The following courses are offered at
– University of Oldenburg,
– Bremen University of the Arts,
– University of Kassel,
– University of Hildesheim,
– and Philipps University of Marburg

Courses at the University of Oldenburg

Winter Semester 2026/27 Reflections on Music (in) Our Time

Summer Semester 2026 Listening in Context: Female Composers from Romania.
(Block seminar; in co-operation with the Dialogue Concerts
at the University of Oldenburg)

Winter Semester 2025/26 Reflections on Music (in) Our Time

Summer Term 2025 New music on period instruments and its dissemination.
(block seminar; in co-operation with the ‘Dialogkonzerte’
at the University of Oldenburg)

Winter Semester 2024/25 Reflections on Music (in) Our Time
(inter-degree programme course)

Summer Semester 2024 Carl von Ossietzky today. Reflections on Carl von Ossietzky
and music at the Oldenburg Institute of Music.
An exploratory seminar ( MA)
(in collaboration with Werner Barho)
(a course as part of ‘50 Years of the University of
Oldenburg – Open to New Paths’)

Winter Semester 2023/24 Oldenburg’s musical history in the 19th century:
Researching, evaluating and
presenting historical sources in a variety of ways (MA)
(a course on research-based learning)

Summer Semester 2023 Target-group-specific music and science education in children’s concerts
(block course: designing and staging a children’s concert
at the Oldenburg State Theatre and a children’s and family concert
as part of the ‘Dialogue Concerts’)

Winter Semester 2022/23 Reflections on music and science education (in)
our time – with a focus on ‘Music education for children’
(in conjunction with Volker Schindel’s musical theatre project based on Violeta Dinescu’s
children’s opera ‘The Sunken City’ in the winter semester 22/23 and summer semester 2023, as well as the
children’s concert project in the summer semester 2023)

Summer Semester 2022 History of Russian Piano Music (MA)
(in collaboration with Werner Barho)

Winter Semester 2021/22 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the ‘Campus kreativ’ course)
(online course)

Summer Semester 2021 Dmitri Shostakovich (BA)
(digital course)

Summer Semester 2021 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)
(online course)

Winter Semester 2020/21 In Search of a History of French Music ( MA)
(online course)

Winter Semester 2020/21 Reflections on Music (in) Our Time:
Music, the History of New Music and Descriptions of Music
in Richard Powers’ novel “Orfeo” (2014)
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)
(online course)

Summer Semester 2020 Tchaikovsky’s opera *The Queen of Spades*: Approaches to a complex work
(MA)
(online course)

Summer Semester 2020 Reflections on music (in) our time:
The composer Tchaikovsky as the subject of biographical writing ( MA)
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)
(online course)

Winter Semester 2019/20 The Melodrama – a challenge at the intersection of composition,
literature and performance ( MA)
(including a final student concert)

Winter Semester 2019/20 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Summer Semester 2019 Concerts: Concepts, Programmes, Background, Outreach Methods (BA)
(in connection with the projects ‘100 Years of the Bauhaus / Bach in the
White City’, ‘Music in Soviet Forced Labour Camps’, ‘Annual Conference of the
Tchaikovsky Society’, ‘Music in Exile’)

Summer Semester 2019 Reflections on Music (in) Our Time
(inter-disciplinary ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Winter Semester 2018/19 “In memoriam”: Music historiography in commemorative compositions
from the Baroque to the present day (MA)

Winter Semester 2018/19 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Summer Semester 2018 Claude Debussy and French piano music
from the end of the Second Empire (MA)
(joint course with pianist Werner Barho)

Summer Semester 2018 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Winter Semester 2017/18 The composer Aribert Reimann (*1936): Music for Voice, Scene and Stage ( BA)

Winter Semester 2017/18 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Summer Semester 2017 New Piano Music for Children (MA)
(joint course with pianist Werner Barho)
(including a final student recital)

Summer Term 2017 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Winter Semester 2016/17 Tchaikovsky in Popular Culture – A Critical Review:
Films, Novels, Children’s Literature ( MA)

Winter Semester 2016/17 The composer Hans Werner Henze (BA)

Winter Semester 2016/17 Reflections on Music (in) Our Time
(inter-degree ongoing course
in co-operation with the Composers’ Colloquium / Music of Our Time)

Summer Semester 2016 Schubert Arrangements – Interpretations of Schubert (MA)

Winter Semester 2015/16 Piano technique in the service of compositional innovation:
Liszt, Scriabin, Ligeti
(joint course with pianist Werner Barho)

Summer Semester 2015 Aspects of Music after 1945

Summer Semester 2015 The Idea of the New in Music between 1945 and 1970
(held in the Department of Philosophy)

Winter Semester 2014/15 Grief, Trauma and Death in Instrumental Music since 1890

Summer Term 2014 Fin-de-siècle Poetic Settings ( autumn)
(joint course with Prof. Maria Kowollik, Voice)
(held at the HfK Bremen, open to students from Oldenburg)

Summer Term 2014 The composer Violeta Dinescu (planned)

Winter Semester 2013/14 Lecture on Music History: Music in the 20th and 21st Centuries
(held at the HfK Bremen, open to students from Oldenburg)

Winter Term 2013/14 The fine art of piano arrangement
between appropriation and broadening horizons:
Lipati, Liszt and Godowsky interpret Bach, Schubert and Chopin (planned)

Summer Term 2013 Musical Institutions in Oldenburg (with excursions) (planned)

Winter Term 2012/13 Franz Liszt and his legacy: piano playing and virtuosity in the 19th century

Summer Term 2012 The musical history of the city of Leipzig
with an excursion

Winter Term 2011/12 History of Russian Music

Winter Term 2010/11 Franz Schubert – Composing on the Border

Summer Term 2010 Dmitri Shostakovich – the composer

Winter Term 2009/10 Gustav Mahler: ‘Das Lied von der Erde’

Summer Term 2009 An Introduction to the Repertoire II: 19th and 20th Centuries (planned)

Winter Term 2008/09 A Brief Introduction to the Repertoire I: 17th and 18th Centuries

Summer Term 2008 Music and Musical Culture in the Biedermeier Period (planned)

Winter Term 2007/08 August Pott and the Beginnings of a Public Bourgeois Musical Life
in the North German Royal City of Oldenburg

Winter Term 2006/07 August Pott and the Beginnings of a Public Bourgeois Musical Life
in the North German royal seat of Oldenburg (planned)

Summer Semester 2006 Between Interview, Review and Analysis:
In Communication with Contemporary Composers – the Romanian composer
Stefan Niculescu
(Accompanying course to the Composers’ Colloquium)

Winter Semester 2005/06 Paths to the music of our time – taking Violeta Dinescu’s opera ‘Eréndira’ as an example

Summer Term 2005 Writing in Musicology

Winter Term 2004/05 The Murderous Woman on the Opera Stage

Summer Term 2004 Practical Course in Music Criticism

Winter Term 2003/04 Tchaikovsky’s “Swan Lake” – a ballet and its choreographies

Summer Semester 2003 On the Development of Musical Analysis: The Case of the Reception of Beethoven

Winter Semester 2002/03 Russian Literary Operas

Summer Semester 2002 Tango in Film
(Joint course with Prof. Dr Fred Ritzel, Music)

Winter Term 2001/02 Key Texts in Musicological Gender Studies: Reading Course

Summer Semester 2000 Compositions for Children

Winter Semester 2000/01 El Tango Argentino – An Attempt at an Approach

Summer Semester 1999 Word – Sound – Music: Setting Poetry to Music in Russia
(Joint course with Prof. Dr. Rainer Grübel, Slavic Studies)

Winter Semester 1998/99 Musical Images – Music in the Visual Arts

Summer Semester 1998 Albert Lortzing: ‘Der Wildschütz’. A fresh look at a well-known work

Winter Term 1997/98 Female Roles and Concepts of Gender in Richard Strauss’s ‘Salome’ and ‘Elektra’

Summer Semester 1997 Gustav Mahler as a composer of art songs

Winter Semester 1996/97 Music History and the Writing of Music History based on the book
“Musik im Abendland. Prozesse und Stationen vom Mittelalter bis zur Gegenwart”
by Hans Heinrich Eggebrecht

Summer Term 1996 Mikhail Glinka and the Beginnings of Russian Art Music

Winter Semester 1995/96 Observing, describing, explaining, assessing, evaluating: a practical course in music criticism

Summer Semester 1995 Pyotr Ilyich Tchaikovsky – a homosexual composer II
(Joint course with Prof. Dr Freia Hoffmann
and Prof. Dr Peter Schleuning, Music)

Winter Semester 1994/95 Dmitri Shostakovich

Winter Semester 1994/95 Pyotr Ilyich Tchaikovsky – a homosexual composer I
(Joint event with Prof. Dr Freia Hoffmann
and Prof. Dr Peter Schleuning, Music)

Courses at the University of the Arts Bremen

Summer Semester 2014 Fin-de-siècle poetry set to music ( HS)
(Joint course with Prof. Maria Kowollik, Voice)

Summer Semester 2014 Researching, analysing, writing, presenting:
Program notes for beginners (S)
(Group 1: for native speakers; Group 2: for non-native speakers)

Winter Semester 2013/14 Lecture on Music History: Music in the 20th and 21st Centuries

Winter Semester 2013/14 Introduction to Musicological Research

Courses at the University of Kassel

Summer Semester 2010 Introduction to Musicology

Summer Semester 2010 Practical Aspects of Musicological Research

Summer Semester 2010 Franz Schubert – Composing on the Edge

Winter Semester 2009/10 Music and Romanticism

Winter Semester 2009/10 Musical Institutions in Kassel
(with excursions)

Summer Term 2009 Introduction to Musicology: Viennese Classicism

Summer Semester 2009 Gaetano Donizetti: ‘Lucia di Lammermoor’. Approaches to the Work.

