Sapporo Symphony Orchestra


Subscription ConcertsConcert & Ticket

5/17 19:00~
5/18 14:00~

The 619th Subscription Concert 2019.May.17(Fri)19:00~
/ May.18(Sat)14:00~
Sapporo Concert Hall; Kitara

The 619th Subscription Concert
The 619th Subscription Concert
The 619th Subscription Concert
The 619th Subscription Concert
The 619th Subscription Concert
The 619th Subscription Concert
The 619th Subscription Concert
The 619th Subscription Concert


Conductor / Matthias Bamert, Chief Conductor

Piano / Mari Kodama

Piano / Momo Kodama

Song List

Debussy Petite suite(Arr. Busser)
Poulenc Concerto for 2 Pianos
Berlioz Symphonie fantastique

Essence for the 619th Subscription Concert

Our Chief Conductor, Matthias Bamert set a theme for 2019 Subscription Concert Series, “What composers do to other composers...” The Sapporo Symphony Orchestra has asked each conductor participating in this series to suggest the repertoire which would fit to this theme.
For this Subscription Concert, Bamert will answer to his own theme by selecting Debussy’s Petite suite (Arr. Busser). The sweet piano duet has turned to a picturesque suite arranged by Henri Busser. The next piece is Poulenc’s Concerto for 2 Pianos, which is a mixture of various works composed by different composers, a colorful piece engulfing even some essence of gamelan as a parody. Two sisters, Mari and Momo Kodama will be performing this piece. And the concert will conclude with Berlioz’s Masterpiece, Symphonie fantastique to commemorate the 150th anniversary after his death.

"Sapporo Symphony Orchestra Subscription Concert" starts from April to March next year, and holds 10 programs, 20 concerts (Friday evening and Saturday afternoon) at Sapporo Concert Hall Kitara. The orchestra presents various programs with the first class conductors and soloists who represent the world of music today.

Membership Information

マティアス・バーメルト(札響首席指揮者) © Yasuo Fujii

Matthias Bamert, Chief Conductor(Conductor)

The Swiss conductor Matthias Bamert’s distinguished career began in North America as an apprentice to George Szell, later as Assistant Conductor to Leopold Stokowski, and Resident Conductor of the Cleveland Orchestra under Lorin Maazel. He was Music Director of the Swiss Radio Orchestra (1977-1983), then began making a wider reputation across Europe. Matthias Bamert has also served as Music Director of London Mozart Players (1993-2000), Principal Guest Conductor of Royal Scottish National Orchestra (1985-1990) and New Zealand Symphony Orchestra (2000-2005), Associate Guest Conductor of Royal Philharmonic Orchestra (2003-2008), Principal Conductor of West Australian Symphony (2003-2007) and Malaysian Philharmonic Orchestra (2005-2008). He was also Director of the Glasgow contemporary music festival Musica Nova (1985-1990) and Lucerne Festival (1992-1998). In 2017, he has been appointed Principal Guest Conductor of the Daejeon Philharmonic Orchestra. From April 2018 he holds a position of Chief Conductor of Sapporo Symphony Orchestra. Matthias Bamert has appeared with many of the great orchestras including the Cleveland Orchestra, Chicago Symphony Orchestra, Orchestre de Paris, Philharmonia Orchestra, Vienna Symphony Orchestra, Los Angeles Philharmonic, NHK Symphony Orchestra and Sapporo Symphony Orchestra. A prolific recording artist, Matthias Bamert has made over 80 CDs, many of which have won international prizes.

児玉 麻里 © Vincent Garnier

Mari Kodama(Piano)

