm brings both technical mastery and expressive depth to this demanding masterpiece. Through Castelnuovo-Tedesco's vivid writing, audiences encounter the guitar not only as an intimate instrument but also as a vehicle for dramatic storytelling and virtuosic display.
The second half of the programme is devoted to Maurice Ravel's String Quartet in F major, one of the crowning achievements of French chamber music. Written when the composer was still in his twenties, the quartet already displays the qualities that would make Ravel one of the most distinctive musical voices of the twentieth century. Rich harmonic colours, subtle textures, rhythmic sophistication, and extraordinary craftsmanship combine to create a work of remarkable originality and beauty.
Although Ravel admired the music of Debussy, his quartet speaks with an unmistakably personal voice. The opening movement unfolds with elegance and warmth, while the energetic scherzo introduces exotic colours and rhythmic vitality. The slow movement creates an atmosphere of profound stillness and introspection before the exhilarating finale brings the work to a brilliant conclusion.
At the centre of Latin Fire Guitar Virtuosity French Impressionism lies a celebration of colour itself. D'Rivera paints with rhythm and dance, Castelnuovo-Tedesco explores the expressive possibilities of the guitar, and Ravel transforms the string quartet into an instrument of almost orchestral richness. Despite their different cultural backgrounds, all three composers share a fascination with timbre, atmosphere, and musical imagination.
Presented in the beautiful surroundings of Nordby Church on Fanø, Latin Fire Guitar Virtuosity French Impressionism offers audiences an evening of extraordinary contrasts and discoveries. From Cuban-inspired rhythms and guitar fireworks to the shimmering elegance of French Impressionism, the concert showcases the remarkable diversity of chamber music and the artistry of an outstanding international ensemble.
Venue: Nordby Church, Fanø
Date: Tuesday 18th August 2026, 7:30 pmFestival: Latin Fire Guitar Virtuosity French Impressionism in Fanø Festival, Klassisk Sommer Festival 2026

Albéric Magnard (1865-1914): Quintet for Flute, Oboe, Clarinet, Bassoon and Piano in D minor, Op. 8I. ModéréII. Très vifIII. LentIV. Animé. Johannes Brahms (1833-1897): Piano Quartet No. 2 in A major, Op. 26I.

Allegro non troppoII. Poco adagioIII. Scherzo: Poco allegroIV. Allegro
KERSTIN THEILE, FLUTE · DAVID DANIEL DINU, OBOE · RON CHEN-ZION, CLARINET · SOFIA OBANDO, BASSOON · VALDEMAR WENZEL MOST, PIANO · JULIETTE ROOS, VIOLIN · MICHEL CAMILLE, VIOLA · PAU CODINA, CELLO
Kerstin Thiele, flute · Ron Chen-Zion, oboe · David Daniel Dinu, clarinet · Valdemar Wenzel Most, piano · Juliette Roos, violin · Michel Camille, viola · Pau Codina, cello
The nineteenth concert of Fanø Festival 2026, Magnard and Brahms' Passion, brings together two remarkable chamber music masterpieces united by emotional depth, lyrical richness, and an extraordinary sense of scale. Performed by an outstanding international ensemble, the programme pairs the rarely heard wind quintet of French composer Albéric Magnard with one of the most expansive and life-affirming chamber works by Johannes Brahms.
The concert opens with Albéric Magnard's Quintet for Flute, Oboe, Clarinet, Bassoon and Piano in D minor, Op. 8, a work that stands among the finest achievements of French chamber music. Magnard occupies a unique place in musical history. Often referred to as the "French Bruckner", he combined symphonic ambition and structural strength with a deeply personal and expressive musical voice. Independent by nature and uncompromising in his artistic ideals, he created music distinguished by integrity, nobility, and emotional sincerity.
Completed in 1894, the Quintet reveals Magnard's remarkable mastery of instrumental colour and form. The unusual combination of winds and piano allows each instrument to emerge with its own personality while contributing to a richly balanced ensemble sound. The opening movement unfolds with broad melodic lines and dramatic intensity, while the lively second movement sparkles with rhythmic vitality and brilliant interplay between the players. At the heart of the work lies a deeply expressive slow movement whose lyrical beauty reveals Magnard at his most personal and moving. The energetic finale brings the work to a triumphant and exhilarating conclusion.
Magnard's life ended in tragic circumstances at the outbreak of the First World War in 1914. When German soldiers approached his estate, he attempted to defend his home and was killed during the confrontation. The fire that followed destroyed many of his manuscripts. Yet the surviving works reveal a composer of remarkable originality whose music is increasingly recognised as one of the great achievements of French late Romanticism.
At the heart of Magnard and Brahms' Passionlies a fascinating dialogue between two composers who combined emotional sincerity with exceptional craftsmanship. Though separated by nationality and musical environment, both sought to create music of lasting expressive power and artistic integrity.
The second half of the programme is devoted to Johannes Brahms's Piano Quartet No. 2 in A major, Op. 26, one of the largest and most generous chamber works of the nineteenth century. Written during Brahms's early maturity, the quartet displays the composer's extraordinary gift for combining intimate chamber music dialogue with almost symphonic breadth and power.
The opening movement unfolds on a grand scale, filled with expansive melodies and rhythmic vitality. The serene Poco adagio offers one of Brahms's most beautiful slow movements, characterised by warmth, tenderness, and lyrical grace. The energetic Scherzo provides dramatic contrast before the exhilarating finale brings the work to a brilliant and joyful conclusion. Throughout the quartet, Brahms demonstrates an extraordinary ability to balance structural mastery with spontaneous emotional expression.
The contrast between Magnard's French refinement and Brahms's German Romantic warmth forms one of the central attractions of Magnard and Brahms' Passion. While Magnard explores subtle instrumental colours and elegant textures, Brahms builds vast musical landscapes filled with lyricism, drama, and life-affirming energy. Together, the works reveal the remarkable diversity of European chamber music at the height of its creative powers.
Both composers shared a belief in the enduring value of musical craftsmanship. Neither followed fashionable trends, preferring instead to develop highly individual voices rooted in tradition while speaking directly to the emotions of their audiences. Their music remains compelling because it combines intellectual depth with genuine human feeling.
Presented in the beautiful surroundings of Nordby Church on Fanø, Magnard and Brahms' Passion offers audiences a rare opportunity to experience two masterpieces that combine emotional intensity, musical sophistication, and enduring artistic vision. From Magnard's rediscovered French masterpiece..