Summer Term 2009 Gustav Mahler: “Das Lied von der Erde”

Summer Term 2009 Crash Course in Music History

Winter Term 2008/09 Mozart’s “Don Giovanni”

Winter Semester 2008/09 An Overview of Russian Music History

Summer Term 2008 Analysing – Formulating.
Practical exercise in musicological research (planned)

Winter Term 2007/08 Tchaikovsky – the composer

Courses at the University of Hildesheim

Winter Semester 2001/02 Feminine Endings. Feminine Beginnings ...
Reading course on gender studies in musicology (introductory seminar)

Summer Semester 2000 Women in the Tango – Myth, Caricature, Reality (planned)

Summer Term 2000 Women and Instruments in Visual Art.
A contribution to musical iconography (planned)

Winter Semester 1999/00 From Literary Text to Opera. Transformations of a Female Character
using the example of Tchaikovsky’s setting of Pushkin’s ‘The Queen of Spades’

Courses at Philipps University of Marburg

Summer Semester 2001 Overview lecture: Musical images: On the representation of music in the visual arts

Summer Term 2001 Seminar accompanying the lecture: Women making music in the visual arts

Summer Semester 2001 Introductory seminar: Music history and the writing of music history (reading course)

Summer Semester 2001 Advanced Seminar: Dmitri Shostakovich – Composing between Art and Politics

Monographs

Women’s Fates in Tchaikovsky’s Pushkin Operas. Aspects of a Cohesive Body of Work.
(= Tchaikovsky Studies Vol. 5.) Mainz et al.: Schott 2002.
(= Habilitation thesis, University of Oldenburg, 2000.)
Reviews: Rolf-Dietrich Keil, in: *Arion*. Yearbook of the German Pushkin Society, Vol. 5, Hamburg 2003. -- Horst-Jürgen Gerigk, in: Comparative Literature. Yearbook of the German Society for General and Comparative Literature, Heidelberg 2003, pp. 167–169. -- Lucinde Braun, in: Die Musikforschung 57 (2004), No. 1 (pp. 85ff.). -- Christian Glanz, in: Austrian Music Journal 59 (2004), No. 1 (p. 86). -- Lutzkramer, on: Amazon, 3 June 2002.

Studies on Dmitri Shostakovich’s String Quartets Nos. 1 to 8.
(= PhD thesis, Christian-Albrechts-University of Kiel, 1993.)
Printing and production: copy shop, Darmstadt 1993.
Review: Ekkehard Ochs, in: Die Musikforschung 51 (1998), no. 2 (pp. 248ff.).

Annotated editions

‘I have played!!’ Liszt’s pupil Emma Grosscurth (1862–1935): Family letters from Weimar, 1879–1885. Annotated and edited by Kadja Grönke. Lilienthal: Laaber (in preparation).

Felix Mendelssohn Bartholdy. Complete Letters in 12 volumes. Vol. 6: February 1838 to September 1839, edited and annotated by Kadja Grönke and Alexander Staub. Kassel: Bärenreiter 2012.

Clara Schumann’s Correspondence with Publishers from 1856, edited by Kadja Grönke and Thomas Synofzik. (= First critical complete edition of the letters of Clara and Robert Schumann. Series III: Correspondence with Publishers, Vol. 9.) Cologne: Dohr, in press since 2011.

Polina E. Vajdman: Tchaikovsky’s Working Methods. A Study of his Autographs (Tvorčeskij arhiv Čajkovskogo). Newly translated from the Russian on the basis of an interlinear translation by Irmgard Wille, revised and edited by Kadja Grönke.
In: Vajdman, Polina / Thomas Kohlhase: Tchaikovsky’s Working Methods. Critical Source Studies. Edited by Kadja Grönke and Thomas Kohlhase. (= Tchaikovsky Studies Vol. 7.) Mainz et al.: Schott 2005, pp. 9–181.

Publications

Bulletin 32 (2025) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2025.

Bulletin 31 (2024) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2024.

Bulletin 30 (2023) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2023.

Bulletin 29 (2022) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2022.

Music and Homosexualities. Conference Proceedings, Bremen 2017 and 2018, edited by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021.
Various reviews in print and online media, arts and culture sections, feature articles and radio programmes (SRF 2 Kultur, WDR Tonart), including on info-netz-musik, oper aktuell, Mannschaft Magazin, SRF/Swiss Radio and Television (features 1 and 2), WDR Tonart and in Die Musikforschung Issue 4/2022 and *Die Tonkunst* No. 3/2023.

Bulletins 28 (2021) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2021.

Bulletins 27 (2020) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2020.

Bulletin 26 (2019) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2019.

Yearbook for Music and Gender, Vol. 10: Music and Homosexuality – Homosexuality and Music, edited by Kadja Grönke and Michael Zywietz, Hildesheim: Olms 2017 (published 2018).

Bulletin 25 (2018) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2018.

Bulletins 24 (2017) of the Tchaikovsky Society of Tübingen e. V. Edited by Kadja Grönke and Ronald de Vet, Tübingen 2017.

Bulletins 15 (2008) of the Tchaikovsky Society of Tübingen e. V. Edited by: Kadja Grönke and Thomas Kohlhase, Tübingen / Mainz 2008.

Bulletins 14 (2007) of the Tchaikovsky Society of Tübingen e. V. Edited by: Kadja Grönke and Thomas Kohlhase Tübingen / Mainz 2007.Bulletins 13 (2006) of the Tchaikovsky Society of Tübingen e. V. Edited by: Kadja Grönke and Thomas Kohlhase. Tübingen / Mainz 2006.

All programme booklets for the Dialogue Concerts at the University of Oldenburg
are available as full-text PDFs below under ‘Dialogue Concerts’
in the archive section.

Academic papers and articles

‘Dmitri Shostakovich: String Quartets.’
In: Shostakovich Handbook, edited by Dorothea Redepenning and Stefan Weiss. Stuttgart and Kassel: Metzler and Bärenreiter, forthcoming.

Programme notes for: Sergei Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43, and Symphony No. 2, Op. 27, with the London Symphony Orchestra, conducted by Yannick Nézet-Séguin, piano: Beatrice Rana. Baden-Baden Summer Festival on 4 July 2026, programme booklet (ed. Wolfgang Müller), pp. 6–10, and Musiklupe.

(In collaboration with Paul Mertens:) ‘Onegin’ between music and expression. Reflections on Kurt-Heinz Stolze’s ballet music. In : Programme (ed. Julia Bührle) for the ballet *Onegin* by John Cranko, Semperoper Dresden, premiere 27 June 2026, pp. 34–38.

Programme notes for: Songs by Pyotr Tchaikovsky and Sergei Rachmaninoff, with Asmik Grigorian and Lukas Geniuša. Baden-Baden Easter Festival, 4 April 2026. Programme, ed. Wolfgang Müller, pp. 8–13.

“‘I feel I can make a masterpiece out of King René’s Daughter’.”
And: “I feel I can make a masterpiece out of King René’s Daughter”: Tchaikovsky’s One-Act Opera Iolanta . By Kadja Grönke. (English translation by Paul Talbot.)
In: Pyotr I. Tchaikovsky: Iolanta. Programme booklet for the new production at the Vienna State Opera, 2024/2025 season (premiere: 24 March 2025). Publisher: Vienna State Opera GmbH, Editor: Nikolaus Stenitzer, Contributor: Anna Vukovits, pp. 54–60.

“Adolph Henselt and the good old days: Tchaikovsky’s ‘18morceaux pour piano’, Op. 72, as a musical retrospective on the development of piano music in Russia.”
In: Music History in Central and Eastern Europe. Communications from the International Research Group at the University of Leipzig, Issue 26, edited by Helmut Loos, Klaus-Peter Koch and Stefan Keym, Leipzig 2024. Leipzig: Gudrun Schröder 2024, pp. 3–25.

(With Paul Mertens:) “Focus on Tchaikovsky”.
In: Vienna Konzerthaus: Konzerthaus Nachrichten, September/October 2024, pp. 10–13.
And in: Mitteilungen 32 (2025) of the Tchaikovsky Society of Tübingen e. V., Tübingen / Mainz 2025, pp. 33–36.

‘Fragments of a Confession: On Michael Thalheimer’s production of Onegin in Düsseldorf.’
In: Mitteilungen 31 (2024) of the Tchaikovsky Society of Tübingen e. V., Tübingen / Mainz 2024, pp. 23–27.

“Passion and Calculation.”
In: Programme booklet for *The Queen of Spades* at the Deutsche Oper Berlin, premiere 9 March 2024.
(From Kevin Clarke’s premiere review, on magazin.klassik.com/konzerte/reviews.cfm: “However, the programme does contain a worthwhile essay by Kadja Grönke on Tchaikovsky, on the way in which he and his brother Modest – who was also gay – adapted Pushkin’snovella to transform what was originally an ironically detached social satire into a story of the utmost passion and despair. I don’t know whether Sam Brown or anyone else from the production team read the text … they should have done. Dietmar Schwarz appears to have read it, as he quoted from it in his opening-night speech. But what’s the point if the artistic director is aware of the work’s secrets, whilst the artists he hires couldn’t care less? One might say there is a certain tragedy in that.")

“Violeta Dinescu, ‘Flammentropfen’. Improvisation model for 3 or 4 instruments (1895).”
In: Die Tonkunst Vol . 17 (2023), No. 1 (pp. 68ff.).

“‘And yet it’s better than in winter’: Myriam Marbe in Violeta Dinescu’s memoirs.”
In: Myriam Marbe, ed. by Violeta Dinescu, Michael Heinemann and Roberto Reale. (= Archive for Eastern European Music. Sources and Research, Vol. 6.) Oldenburg: BIS 2022, pp. 80–95.
And as an open-access publication.

“The Queen of Spades at the Baden-Baden Easter Festival”.
In: Mitteilungen 29 (2022) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2022, pp. 55–60.