Mari Kodama’s profoundly nuanced yet natural musicality and her unique ability to unite tonal expressivity with a clear sense of form have made her a leading international pianist. An authoritative Beethoven interpreter, Mari Kodama earns consistent praise for her virtuosity across a broad range of repertoire that includes orchestral, chamber, and solo works by composers of all eras. Mari Kodama will highlight her mastery of such diverse repertoire during her 2018/2019 season as she presents various concerts around the world. In the fall, she will perform John Adams' Hallelujah Junction for two pianos at the Festival Éclats in La Scala Paris, together with her sister Momo Kodama, and Beethoven’s Piano Concerto No. 4 with the Orchestre La Sinfonia de Lanaudière and Stéphane Laforest in Canada. At the end of the year she will be on a Japanese duo tour with her sister Momo Kodama, followed by two recitals in January 2019 with works by Adams, Eötvös, Stravinsky, Ravel, Debussy and Bizet in Germany. In spring, she will travel to Györ, Hungary, where she will perform Mozart’s Concerto for Two Pianos and a duo recital with her sister, as well as to Schubertiade in Hohenems, Austria, for a project with poetess Ulla Hahn that combines poetry and music. Later in the season, Mari Kodama will perform Schönberg’s Piano Concerto with the SWR Symphonieorchester and Kent Nagano in Stuttgart and Freiburg. Beethoven’s piano works form a focal point of Mari Kodama’s recording activities, and her interpretations have become standard-setting. She is one of few female pianists to record the composer’s complete sonatas, and her 2014 boxed set release (Pentatone) of these pieces – an 11-year-long project – received critical acclaim. She has also recorded Beethoven concerti Nos. 1-5 and the Triple Concerto with the Deutsches Symphonie-Orchester Berlin under Kent Nagano (Berlin Classics). In 2018, Pentatone, with whom Mari Kodama shares a long-term collaboration, released her latest recording: Martinu’s Concerto for Two Pianos and Orchestra, together with the Orchestre Philharmonique de Marseille under Lawrence Foster and Momo Kodama. Before that, in 2017 Noches en los jardines de España by Manuel de Falla, recorded with the Orchestra de la Suisse Romande under Kazuki Yamada, and in 2016 Tchaikovsky Ballet Suites for Piano Duo with Momo Kodama were added to Mari Kodama’s expansive discography (both with Pentatone). Mari Kodama’s other recordings include concertos by Chopin and Loewe with the Russian National Orchestra (Pentatone) and Prokofiev concertos Nos. 1 and 3 and Sonata No. 7 with the Philharmonia Orchestra of London (ASV). Since her New York recital debut at Carnegie Hall in 1995, Mari Kodama has performed with leading orchestras and conductors and at top venues around the world. Past orchestral highlights include appearances with the Berlin Philharmonic, the London Philharmonic Orchestra (LPO), the Philharmonia Orchestra, the Bamberg Symphony, the Deutsches Symphonie-Orchester Berlin (DSO), the NDR Symphony Orchestra, the Los Angeles Philharmonic Orchestra, the American Symphony Orchestra, the Detroit Symphony Orchestra, the Orchestre symphonique de Montréal and the Philharmonia Baroque Orchestra, among others. In her native Japan, she has performed with the NHK Symphony Orchestra in Tokyo along with the symphony orchestras of Kyoto, Hiroshima and Osaka. Through her performing activities, Mari Kodama has brought infrequently heard gems of the piano repertoire to global audiences. She has performed Stenhammer’s Piano Concerto No. 2 in Gothenberg and in New York and has also collaborated with Viviane Hagner on Alban Berg’s Chamber Concerto for Piano and Violin, which they performed with both the Jyväskylä Sinfonia and the DSO. Additionally, in 2013 Mari Kodama premiered Jean-Pascal Beinthus’ Double Piano Concerto together with Momo Kodama and the Orchestre Philharmonique de Monte Carlo. Mari Kodama also performed in the Canada premieres of Jörg Widmann’s Valse Bavaroise and Humoresken, both at the Canadian Orford Festival in summer 2010. Alongside contemporary works, period instrument performances have formed part of Mari Kodama’s musical career. She has presented concerts of Beethoven sonatas as part of old instrument series at both the Philharmonia Baroque Orchestra in San Francisco and the Beethoven Festival in Bonn. Mari Kodama’s recital appearances have taken her throughout Europe, including to Germany, the Netherlands, Spain, Austria, and France, as well as to Japan, Mexico, Canada and much of the United States. She often performs with her sister Momo Kodama, her daughter Karin Kei Nagano, and her husband Kent Nagano. Mari Kodama’s festival appearances include the Salzburg Festival, the Verbier Festival, the Festival International de Piano La Roque d’Antheron, the Aldeburgh Festival of Music, Mostly Mozart in New York City, the Schleswig-Holstein Music Festival, Kissinger Sommer, and regular appearances at Les Folles Journées Festival in Nantes and Japan. In addition to festival performances, Mari Kodama plays an active role as a music festival artistic director. She co-founded the Forest Hill Musical Days festival, a cooperative chamber music festival in San Francisco, with her husband Kent Nagano, and she has also led the chamber music series at the Orford Music Festival. In 2018 she assumed artistic directorship at the festival Tra Luce e Sogno in Postignano, Italy, for which she won artists such as Christian Gerhaher, Matt Haimowitz or Gerold Huber. The 2017/2018 season saw Mari Kodama achieve critical praise for her worldwide performances. Highlights included Mozart’s Concerto for Two Pianos, together with her sister Momo Kodama and the Düsseldorfer Symphoniker under Michiyoshi Inoue, Beethoven’s Piano Concerto No. 5 with the Nagoya Philharmonic Orchestra, once more under Michiyoshi Inoue, Carl Loewe’s Piano Concert No. 2 with the Szczecin Philharmonic Symphony Orchestra in Poland under David Coleman, two concerts by invitation from Vadim Repin at the Trans-Siberian Art Festival, a duo recital with her sister Momo Kodama in Amsterdam’s Muziekgebouw, where they premiered a work by young French composer Rodolphe Bruneau-Boulmier and the completion of her cycle of all Beethoven Sonatas in Japan, which started in summer 2016, playing the last three sonatas in Osaka, Nagoya and Tokyo. The format had been exceptionally well-received by audiences in both Japan and the United States. Next to her concert performances in 2017/2018, Mari Kodama judged the invitation-only participants competing in the Orchestre de Chambre de Paris’ Play-Direct Academy’s final round of performing and conducting. She also served on the jury of the Busoni International Piano Competition, where she was the jury’s president, and was a jury member of the last Van Cliburn competition. Mari Kodama was born in Osaka and raised in Germany and Paris. At the Conservatoire National in Paris, she studied piano with Germaine Mounier and chamber music with Genevieve Joy-Dutilleux. She has also worked with Tatiana Nikolaeva and Alfred Brendel. Mari Kodama was appointed as a Steinway Artist. (from