Mario Castelnuovo-Tedesco (1895-1968): Ecloghe, Op. 206 for Flute, English Horn and GuitarI. Andantino quietoII. Allegro con spirito (Tempo di Saltarello)III. Lento- ElegiacoIV. Allegretto vivace con spirito.

Luigi Boccherini (1743-1805): Guitar Quintet in D major, G. 448, "Fandango"I. PastoraleII.Allegro maestosoIII. Grave assaiIV. Fandango
Robert Schumann (1810-1856): Piano Trio No. 1 in D minor, Op. 63I. Mit Energie und LeidenschaftII. Lebhaft, doch nicht zu raschIII. Langsam, mit inniger EmpfindungIV. Mit Feuer
KERSTIN THEILE, FLUTE · DAVID DANIEL DINU,ENGLISH HORN · JONAS EGHOLM, GUITAR · JULIETTE ROOS, VIOLIN · JOEL BARDOLET, VIOLIN · MICHEL CAMILLE, VIOLA · PAU CODINA, CELLO · MARC HEREDIA, PIANO
The twentieth concert of Klassisk Sommer Festival 2026, Colours Fandango and Torment, takes audiences on a remarkable journey from the sunlit landscapes of the Mediterranean to the emotional depths of German Romanticism. Through music by Mario Castelnuovo-Tedesco, Luigi Boccherini, and Robert Schumann, the programme explores beauty, dance, passion, and the powerful emotional contrasts that lie at the heart of great chamber music.
The evening opens with Mario Castelnuovo-Tedesco's Ecloghe, Op. 206, a work of exquisite refinement for flute, English horn, and guitar. One of the twentieth century's most important composers for the guitar, Castelnuovo-Tedesco wrote extensively for Andrés Segovia and helped establish the instrument's modern repertoire. Inspired by pastoral poetry and Mediterranean landscapes, the Ecloghe evoke a world of warmth, sunlight, and contemplation. The combination of flute, English horn, and guitar creates a distinctive palette of sounds, rich in atmosphere and colour.
The four movements unfold like musical paintings, capturing fleeting moods and impressions rather than dramatic narratives. Throughout the work, Castelnuovo-Tedesco demonstrates an extraordinary gift for melody and instrumental colour. It is from these vivid soundscapes that the title Colours Fandango and Torment first draws its inspiration.
At the centre of the programme stands Luigi Boccherini's Guitar Quintet in D major, "Fandango", one of the most celebrated works associated with Spain. Although born in Italy, Boccherini spent much of his life in Spain and absorbed the rhythms and character of Spanish musical traditions. The famous final movement, the Fandango, has become one of the most recognisable and beloved dances in chamber music.
Throughout the quintet, elegance and charm are combined with irresistible rhythmic vitality. The music culminates in the exhilarating Fandango itself, where castanet-like rhythms, vibrant energy, and theatrical flair create an atmosphere of celebration and joy. At the heart of Colours, Fandango and Torment lies this vivid contrast between Mediterranean lyricism and the infectious spirit of Spanish dance.
The second half of the concert turns to Robert Schumann's Piano Trio No. 1 in D minor, Op. 63, one of the masterpieces of the Romantic repertoire. Composed in 1847 during one of the most productive periods of his life, the trio combines lyrical beauty with restless energy and emotional intensity. Schumann considered chamber music one of the highest forms of artistic expression, and in this work he created a masterpiece of remarkable passion and imagination.
The opening movement immediately establishes a mood of urgency and longing, while the scherzo reveals Schumann's characteristic fantasy and rhythmic vitality. The slow movement offers moments of profound tenderness and introspection, before the fiery finale drives the work to its dramatic conclusion. Although written during a period of great creativity, the music also reveals the emotional intensity that would increasingly characterise Schumann's later years. The sense of yearning, vulnerability, and inner struggle gives particular meaning to the final element of Colours, Fandango and Torment.
Presented in the beautiful surroundings of Nordby Church on Fanø, Colours Fandango and Torment offers audiences a rare opportunity to experience three highly contrasting yet deeply complementary musical worlds. From Castelnuovo-Tedesco's Mediterranean colours and Boccherini's unforgettable Fandango to the emotional depth of Schumann's Romantic masterpiece, the programme celebrates music's ability to transport, inspire, and move us.
For lovers of chamber music, Colours Fandango and Torment promises an evening of exceptional artistry, powerful emotions, and unforgettable musical storytelling at the heart of Fanø Festival 2026.
Venue: Nordby Church, Fanø
Date: Thursday 20th August 2026, 7:30 pmFestival: Colours Fandango and Torment in EICMF, Klassisk Sommer Festival 2026

Ny Ånd er en festival på Fanø, som vil undersøge åndens verden gennem samtale, vandring, foredrag, højskolesang, fællesspisninger og musik. Køb billet og se det fulde program på: www.kirkernepaafano.dk Obs! Der er et begrænset antal partoutbilletter.