“Just a step away. Stravinsky had many reasons to admire Tchaikovsky.”
In: Baden-Baden Easter Festival 2022, Berlin Philharmonic, 9–18 April 2022 ( programme booklet), Baden-Baden 2022, pp. 94–99.
And as “Tchaikovsky’s Stravinsky” in: Mitteilungen 29 (2022) of the Tchaikovsky Society of Tübingen e. V., Tübingen / Mainz 2022, pp. 31–37.

‘In Search of the Fragile Beauty of the Body. Hans Werner Henze and Aribert Reimann, as Roland Barthes might have heard them.”
In: Music and Homosexualities. Conference Proceedings Bremen 2017 and 2018, edited by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021. pp. 81–98.

“Gay Mannerisms in Ken Russell’s Film *The Music Lovers* (UK 1970).“
In: Music and Homosexualities. Conference Proceedings Bremen 2017 and 2018, ed. by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021, pp. 399–414.

(With Michael Zywietz:) “Foreword.”
In: Music and Homosexualities. Conference Proceedings, Bremen 2017 and 2018, ed. by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021, pp. 9–13.

‘The Royal Conservatoire of Music in Leipzig (1843).’
In: Handbook of Conservatoires. Institutional Music Education in the German-speaking World of the 19th Century (3 volumes), edited by Freia Hoffmann. Lilienthal: Laaber 2021, Vol. 1: pp. 165–211.

(With Christiane Barlag:)“The Royal Conservatoire of Music in Stuttgart (1857).”
In: Handbook of Conservatoires. Institutional Music Education in the German-speaking World of the 19th Century ( 3 volumes), edited by Freia Hoffmann. Lilienthal: Laaber 2021, Vol. 2: pp. 141–195.

“The Composer as a Stage Character in Stefan Herheim’s Production of ‘Tchaikovsky: The Queen of Spades’. Or: Ceci n’est pas Tchaïkovski.”
In: Music History on Stage. Performing Music History, edited by Anna Langenbruch, Daniel Samaga and Clémence Schupp-Maurer. Bielefeld: Transcript 2021, pp. 301–316.

“Tchaikovsky’s opera *Mazeppa*.”
In: Pyotr Ilyich Tchaikovsky: Mazeppa. Programme booklet, Theater an der Wien, 21 February 2019, pp. 10–20.

(With Paul Mertens:) “Adolph Henselt and Peter Tchaikovsky – a search for clues.”
In: Mitteilungen 26 (2019) of the Tchaikovsky Society of Tübingen e. V., Tübingen / Mainz 2019, pp. 2–27.

“The Erlkönig’s Children. Hans Werner Henze’s ballet music *Le fils de l’air ou L’enfant changé en jeune homme* and the orchestral work *Erlkönig. Orchestral Fantasy on Goethe’s Poem and Schubert’s Opus 1* (1996).”
In: Genre. Gender. Song. New Research Perspectives on Hans Werner Henze’s Work, ed. by Antje Tumat and Michael Zywietz, Hanover: Wehrhahn 2018, pp. 205–228.

“Tchaikovsky: The Will to Happiness. Information on Jörg Handstein’s audio biography.” And:“‘This will to constantly improve!’ Kadja Grönke in conversation
with Jörg Handstein.”
In: Mitteilungen 25 (2018) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2018, pp. 47–53.

“Music and Homosexuality – Homosexuality and Music." [Foreword.]
In: Yearbook for Music and Gender, Vol. 10: Music and Homosexuality – Homosexuality and Music. Hildesheim: Olms 2017 (published 2018), pp. 11–20.

“Martha Sabinin. Foreword.”
In: Martha Sabinin: Lieder op. 1, ed. by Larry Bakst. Kassel: Furore 2017.

“Four Musical Encounters with Erik Breer, the Pianist at the 2016 Annual Conference”.
In: Mitteilungen 24 (2017) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2017, pp. 36–41.

“Competition, Collegiality, Careers. Female Pianists from the Weimar Liszt Circle.”
In: Female Musicians and Their Networks in the 19th Century, ed. by Annkatrin Babbe and Volker Timmermann. (= Publications of the Sophie Drinker Institute.) Oldenburg: BIS 2016, pp. 179–202.

“Pauline Viardot-Garcia’s ‘Ne poj, krasavica, pri mne’ and the Genre of the Russian Romance.” ( English: Victoria Viebahn.)
In: *Women and the Nineteenth-Century Lied*, ed. by Aisling Kenny and Susan Wollenberg, Farnham and Burlington: Ashgate Publishing 2015, pp. 143–161.

(With Roberto Reale:) “‘... yesterday it struck me that I could probably still sing along to the “Melodieexpress” by heart!’ – The children’s musical “Der Melodieexpress” by Roberto Reale (Ludwigshafen 2010/11). A project report.” Part I: On the creation (Roberto Reale), Part II: On the work (Kadja Grönke).
In: *Kästner im Spiegel*. Research papers marking the 40th anniversary of his death, ed. by Sebastian Schmideler and Johan Zonneveld. (= *Erich Kästner-Studien*, Vol. 3.) Marburg: Tectum 2014, pp. 333–371.

“In Search of Mme Alexandre. A Plea for Knowledge-Guided Gender Research.”
In: Un/verblümt. Queer Politics in Aesthetics and Theory, ed. by Josch Hoenes and Barbara Paul. Berlin: Revolver Publishing 2014, pp. 172–185.
Review: Dagmar Danko, in: Springerin. Journals of Contemporary Art, Issue 4 (2015): Kiev, Moscow and Beyond (http://www.springerin.at/dyn/heft.php?id=90&pos=3&textid=3057&lang=de): ‘Last but not least, mention should be made here of Kadja Grönke’s contribution, À la recherche de Mme Alexandre …. In it, Grönke recounts the uncertainties she encountered whilst researching an article on a certain Madame Alexandre, which she is to write for the Encyclopaedia of Historical Female Instrumentalists, a work devoted to the biographies of female performing musicians of the 18th and 19th centuries. This piece makes one forget all the crime stories in books, films and on television, and should be read by anyone who fails to understand what is so exciting about academia. This attempt to reconstruct the life and work of Mme Alexandre and thereby discover who she actually was (or even to imagine who she might have been) is – to put it quite bluntly – the best detective story the reviewer has read in a long time.”

“On the joy of independent research: 12 years of the Sophie Drinker Institute.”
In: Forum Musikbibliothek Vol. 35 (2014), No. 2 (pp. 52–55).

“Sown in Braunschweig, reaped in Kassel: Spohr’s repertoire for the Kassel Cäcilien-Verein.”
In: Louis Spohr Symposium Braunschweig 2007: The Student Years and Early Mastery of the Composer, Violinist, Conductor and Music Educator Louis Spohr in Braunschweig, edited by Anja Hesse and Annette Boldt-Stülzebach. Braunschweig 2007, pp. 81–90.
Also available for a limited time at: www.braunschweig.de/suche.php?form=siteSearch-1-form&sp%3Asearch=siteSearch&sp%3Aq=Gr%C3%B6nke (accessible from August 2014).

“Where the Horror of Beauty Begins: On the Connection between Violence, Horror, Power and Creativity in the Work of Violeta Dinescu.”
In: Violence and Power in Psychotherapy, Society and Art, ed. by Hermes Andreas Kick and Theo Sundermeier. (= Affect – Emotion – Ethics Vol. 13.) Berlin et al.: LIT 2014, pp. 159–171.

“Myriam Marbe.”
In: ForumMusikDiversität: Virtual Gallery of Female Composers. Written for: www.musicdiversity.ch/ (2013; not published for internal FMD reasons).

“The murderous woman on the opera stage – a role profile caught between aesthetics and morality.”
In: Female Murderers. Artistic and Media Representations of Female Crime, ed. by Hyunseon Lee and Isabel Maurer Queipo. Bielefeld: Transcript 2013, pp. 235–248.

“Peace as Redemption through Beauty. On Gabriel Fauré’s Requiem.”
In: Peace as Balance in Psychotherapy and the Political Sphere. Process-Dynamic Perspectives, ed. by Hermes Andreas Kick. (= Affect – Emotion – Ethics.) Berlin et al.: LIT 2013, pp. 177–190.

“20 Years of the Tchaikovsky Society e. V.”
In: Die Tonkunst Vol. 7 (2013), No. 2 (pp. 224–227).

“Acier – Assier – Čajkovskaja – Davydova: The Female Line.”
In: Peter Ilič Čajkovskij – Michel Victor Acier. An artistic family between Saxony and Russia. Papers from the Dresden Symposium 2010, ed. by Lucinde Braun. (= Tchaikovsky Studies Vol. 14.) Mainz: Schott 2013, pp. 205–220.

“Ștefan Niculescu 2006 in Oldenburg.”
In: Ștefan Niculescu, ed. by Violeta Dinescu, Eva-Maria Houben and Michael Heinemann.
(= Archive for Eastern European Music. Sources and Research, Vol. 1). Oldenburg: BIS 2013,
pp. 117–120.

“Violeta Dinescu’s children’s opera *Der 35. Mai* (1986).”
In: Erich Kästner – seen in a new light. Impulses and Perspectives. Conference proceedings, ed. by Sebastian Schmideler. (= Erich Kästner Studies, Vol. 1.) Marburg: Tectum 2012, pp. 303–318.

“Love, Suffering, Art. Patient Tchaikovsky.”
In: Mitteilungen 19 (2012) of the Tchaikovsky Society Tübingen e. V. Tübingen / Mainz 2012, pp. 74–85.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

“Martha Sabinin, a pupil of Liszt.”
In: Die Tonkunst Vol. 5 (2011), No. 4 (pp. 478–491).

“Myriam Marbe: Biography, Tribute, Archive.”
In: Myriam Marbe’s estate. Available at: www.sophie-drinker-institut.de/vita (2011).

“Reconciliation? Reflections on the lieto fine in Mozart’s opera *Don Giovanni*.”
In: Trauma and Reconciliation. Paths to Healing in Psychotherapy, Art and Religion, ed. by Hermes Andreas Kick and Günter Dietz. Berlin: LIT 2010, pp. 219–233.