児玉 桃 © Marco Borggreve

Momo Kodama(Piano)

Born in Osaka, Momo Kodama spent her early years in Europe; educated at a German school, she attended the Conservatoire National Supérieur de Musique in Paris before studying with great masters such as Murray Perahia, Andras Schiff, Vera Gornostaeva and Tatiana Nikolaïeva. In 1991, she became the youngest winner of the Concours International ARD in Munich. Momo Kodama has been invited to perform with world renowned orchestras including the Berlin Philharmonic, Boston Symphony Orchestra, Bayerisches Staatsorchester, Tokyo Symphony Orchestra, NHK Symphony Orchestra, NDR Hamburg, Orchestre Philharmonique de Radio France, Orchestra Philharmonique de Monte-Carlo and the Royal Liverpool Philharmonic Orchestra, under the baton of Seiji Osawa, Eliahu Inbal, Charles Dutoit, Lawrence Foster, Kent Nagano, André Prévin and Sir Roger Norrington. She has appeared at the Vienna Musikverein, Berlin Philharmonie, Berlin Konzerthaus, Suntory Hall and Théâtre des Champs-Elysées, more recently at the Philharmonie in Paris, Muziekgebouw in Amsterdam, Fundacíon Juan March in Madrid and with the Düsseldorf Symphoniker, Győr Philharmonic Orchestra and Orchestre de Chambre de Paris. Momo is a guest of such festivals as Marlboro, USA; Verbier, Switzerland; La Roque d’Anthéron, Festival Chopin, Festival d’Automne, Festival Saint-Denis, Musica, France; Festival Enesco, Romania; Festival Tivoli, Denmark; Settembre Musica, Italy; and Schleswig-Holstein, Germany; Festival Matsumoto and Miyozaki (Seiji Ozawa), Japan. Chamber music partners include Christian Tetzlaff, Renaud Capuçon, Augustin Dumay, Gautier Capuçon, Steven Isserlis and Jörg Widmann. She also devised and performed a programme, for the 100th Anniversary of Debussy’s death, with actor Pascal Rénéric and baryton Josep-Ramon Olivé in Paris, at La Bellevilloise, Paris and repeated further in France and in China. Her repertoire extends from the classical and romantic periods to contemporary works, in particular, composers such as Toshio Hosokawa*, Jörg Widmann, written especially for her, and Christian Mason. Momo Kodama is a distinguished interpreter of Olivier Messiaen (Turangalîla-Symphonie, Vingt Regards, Catalogue d’Oiseaux), the music by whom she is one of the best exponents in the world, and premiered his Fantaisie for Violin and Piano, with Isabelle Faust in 2006. *She premiered the Japanese composer’s new cycle of ‘Etudes’ at the Lucerne Festival, and repeated it at the Wigmore Hall, Tokyo Opera City (premiere of Toshio Hosokawa’s Etudes), She released her second CD for ECM, featuring Studies Cycles by Claude Debussy and Japanese composer, Toshio Hosokawa in 2017. Prior to this, La Vallée des Cloches, also released by ECM with Ravel’s Miroirs, Takemitsu’s Rain Tree Sketch and Messiaen’s La Fauvette des Jardins, received outstanding acclaim from the New York Times, BBC Music Magazine, Classica (CHOC), Télérama (FFFF). This follows a series of recordings, all highly celebrated, of Debussy, Chopin and Messiaen (Vingt Regards sur l’Enfant Jesus, Catalogue d’Oiseaux). In addition, Momo has recorded two CDs for Pentatone (Tchaikovsky and Martinu) together with her sister Mari, which were very well received in the press. Momo Kodama also participates in international competitions as a jury member (Long-Thibaud, Messiaen) and gives masterclasses regularly (Folle Journée, Miyozaki, Orchestre de Chambre de Paris’ Play-Direct Academy, Novi Sad piano festival, to name but a few). (from

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Ticket Information

Ticket Sale From Friday, February 15, 2019
Ticket (SS)¥6,500 (S)¥5,500 (A)¥5,000 (B)¥4,500 (C)¥3,000
U25 discounts(B,C)1,500 yen, P Free “Smile” seats 2,000 yen(available on the day of the concert only; limited number)
※U25 for the fiscal 2019 applies only for those who are born on or after 1994.
※Preschooler cannot enter the concert.
※No advance P Free “Smile” Tickets available (sold only on the day of the ticket). With this ticket, you can seat in the area P block row 8 to row 11.
※SS tickets for the Saturday subscription are not available.
♪Application for new subscribers (2019-2020 season) starts on February 1, 2019.
SS 45,500 yen, S 41,000 yen, A 37,500 yen, B 34,000 yen, C 22,000 yen, U25(B,C)12,000 yen

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