“‘Doing gender’ in the Tango Rioplatense.“
In: Music and Gender. Foundations, Methods, Perspectives, ed. by Rebecca Grotjahn and Sabine Vogt. (= Kompendien Musik Vol. 5.) Laaber: Laaber 2010, pp. 210–226.

“On the Work and the Composer: Tchaikovsky’s Romances, Op. 73.”
In: Music and Emancipation. Festschrift for Freia Hoffmann on her 65th birthday, ed. by Marion Gerards and Rebecca Grotjahn. Oldenburg: BIS 2010, pp. 33–42.

“‘I love you, but …’ Notes on Tchaikovsky’s Lyrical Scenes ‘Eugene Onegin’.”
In: Mitteilungen 17 (2010) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2010, pp. 19–28.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

“August Pott (1806–1883) and the Grand Ducal Court Orchestra in Oldenburg.”
In: Oldenburg Yearbook Vol. 108 (2008). History, Archaeology, Natural History, ed. by the Oldenburg Regional Association for History, Natural History and Local History e. V.
Oldenburg: Isensee 2008, pp. 95–115.
And at: digital.lb-oldenburg.de/ihd/content/pageview/232341 (available online since 2014).

‘Historical Rulers in Russian Scenic Music – A Question of Good and Evil.’
In: Evil in Russian Culture, ed. by Bodo Zelinsky. Cologne: Böhlau 2008, pp. 221–232.

“Instrumental Monologue and Music Marking the End of Life in Dmitri Shostakovich’s Fifteenth Symphony.”
In: Despair as a Creative Challenge. Psychopathology, Psychotherapy and Artistic Solutions in Literature, Music and Film, ed. by Hermes Andreas Kick and Günther Dietz: (= Affect – Emotion – Ethics 6.) Berlin: LIT 2008, pp. 259–276.

“Tosca’s Doubt and Despair in Puccini’s Opera of the Same Name.”
In: Despair as a Creative Challenge. Psychopathology, Psychotherapy and Artistic Resolution in Literature, Music and Film, edited by Hermes Andreas Kick and Günther Dietz: (= Affect – Emotion – Ethics 6.) Berlin: LIT 2008, pp. 249–257.

“Excessive Disappointment: Lisa’s Despair and Flight into Death in Tchaikovsky’s Opera *The Queen of Spades*.”
In: Despair as a Creative Challenge. Psychopathology, Psychotherapy and Artistic Solutions in Literature, Music and Film, ed. by Hermes Andreas Kick and Günther Dietz: (= Affect – Emotion – Ethics 6.) Berlin: LIT 2008, pp. 237–247.

“Narrativity in Shostakovich’s Seventh String Quartet: Aspects of a Methodologically Reflective Analysis and Interpretation.”
In: The Composer as Narrator. Narrativity in Dmitri Shostakovich’s Instrumental Music, ed. by Melanie Unseld and Stefan Weiss. (= Ligaturen. Musicological Yearbook of the HMTH, Vol. 2.) Hildesheim / Zurich / New York: Olms 2008, pp. 207–218.

‘Female Murderers on the Opera Stage.”
In: ‘Murder’. Representation and Interpretation in the Sciences and Arts, ed. by Dietrich von Engelhardt and Manfred Oehmichen. Lübeck: Schmidt Römhild 2007, pp. 219–235.

“The composer Violeta Dinescu.”
In: *Einblicke*. Research magazine of the University of Oldenburg, vol. 23 (Spring 2007), no. 45 (pp. 8–11).
(uol.de/einblicke/45)

“Political Poetry in Shostakovich’s Symphonies.”
In: Shostakovich and the Symphony. Papers from the 2004 Bonn Symposium, ed. by Hartmut Hein and Wolfram Steinbeck (= Bonner Schriften zur Musikwissenschaft 7). Frankfurt am Main et al.: Peter Lang 2007, pp. 61–74.

“On the Diastasis of Word and Music in Shostakovich’s Twelfth and Thirteenth Symphonies.”
In: Dmitri Shostakovich – His Late Work and its Historical Context, ed. by Manuel Gervink and Jörn Peter Hiekel. Dresden: Sandstein 2006, pp. 80–89.

“Female Psychograms. Notes on Violeta Dinescu’s ‘Heartbreak’ compositions.”
In: Eros and Borderline Situations. From Infatuation to the Culture of Relationships, ed. by Hermes Andreas Kick. (= Affect Emotion – Ethics, Vol. 4.) Berlin: LIT 2006, pp. 57–79.

“Methodological Diversity, Methodological Choice and the Pursuit of Scientific Knowledge: The Case of the Argentine Tango.”
In: Music with Method. New Perspectives in Cultural Studies, ed. by Corinna Herr and Monika Woitas. Cologne / Weimar / Vienna: Böhlau 2006, pp. 139–155.

“Tchaikovsky’s opera *Čarodejka* – *The Enchantress*.”
In: Mitteilungen 13 (2006) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2006, pp. 144–154.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
An extensive excerpt reprinted in: Tchaikovsky: The Enchantress ( directed by Tatjana Gürbaca). Programme for the Erfurt Theatre, 2011/12 season, pp. 7–12.

“Tchaikovsky and the brothers Anton and Nikolai Grigor’evič Rubinstein.”
In: Mitteilungen 13 (2006) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2006, pp. 17–36.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

‘Otherness as a Sign of Belonging. Music and Cultural Identity in the Argentine Tango.’
Abstract in: Music and Cultural Identity. Report on the XIIIth International Congress of the Society for Music Research in Weimar 2004, edited by Detlef Altenburg and Rainer Bayreuther, 3 vols., Vol. 3: Free Papers and Research Reports, Kassel: Bärenreiter 2012, pp. 653 ff.

“‘And I told you nothing’? Tchaikovsky’s ‘Six Romances’ Op. 73 (1893).”
In: Mitteilungen 12 (2005) of the Tchaikovsky Society of Tübingen e. V., Tübingen / Mainz 2005, pp. 191–212.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (accessible since autumn 2014).

“On the reification of humanity. On the opera ‘Eréndira’ by Violeta Dinescu.”
In: Violeta Dinescu, ed. by Eva-Maria Houben. Saarbrücken: Pfau 2004, pp. 94–108.

“A True Love – but Not a True Love Letter. On the divergence between the scene and the letter in Tat’jana’s letter scene from Tchaikovsky’s *Eugene Onegin*.”
In: Intimate Textual Bodies. The Love Letter in the Arts. 3rd Interdisciplinary Symposium of the University of Music and Performing Arts, Frankfurt am Main 2003, ed. by Ute Jung-Kaiser. Bern: Peter Lang 2004, pp. 219–236.
Revised version as: ‘Spontaneous Outpourings of the Heart. Tchaikovsky’s Tatiana.’
In: Tchaikovsky: Eugene Onegin (directed by Krzysztof Walikowski, programme notes of the Bavarian State Opera, Munich, 2007/08 season, pp. 61–73.
Revised version, translated into Spanish as: “La Tatiana de Chaikovski.”
In: Abao Olbe 10§11:59 temporada de ópera de la Abao, Bilbao 2010, pp. 196–203.

“Female Affection and Security.”
In: Mitteilungen 11 (2004) of the Tchaikovsky Society of Tübingen e. V., Tübingen / Mainz 2004, pp. 143–158.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
Alternative version as: “Tchaikovsky, the Women and the Dear Money.” In : Music and Economy. Financing and Marketing Music – and with the Help of Music: Aesthetics and Pedagogy of Music Management, edited by Claudia Bullerjahn and Wolfgang Löffler. (= Music – Culture – Science, Vol. 3.) Hildesheim: Olms 2009, pp. 109–141.

“The Musical Score as an Image. On the Aesthetic Duality of Musical Graphics.”
In: Synesthesia in Music – Music in Synesthesia. Lectures and papers presented at the 2002 annual conference of the Society for Music Research in Düsseldorf (25–28 September 2002) at the Robert Schumann University of Music, ed. by Volker Kalisch. (= Musik-Kultur Vol. 11). Essen: Blaue Eule 2004, pp. 132–147.

‘Musical Analysis as a Contribution to a Deeper Understanding of Biography. A Comparison of Two Love Songs by Alma Schindler and Gustav Mahler.’
In: Why Biographical Studies? On the Role of Biographical Methods in Educational Processes and Musical Analysis. Report on the conference of the Musicology and Music Education Section of the Society for Music Research, Lüneburg 2002, ed. by Andreas Waczkat. Rostock: University Press 2003, pp. 65–73.
Revised English version: “Contrasting Concepts of Love in Two Songs by Alma Schindler(-Mahler) and Gustav Mahler.” (English: Victoria Viebahn.) In: *Women and the Nineteenth-Century Lied*, edited by Aisling Kenny and Susan Wollenberg, Farnham and Burlington: Ashgate Publishing 2015, pp. 217–229.

“‘The foreign colours flake off like scales as time goes by …’ Dmitri Shostakovich’s vocal cycles set to texts by Alexander Pushkin.”
In: Arion. Yearbook of the German Pushkin Society, Vol . 5. Hamburg: Bouvier 2003, pp. 47–73.

“Lady Macbeth and her sisters. Axiological reflections on the role of the murderous woman in the operas *Lady Macbeth of Mtsensk* by Dmitri Shostakovich, *Bremer Freiheit* by Adriana Hölszky and *Eréndira* by Violeta Dinescu.”
In: Shostakovich and the Aftermath, ed. by Ernst Kuhn. (= Shostakovich Studies Vol. 6.) Berlin: vek 2003, pp. 1–32.

“More Shadow than Light. Tchaikovsky and his ‘16 Songs for Children’, Op. 54 (1883).”
In: Mitteilungen 10 (2003) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 2003, pp. 127–152.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (accessible since autumn 2014).

“Tchaikovsky’s Liza (‘The Queen of Spades’) – a projective figure.”
In: Archive for Musicology (AfMw), Vol. LIX (2002), No. 3 (pp. 167–185).

“Moscow in Russian Opera.”
In: Music History in Central and Eastern Europe. Communications from the International Research Group at the University of Leipzig, ed. by Helmut Loos. Issue 8. Chemnitz: Gudrun Schröder 2002, pp. 30–41.

“To Which Gender Does Longing Belong? Reflections on Pyotr Tchaikovsky’s Romance, Op. 6 No. 6.”
In: Gender Polarities in the History of Music from the 18th to the 20th Century, ed. by Rebecca Grotjahn and Freia Hoffmann. (= Contributions to the Cultural and Social History of Music, Vol. 3.) Herbolzheim: Centaurus 2002, pp. 143–154.

“Genre Transfer and Genre Aesthetics in Dmitri Shostakovich’s String Quartets.”
In: Shostakovich’s String Quartets – An International Symposium, ed. by Andreas Wehrmeyer. (= Shostakovich Studies, Vol. 5.) Berlin: vek 2002, pp. 81–99.

“‘To those who hate Jews, I am like a Jew’. Role masks and identifications in the music of Dmitri Shostakovich.”
In: Shostakovich and the Jewish Musical Heritage, ed. by Ernst Kuhn. (= Shostakovich Studies Vol. 3.) Berlin: vek 2001, pp. 131–149.

“Nikolai Rimsky-Korsakov and his opera *Mozart and Salieri*. A journey of self-discovery expressed through composition.”
In: Reception as Innovation. Studies on a Basic Model of European Compositional History. Festschrift for Friedhelm Krummacher on his 65th birthday, ed. by Siegfried Öchsle, Bernd Sponheuer and Helmut Well. Kassel: Bärenreiter 2001, pp. 367–386.

“‘How beautiful is Princess Salome …’. The polymorphism of a female stage role.”
In: Women’s Voices, Women’s Roles in Opera and Women’s First-hand Accounts, ed. by Gabriele Busch-Salmen and Eva Rieger. (= Contributions to the Cultural and Social History of Music, Vol. 1.) Herbolzheim: Centaurus 2000, pp. 287–298.

‘Glinka’s Arrangements of Aljab’ev’s Romance “The Nightingale ”.’
In: Music History in Central and Eastern Europe. Proceedings of the International Research Group at Chemnitz University of Technology, ed. by Helmut Loos. Issue 2. Chemnitz: Gudrun Schröder 1998, pp. 3–20.

‘Composition in History and the Present. Studies on the first eight string quartets by Dmitri Shostakovich.’
In: Die Musikforschung, vol. 51 (1998), no. 2 (pp. 163–190)
Revised version as: ‘Composition in History and the Present: Analytical Aspects of Dmitri Shostakovich’s First Eight String Quartets.” In : Shostakovich’s String Quartets. An International Symposium, ed. by Andreas Wehrmeyer. (= Shostakovich Studies Vol. 5.) Berlin: vek 2002, pp. 41–80.

“Tchaikovsky’s one-act opera *Iolanta*: Transformation through Love.”
In: Mitteilungen 5 (1998) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 1998, pp. 17–25.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

“Pyotr Ilyich Tchaikovsky: Genealogical Tables.”
In: Mitteilungen 4 (1997) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 1997, pp. 19–30.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
And in: Alexander Poznansky: Tchaikovsky’s Homosexuality and His Death – Legends and Reality. With further contributions on other topics by Marek Bobéth, Kadja Grönke, Thomas Kohlhase, Lucinde Lauer, Hartmut Schick, Valerij Sokolov and Polina Vajdman, edited by Thomas Kohlhase. (= Tchaikovsky Studies Vol. 3.) Mainz et al.: Schott 1998, pp. 367–378.
>>> Please note: Due to the discovery of new sources, this article has now been superseded in terms of research by the publication: Peter Ilič Tchaikovsky – Michel Victor Acier. An artistic family between Saxony and Russia. Papers from the Dresden Symposium 2010, ed. by Lucinde Braun. (= Tchaikovsky Studies Vol. 14.) Mainz: Schott 2013.<<<

“Girls Sing of Love. Notes on a Recurring Scenic Motif in Tchaikovsky’s Pushkin Operas.”
In: Mitteilungen 4 (1997) of the Tchaikovsky Society of Tübingen e. V. Tübingen / Mainz 1997, pp. 53–64.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
And in: Alexander Poznansky: Tchaikovsky’s Homosexuality and His Death: Legends and Reality. With further contributions on other topics by Marek Bobéth, Kadja Grönke, Thomas Kohlhase, Lucinde Lauer, Hartmut Schick, Valerij Sokolov and Polina Vajdman, edited by Thomas Kohlhase. (= Tchaikovsky Studies Vol. 3.) Mainz et al.: Schott 1998, pp. 405–416.

‘Art and Artists in Shostakovich’s Late Poem-Sets.”
In: Archive for Musicology (AfMw), Vol. LIII (1996), No. 4 (pp. 290–335).
And in: Dmitri Shostakovich – Composer and Contemporary Witness, ed. by Günter Wolter and Ernst Kuhn (eds.). (= Shostakovich Studies Vol. 2.) Berlin: vek 2000, pp. 112–161.

“Tchaikovsky’s Death – A Critical Review of the Literature.”
In: Mitteilungen 2 (1995) of the Tchaikovsky Society e.V. Tübingen / Mainz 1995, pp. 31–54.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
Revised and expanded version in: Alexander Poznansky: Tchaikovsky’s Homosexuality and His Death. Legends and Reality. With further contributions on other topics by Marek Bobéth, Kadja Grönke, Thomas Kohlhase, Lucinde Lauer, Hartmut Schick, Valerij Sokolov and Polina Vajdman, edited by Thomas Kohlhase. (= Tchaikovsky Studies Vol. 3.) Mainz et al.: Schott 1998, pp. 379–403.

‘On the Role of Gremin in Tchaikovsky’s Opera “Eugene Onegin”’.
In: International Tchaikovsky Symposium, Tübingen 1993. Proceedings, edited by Thomas Kohlhase. (= Tchaikovsky Studies, Vol. 1.) Mainz et al.: Schott 1995, pp. 127–140.
English translation as: “On the Role of Gremin: Tchaikovsky’s ‘Eugene Onegin’.”(Translated into English by Alice Dampman Humel.) In: *Tchaikovsky and His World*, ed. by Leslie Kearney. Princeton University Press, Princeton, New Jersey 1998, pp. 220–233.

Articles forthcoming

“On the Psychologisation of Music and Femininity in Literature and the Visual Arts of the Late 19th Century.”
In: Proceedings of the symposium “Science and Literature around 1900” organised by the Working Group on Psychopathology, Art and Literature, Lübeck, in press since 2004.

“Dmitri Bortnyansky: Concertos for Choir.”
In: *Texts on Choral Music*, Vol. 2, ed. by Gerhard Jenemann, in press since 2004.

1. Encyclopaedia entries

3 articles: ‘Pyotr Ilyich Tchaikovsky’, ‘Aribert Reimann’, ‘[Reimann:] Lear’.
In: Casta Diva. The Gay Opera Guide, edited by Rainer Falk and Sven Limbeck. Berlin: querverlag 2019.
“Reimann” quoted in: “Obituary. Aribert Reimann has died”, on queer.de (dpa/ak) dated 18 March 2024:
“Reimann never made his homosexuality a direct topic of discussion, yet he always took a ‘particular interest in outsiders who stand at cross-purposes with society in matters of love and hate’, as musicologist Kadja Grönke writes in her portrait of Reimann in the gay opera guide ‘Casta Diva’. ‘The existential force of his individual characters’ fates transcends the gender assigned to them on stage, and the conflict situations can easily be extended to homosexual worldviews.’ In doing so, Reimann does not shy away from ‘to interpret the stage situation through illustration and commentary: in rough-edged cluster sounds, tumultuous percussion passages, extreme highs or bottomless lows, he opens up spaces for the unspeakable, which the stage characters cannot articulate themselves.’”

Article ‘Violeta Dinescu’.
In: Encyclopaedia of Woodwind Instruments: Oboe, Clarinet, Saxophone and Bassoon. History of Construction and Performance Practice. Composers and their Works. Performers, ed. by Achim Hofer, Ursula Kramer and Udo Sirker. Laaber: Laaber 2018, p. 210.

24 articles:‘Sophie Jakimowska’(new, 2018);‘Katarzyna Jaczynowska’(2018);‘The Gnessin Sisters’(2016);‘Alma Haas [Holländer]’ (2015);‘Johanna and Margarete Klinckerfuß’(2015);‘Sophie Olsen’(2014);‘Marcelina Czartoryska[-Radziwiłł]’ (2014);‘Antoinette Szumowska’(2014);‘Lina Schmalhausen’(2014);‘Melanie Wienzkowska’(2014);‘Sophie Jakimowsky’(2014);‘Adele aus der Ohe’(2013);‘Eugenie Menter’(2012);‘Sofie Menter’(2012);‘Anna Essipoff’(2012);‘Vera Timanoff’(2012);‘Pauline Bertenson[-Woronez]’ (2012);‘Charlotte Dreyfus[-Alexandre]’ (2011);‘Maria Kalergis’(2011);‘Sandra Droucker’(2011);‘Zofia Rabcewicz [née Poznańska]’ (2010);‘Catherine [Walter-]Kühne’(2010);‘Xenia Erdeli’(2010);‘Monika Terminskaja’(2010);‘Martha Sabinin’(2010);‘Alexandra Zograf[-Dulowa]’ (2010).
In: Encyclopaedia of Female Instrumentalists. European Female Instrumentalists of the 18th and 19th Centuries, ed. by Freia Hoffmann. Available at: www.sophie-drinker-institut.de/cms/index.php/lexikon.

Article ‘Sofie Menter’.
In: Lexikon Musik und Gender, ed. by Melanie Unseld and Annette Kreutziger-Herr. Kassel et al. (Bärenreiter) and Stuttgart/Weimar (Metzler) 2010, pp. 362 ff.

3 articles: ‘Pyotr Ilyich Tchaikovsky’ (pp. 588–590); ‘Eduard Francevič Napravnik’ (pp. 413 ff.); ‘Anton Grigor'evič Rubinštejn’ (pp. 495 ff.).
In: Reclam’s Encyclopaedia of Composers, ed. by Melanie Unseld. Stuttgart 2009.

Article ‘Barbara Heller – Grundblatt’.
In: Contemporary Composers, ed. by Hanns-Werner Heister and Walter-Wolfgang Sparrer. 31st Supplement. Munich 2006, pp. 1–2.

6 articles: ‘Anton Grigor’evič Rubinštejn’. Vol. 14 (2005), cols. 594–599; ‘Nikolai Grigor’evich Rubinstein’. Vol. 14 (2005), cols. 599–600; ‘Vasily Ilyich Safonov’. Vol. 14 (2005), cols. 785–786; ‘Eduard Francevič Napravnik’. Vol. 12 (2004), pp. 908–911; ‘Nikolai Semenovich Klenovsky’. Vol. 10 (2003), pp. 270–271; ‘Violeta Dinescu’. Vol. 5 (2001), pp. 1077–1080.
In: *Die Musik in Geschichte und Gegenwart* (2nd, revised edition), ed. by Ludwig Finscher. Biographical section, vols. 1–17. Kassel, Basel, London, New York, Prague: Bärenreiter; and Stuttgart, Weimar: Metzler, 1999 onwards.

25 entries: ‘Dinescu, Violeta (Ileana)’: Vol. 1, p. 394. / ‘35 May or Konrad Rides into the South Seas’: Vol. 1, p. 375. / ‘Eréndira’: Vol. 1, p. 459. / ‘The Royal Game’: Vol. 2, p. 547.
‘Nielsen, Carl’: Vol. 2, p. 246. / ‘Masquerade (Maskarade) ’: Vol. 2, pp. 138 ff. / ‘Saul and David (Saul og David)’: Vol. 2, p. 543.
‘Rubinstein, Anton Grigorevich’: Vol. 2, pp. 514 ff. / ‘The Demon (Demon)’: Vol. 1, pp. 356–359. / ‘Nero’: Vol. 2, pp. 237 ff. / ‘Merchant Kalashnikov (Kupez Kalashnikov)’: Vol. 1, p. 783.
“Tchaikovsky, Pyotr Ilyich”: Vol. 2, p. 709 ff. / “Eugene Onegin (Yevgeny Onegin)”: Vol. 1, pp. 470–472. / ‘Iolanta (Iolanta)’: Vol. 1, p. 759. / ‘The Maid of Orléans (Orleanskaya deva)’: Vol. 1, pp. 772 ff. / ‘Masepa’: Vol. 2, p. 137. / ‘The Queen of Spades (Pikovaya dama)’: Vol. 2, pp. 382–384. / ‘The Little Slippers (Cherevichki)’: Vol. 2, pp. 329 ff. / ‘The Enchantress – A Nizhny Novgorod Legend (Charodeika – Nizhegorodskoye predanije)’: Vol. 2, p. 833.
‘Wolf-Ferrari, Ermanno’: Vol. 2, p. 810. / ‘Il Campiello (The Campiello)’: Vol. 1, p. 269. / ‘The Curious Women’: Vol. 2, p. 243. / ‘Susanna’s Secret’: Vol. 2, p. 644. / ‘The Four Boors’: Vol. 2, pp. 757 ff.
In: Lexikon der Oper ( 2 vols.), ed. by Elisabeth Schmierer. Laaber: Laaber 2002.

Article ‘Dmitri Shostakovich’.
In: The New Encyclopaedia of Music. Vol. 1–4. New edition. (Based on the *Grosses Lexikon der Musik* edited by Günther Massenkeil, an adaptation of Marc Honegger’s *Dictionnaire de la musique*), ed. by Ralf Noltensmeier. Stuttgart (Metzler) 1996, Vol. 4, pp. 226–228.

9 articles: ‘Ermanno Wolf-Ferrari: Il Campiello’. Vol. 6 (1997), pp. 763–765.
‘Anton Rubinschtejn: Demon’. Vol. 5 (1994), pp. 470 ff. / ‘Anton Rubinschtejn: Nero’. Vol. 5 (1994), pp. 474 ff. / ‘Anton Rubinschtejn: The Maccabees’. Vol. 5 (1994), pp. 473 ff.
‘Alexandr Serov: Rogneda’. Vol. 5 (1994), pp. 691 ff.
‘Modest Mussorgsky: Salambo’. Vol. 4 (1991), pp. 361 ff. / ‘Modest Mussorgsky: The Wedding’. Vol. 4 (1991), pp. 363 ff.
‘Carl Nielsen: Saul and David’. Vol. 4 (1991), pp. 429 ff. / “Carl Nielsen: Maskarade”. Vol. 4 (1991), pp. 431 f.
In: Piper’s Encyclopaedia of Music Theatre. Opera, Operetta, Musical, Ballet, ed. by Carl Dahlhaus and the Research Institute for Music Theatre at the University of Bayreuth under the direction of Sieghart Döhring (6 vols.). Munich / Zurich (Piper) 1986 ff.

2. Editing and proofreading

Fynn Leinweber (Editor: Kadja Grönke): “Tchaikovsky and the Double Bass in Russia.”
Published in: Online Bulletin of the Tchaikovsky Society; published on 6 February 2022 at www.tschaikowsky-gesellschaft.de/mitteilungen.htm.

Helmut Brenner: Charlotte Blume-Arends. A Hamburg pupil of Franz Liszt. With a digression on their mutual pupil Hermine Lüders.
Hamburg: Tredition Verlag 2020.

Tim Steinke (text edited by Kadja Grönke): “‘Can you hear the song? Can you hear the call, so mysterious?’ Some thoughts on the musical portrayal of the ‘other’ in Karol Szymanowski’s opera *Król Roger*.”
In: Yearbook for Music and Gender, Vol. 10: Music and Homosexuality – Homosexuality and Music. Hildesheim : Olms 2017 (published 2018), pp. 111–117.

Bianca Ţiplea Temeş: “Violeta Dinescu and the Key to Dreams.”
In: *Musica. Studia Universitatis Babes-Bolyai*(Cluj) 63 (2013), No. 2 (pp. 5–28). (Edited and translated in collaboration with Roberto Reale.)

Article editing and co-authorship for the Sophie Drinker Institute’sEncyclopaedia of Female Instrumentalists:
Graham Griffiths, Kadja Grönke and Lusia Klaus: “Leokadia Kaschperowa” (2018)
Wibke Gütay / Kadja Grönke: ‘Emma Grosscurth’ (2013)
Katharina Schröder / Marie Föllen / Kadja Grönke: ‘Johanna von Seemann’ (2012)
Jana Drieschner / Delia Mehrwald / Kadja Grönke: ‘Toni Raab’ (2012)
Laura Wegner / Kadja Grönke: ‘Ida Iwanowna Eichenwald-Papendik’ (2010)
Markus Gärtner / Kadja Grönke: ‘Aloise Pott’ (2010)
as well as other articles in which my name is not explicitly mentioned
In: Encyclopaedia of Female Instrumentalists. European Female Instrumentalists of the 18th and 19th Centuries, ed. by Freia Hoffmann.
Available at: www.sophie-drinker-institut.de/cms/index.php/lexikon.

In addition, editorial supervision and final editing of various texts for conference proceedings and other academic publications, listed earlier under ‘Edited Volumes’, as well as texts in the field of applied musicology (CD booklets, interviews, artist biographies, etc.).

3. Contributions to radio and television programmes

Interview excerpts for: Nick Sternitzke: Chopin and Homoeroticism. WDR Tonart, 12 November 2025.

Interview excerpts for: Barbara Overbeck: The harpist Katharina Walter-Kühne. WDR Tonart, 20 November 2024.

Interview on the dialogue concert of 30 June 2024. Ralf Eismann: OEins – KlassikKultur, 24 June 2024.

[together with Christoph Keller:] Interview excerpts on the dialogue concert of 4 July 2023. Ralf Eismann: OEins – KlassikKultur, 26 and 29 June 2023.

Excerpts from an interview for: Nick-Martin Sternitzke: Music and Homosexualities. WDR Tonart, 11 May 2022

Interview excerpts for: Moritz Weber: Homosexuality among composers: a bone of contention in musicology. SRF Kultur, podcast, 4 March 2022.

Interview excerpts for: Ralf Pleger: The Tchaikovsky File. Confessions of a composer. ZDF/Arte film 2015 (first broadcast 3 June 2015).

Interview excerpts in Hildburg Heider: Paths of Love – Peter Tchaikovsky and the Women. NDR Prisma, 16 May 2015, and SRF II, Parlando Portrait, 17 May 2015.

From Russian to Soviet Ballet. NDR III, 10 March 1995.

Contributed voice-over to several radio programmes by other authors on the topics of Tchaikovsky, Shostakovich and Argentine tango.

(date to be announced), Forum St Peter:
"The joy of rediscovery: music by the Russian composers Leokadia Kashperova (1872-1940) and Martha von Sabinin (1831-1892)." Lecture concert.
The musicologist and pianist Prof. Graham Griffiths (Oxford), the musicologist apl. Prof. Dr. Kadja Grönke (Oldenburg) and the soprano Stephanie Kühne (Oldenburg) present current research findings and music by Leokadia and Elisaweta Kaschperowa and Martha von Sabinin.
Organised by the Institute of Music and the Department of Research-Based Learning of the University of Oldenburg.

All programme booklets for the Dialogue Concerts at the University of Oldenburg
are available as full-text PDFs below under ‘Dialogue Concerts’
in the archive section – including lectures accompanied by music.

14 February 2026, Frankfurt, archive Frau und Musik, and
15 February 2026, Wolfenbüttel, Federal Academy for Cultural Education:
Introduction to “Durch Verrat hindurch”. Presentation of the CD of the same name and music by Violeta Dinescu, Hans-Christian von Dadelsen, Ursula Mamlok, Corneliu Dan Georgescu, Laura Manolache and Roberto Reale.
Trio Signum (Andrei Cuibariu, Dorin Cuibariu, Sorin Petrescu).

11 February 2024, Berlin, Elisabethkirchstraße :
“Poetry and Music in the Living Room 6.”
Piano music by Franz Schubert, interwoven with excerpts from
Alexander Pushkin’s verse novel “Eugene Onegin” in the German translation by Ulrich Busch.
Piano: Paul Mertens (Berlin), Recitation: Kadja Grönke (Oldenburg).

11 June 2023, Oldenburg State Theatre:
3rd children’s concert of the 2022/23 season. Concept by Antonio Planelles; programme design, preparation and execution in collaboration with Johannes Dörr, Jule Molchin, Margareta Storonianska and Lina Weber (University of Oldenburg/Grönke Seminar).
Review by Horst Hollmann, NWZ, 13 June 2023

11 June 2022, University of Regensburg:
“I know full well what I owe you, but …”: Tchaikovsky and Nikolai Rubinstein.
Short lecture and moderation of the panel discussion with Daniel Grimwood (piano) and Arn Goerke (conductor of the University of Regensburg Symphony Orchestra)
as part of the gala concert for the 28th Annual Conference of the Tchaikovsky Society e. V.

9 April 2022, Baden-Baden:
Tchaikovsky’s opera *The Queen of Spades*.
Introductory lecture for the premiere of the Baden-Baden Easter Festival: Tchaikovsky: The Queen of Spades; directed by Moshe Leiser and Patrice Caurier; Berlin Philharmonic, Kirill Petrenko.

4 April 2022, Villa Luftraum, Berlin:
Panel discussion with Dr Kevin Clarke
following his lecture “Siegfried Wagner’s Festival and the Roaring Twenties: Spaces of freedom for sexually discriminated artists in the shadow of National Socialism.”
Richard Wagner Society Berlin-Brandenburg e. V.

7 May 2019, Great Hall of the Castle, Oldenburg:
“Baroque Meets Bauhaus: Bach in the White City”.
Organisation, supervision and introduction to the concert with Alon Sariel (mandolin and conductor) and the “Concerto Foscari” ensemble to accompany the exhibition “100 Years of the Bauhaus”, featuring music by Johann Sebastian Bach, Carl Philipp Emanuel Bach, Wilhelm Friedemann Bach and a world premiere by Amit Weiner, as well as a presentation by video artist Asaf Lewkowitz.
Organised by Concerto Foscari and the Oldenburg State Museum of Art and Cultural History.

9 November 2018, Sophie Drinker Institute, Bremen:
"The Glass Harmonica."
Organisation, coordination and participation in the concert-talk featuring glass harmonica player Dennis James (USA), with music by Wolfgang Amadeus Mozart, Joseph Aloys Schmittbaur, Ludwig van Beethoven and others.
Organised by the Sophie Drinker Institute, Bremen.

8 June 2017, Piano Rosenkranz, Oldenburg:
“Goldberg Variations 2.0".
Pianist Stephan Rahn performs Johann Sebastian Bach’s Goldberg Variations with musical interventions by Violeta Dinescu. Introduction by Kadja Grönke.
Organised by Kevin Kilian and Piano-Rosenkranz.
Review (NWZ, 10 June 2017).

25 November 2016, Chamber Music Hall, University of Oldenburg:
“Tim Steinke. On the Nature of Inspiration. The Hamburg composer Tim Steinke in conversation with Kadja Grönke.”
Concert-talk as part of the University of Oldenburg’s Composers’ Colloquium.

19 June 2016, Tchaikovsky Hall, Hamburg:
“Reflections”.
Concert with pianist Erik Breer (Neuss) featuring piano music by Peter Tchaikovsky, with works by Tchaikovsky, Frédéric Chopin, Robert Schumann, Sergei Rachmaninoff and György Ligeti. Concert-talk as part of the annual conference of the Tchaikovsky Society. Concept and presentation: Kadja Grönke.

31 January 2016, cine k, Oldenburg:
Panel discussion on the film “The Tchaikovsky File – Confessions of a Composer. A film by Ralf Pleger (ZDF/Arte 2015)”, with Ralf Pleger (Berlin), Philip Ross Bullock (Oxford) and Kadja Grönke.

29 January 2016, University of the Arts Bremen:
Panel discussion on the film “The Tchaikovsky File – Confessions of a Composer. A film by Ralf Pleger (ZDF/Arte 2015)”, featuring Philip Ross Bullock (Oxford) and Kadja Grönke as part of the symposium “Music and Homosexuality – Homosexuality and Music”.

22 May 2015, Chamber Music Hall, University of Oldenburg:
“Jennifer Hymer – a musical portrait: piano, toy piano & kalimba”.
Talk-concert with Jennifer Hymer (USA/Hamburg) as part of the University of Oldenburg’s Composers’ Colloquium.

31 October 2014, Chamber Music Hall, University of Oldenburg:
“The composer Paul Mertens-Pavlowsky in conversation with Kadja Grönke.”
Concert-talk as part of the University of Oldenburg’s Composers’ Colloquium, featuring baritone Volker Mertens.

21 June 2014, Bremen University of the Arts:
“Songs from the Turn of the Century”.
Concert presentation to mark the “Fête de la musique Bremen” in co-operation with the Bremen University of the Arts.

7 April 2013, Hanover State Opera:
Matinee to mark the new production of Tchaikovsky’s opera “Eugene Onegin” at the Hanover State Opera.
Panel discussion chaired by dramaturg Miriam Konert.

14 December 2012, Chamber Music Hall, University of Oldenburg:
“Myriam Marbe.”
Moderation of the panel discussion and CD presentation to mark the 15th anniversary of the death of the Romanian composer Myriam Marbe as part of the Composers’ Colloquium at the University of Oldenburg.

20 May 2012, Erfurt Opera House:
Matinee with panel discussion and music to mark the premiere of Tchaikovsky’s opera *The Enchantress* at the Erfurt Theatre.
Panel discussion chaired by dramaturg Arne Langer.

Announcements and information about the ‘Dialogkonzerte’
are sent out via a mailing list, which you can subscribe to via
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For concerts with limited seating
or if you require a wheelchair or walking frame
, we also recommend registering at
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Motto: “Stay curious!”

The “Dialogue Concerts at the University of Oldenburg” are organised by the Institute of Music in co-operation with the Association for Music Theatre Productions within the subject of Music at the University of Oldenburg e. V. and the City of Oldenburg’s Cultural Office; Associate Professor Dr Kadja Grönke has sole responsibility for the academic conception and implementation of the series.

The series offers thematically focused programmes in the field of so-called classical music, structured roughly in a 1:2 ratio of presentation/information to music/concert programme. These no-budget events last approximately 100 minutes and are suitable for both seasoned music lovers and concert novices of all ages. They take place at various venues across Oldenburg with free admission (though donations are welcome) and help to foster links between university teaching and the city’s cultural life.

To ensure that the dialogue concerts can continue to be offered free of charge, they are supported by a network of partners and sponsors. One-off donations in the form of tax-deductible bank transfers are also most welcome and go entirely towards financing the next concerts:
Donation account with LZO (account holder: University of Oldenburg)
IBAN: DE46 2805 0100 0001 9881 12 / BIC: SLZODE22
Reference (very important!): FST 53 402 225 80: Dialogue Concerts
> The payment reference ensures that the bank transfer is used exclusively
for the Dialogkonzerte
- Please note: If the specified payment reference is not included, the donation will go into the university’s general budget and will not benefit the Dialogkonzerte . So please enter “FST 53 402 225 80: Dialog Concerts”!
- For donations of 300 euros or more, the university will issue a donation receipt on request.

In 2025, the “Dialogue Concerts at the University of Oldenburg celebrated ten years of activity. To mark the occasion, a comprehensive flyerwas published to mark the occasion, containing general information about the concert series, the programmes from the first 10 years, as well as dates and artists’ biographies for the anniversary year.

All programme booklets can be accessed via the menu item “archive” as full-text PDFs.

“… Thank you very much for sending us the programme for the theme day ‘Carl von Ossietzky
today’ on 30 June 2024, which we are delighted to add to the University Archives’ collection.
For us as the University Archives, there is no question that we should collect materials relating to the concerts
. As an archivist, but above all as a scholar of academic and university history
, I have a deep understanding of what constitutes a university. This extends
beyond the fields of research, teaching and administration. I find
the exchanges between key figures from the university and
the surrounding spheres of politics, business, society and culture particularly fascinating. From this
perspective, the ‘Dialogue Concerts’ are an important element of the history
of our university.”
(Dr Gunnar Zimmermann, University Archives of the University of Oldenburg, 22 July 2024)

- - -
By the way: the Dialogue Concerts also have an Instagram account …

Sunday, 5 July 2026, 7.30 pm, St Peter’s Forum Church:
60 Sounds. Old and new from 11 years of ‘Dialogue Concerts at the University of Oldenburg’.
Countertenor Nicholas Tamagna (Bremen), recorder player Luisa Klaus (Bremen), performer Silvia Rutkowski, gong player and narrator Kadja Grönke, pianists Jasche Nemtsov (Berlin/Weimar) and Paul Mertens (Berlin) and harpsichordist and organist Johnnes von Hoff (Oldenburg) in dialogue with world premieres and second performances from 11 years of ‘Dialogue Concerts at the University of Oldenburg’ and very early music, i.e. works by Roberto Reale, Sarah Nemtsov, Paul Mertens-Pavlowsky, Violeta Dinescu, Alexander Veprik, Pyotr Tchaikovsky, Jacques Hotteterre, Henry Purcell, John Dowland and Johann Sebastian Bach. Featuring a Schimmel piano, a harpsichord by Dietrich Hein and the Forum organ by Anton Feith and Siegfried Sauer. Concept and presentation: Kadja Grönke.
Encore: J. S. Bach: Aria ‘Kron und Preis’ from the cantata ‘Tönet, ihr Pauken’ BWV 214.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Musical Theatre Productions, the Cultural Office of the City of Oldenburg, Forum St. Peter and instrument maker Dietrich Hein.
Review by Horst Hollmann, NWZ, 8 July 2026, p. 11.

Sat 4 July 2026, 7.30 pm, PFL auditorium:
Jewish female composers past and present.
The pianist and musicologist Prof. Jascha Nemtsov (Berlin/Weimar) performs and discusses piano music by Fanny Hensel, Yevgenia Yakhina, Myriam Marbe, Ursula Mamlok, Sarah Nemtsov and Eta Tyrmand. On a Steinway grand piano. Concept: Jascha Nemtsov.
Encore: Arthur Lourié: Waltz ( Paris, 1920s)
The event forms part of the University of Oldenburg’s programme of events and information on the topics of anti-Semitism, anti-discrimination and democracy.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Musical Theatre Productions and the Cultural Office of the City of Oldenburg.

Sat, 20 June 2026, 5.00 pm, Varel Castle Church and
Mon, 22 June 2026, 7.30 pm, Trinity Church, Oldenburg:
‘De zoete Zoomertiden’. Early Baroque music from England and the Netherlands on the theme of ‘Summer’.
Recorder player Luisa Klaus (Bremen), viola da gamba player Ekaterina Kuzminykh (Bremen) and harpsichordist Michael Tsalka (Shenzhen) in dialogue with Kadja Grönke, performing music by Pietr Luidhens, Pieter Dircksz Pers, Tobias Hume, Matthew Locke, William Inglot, Anonymous, Jacob van Eyck, William Babell and Henry Purcell. Featuring a harpsichord by Dietrich Hein. Concept: Luisa Klaus.
Encore in Varel: Anonymous (17th century): Gallarde de Faraboscho.
Encore in Oldenburg: Henry Purcell: Ground in C minor.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Musical Theatre Productions, the Cultural Office of the City of Oldenburg, instrument maker Dietrich Hein and the Barthel Foundation Varel, the church music department of Varel Castle Church, and the church music department of the Church of the Holy Trinity.

Sun, 14 June 2026, 5.00 pm, PFL auditorium:
De nos oiseaux. An artistic project by Hélène de la Forêt to mark the 130th anniversary of the birth of the Romanian poet Tristan Tzara.
Soprano Laura Tatulescu (Bucharest) and pianist and composer Hélène de la Forêt (Bucharest) will perform the song cycle ‘De nos oiseaux’ by Hélène de la Forêt, accompanied by video projections by Cristi Farcaș. Performed on a Steinway grand piano. Host and technical support: Kadja Grönke. Concept/composition: Hélène de la Forêt.
Encore: No. 9: Chanson Dada I.
Organised by the Institute of Music/seminar “Listening in Context: Women Composers from Romania” (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

Sat, 13 June 2026, 7.30 pm, Assembly Hall of the Altes Gymnasium:
Violeta Dinescu’s ‘Kaleidoscope of Memories’: A project for ‘Jugend Musiziert’ and the final concert of an improvisation workshop based on pieces by Violeta Dinescu.
The group of pupils: Irla Syfuß (Altes Gymnasium Oldenburg, flute), Carl Rabbels (Liebfrauenschule Oldenburg, trombone), Clara-Sophie Kleffner (Cäcilienschule Oldenburg, violin), Louisa Marie Kleffner (Liebfrauenschule Oldenburg, violin), Helene Dewald (Cäcilienschule Oldenburg, double bass) and Viktor Min (Altes Gymnasium Oldenburg, piano), as well as participants in the workshop ‘Improvising on pieces by Violeta Dinescu’ featuring music by Violeta Dinescu. Performed on a Steinway grand piano. Concept and presentation: Kadja Grönke.
Organised by the Institute of Music/Seminar ‘Listening in Context: Women Composers from Romania’ (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Both the performance by the group of pupils and that by the improvisation group are documented on Thorsten Gubatz’s YouTube channel.
Review by Christoph Keller, NWZ, 16 June 2026.

Fri 12 June 2026, 7.30 pm, PFL auditorium:
Dona nobis pacem. Music by female composers from Romania.
Soprano Laura Tatulescu (Bucharest), mezzo-soprano Claudia Codreanu (Bucharest), cellist Angelika Bönisch (Oldenburg) and pianist Ana-Iulia Giurgiu-Bondue (Lille/Bucharest) in dialogue with Kadja Grönke, featuring world premieres by Violeta Dinescu, Ana-Iulia Giurgiu-Bondue and Rucsandra Popescu, as well as music by George Enescu, Tiberiu Brediceanu, Mihail Jora, Paul Constantinescu, Adina Dumitrescu, Livia Teodorescu-Ciocănea, Myriam Marbe, Carmen Petra-Basacopol and Felicia Donceaneau, performed by varying ensembles. Featuring a Steinwy grand piano. Concept: Kadja Grönke and the participants.
Organised by the Institute of Music/Seminar ‘Listening in Context: Women Composers from Romania’ (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Excerpts from the concert are documented on Thorsten Gubatz’s YouTube channel .

Wednesday, 13 May 2026, 8.00 pm, PFL auditorium:
“Project Phoenix”. Music and poetry from Romania.
Violinist Mircea Lazăr (Bucharest) and pianist Ana-Iulia Giurgiu-Bondue (Lille/Bucharest) will perform works by Nicolae Coman, Felicia Donceanu, Tiberiu Olah, Diana Iulia Simon, George Enescu, Cătălin Creţu, Ana-Iulia Giurgiu-Bondue, Violeta Dinescu and Béla Bartók. Actor Ioan Ionescu (Bucharest) and Kadja Grönke (Oldenburg) will recite poetry by Lucian Blaga, Iulia Hașdeu, Mihai Eminescu, Marin Sorescu, Nina Cassian, Nichita Stănescu and Ion Minulescu in Romanian and German. Featuring a Steinwy grand piano. Concept: Ana-Iulia Giurgiu-Bondue.
Encore: Borșa (dance from Maramureș)
Organised by the Institute of Music/seminar ‘Listening in Context: Women Composers from Romania’ (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by Christoph Keller, NWZ 18 May 2026.

Tue, 17 March 2026, 7.30 pm, Forum St. Peter:
Forest and Trees.
Pianist Faraz Forouzandeh (Oldenburg) performs piano music by Robert Schumann, Edvard Grieg, Jean Sibelius and Christoph J. Keller (world premiere); Kadja Grönke (Oldenburg) reads poems on the theme by Heinrich Heine, Christian Friedrich Hebbel, Joseph von Eichendorff, Mikhail Lermontov/Rilke, Rudaki/de Finélong, Friedrich Rückert and Johann Wolfgang von Goethe. Accompanied by a Yamaha grand piano. Concept: Kadja Grönke.
Encore: Chopin: Étude Op. 25 No. 1 with Hermann Hesse: ‘The Birch’.
Co-operation between the Institute of Music/Grönke, the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Forum St. Peter.
Review by Horst Hollmann, NWZ, 20 March 2026.

Mon, 2 March 2026, 7.30 pm, PFL auditorium:
In the Protective Circle of Sounds.
Pianist Olga Riazantceva-Schwarz, violinist Aida López-Borrego and cellist Paula Sagastibelza (all from Bremen) in dialogue with Kadja Grönke and piano trios by Maurice Ravel and Georgi Sviridov. Featuring a Steinway grand piano.
Encore: Dmitri Shostakovich: Prelude, from: Five Pieces for Two Violins and Piano, version for piano trio.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

Tue, 2 December 2025, 7.30 pm, PFL auditorium:
Connections. Musical Images.
Pianist Werner Barho (Weener) in dialogue with Kadja Grönke and Violeta Dinescu, alongside solo piano works by Sergei Rachmaninoff, Claude Debussy and Franz Liszt, and two world premieres by Oldenburg composers Violeta Dinescu and Christoph Keller. Performed on a Steinway grand piano. Concept: Kadja Grönke, Werner Barho.
Encore: Alexander Scriabin: Prélude.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by Horst Hollmann, NWZ 6 December 2025

Saturday, 8 November 2025, 7.30 pm, Assembly Hall of the Altes Gymnasium:
Friedrich Gottlieb Nagel’s ‘Tanzbüchlein’ (1766 & 1767) as a living presence.
A dance performance featuring historical music, historical dance and modern musical and dance interventions.
Introductory lecture and deciphering of the historical dance notation: Birte Hoffmann-Cabenda. Choreography of the historical and modern dance sections: Iris-Michaela Schmidtmann. Music by Friedrich Gottlieb Nagel, Arcangelo Corelli, Jean-Baptiste Lully, Marc-Antoine Charpentier and Violeta Dinescu (world premiere). Featuring the Schlosstanzerey zu Oldenburg (Iris-Michaela Schmidtmann, Birte Hoffmann-Cabenda, Sonja Bayerlein, Sarah Lea Hofmann, Kenichi Ikei, Roy Cabenda) as well as Ulla Levens (Oldenburg; violin) and Tammo Falkenberg-Wilken (Oldenburg; piano and harpsichord). Featuring a harpsichord by Dietrich Hein and a Steinway grand piano. Concept: Iris-Michaela Schmidtmann.
Encore: Nagel: Kontratanz (with the audience).
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Altes Gymnasium Oldenburg.

Mon, 27 October 2025, 7.30 pm, Forum St. Peter:
Creativity as a Path to Freedom: Didactic Children’s Piano Music from Eastern Europe.
Lecture with live music.
Lecture by musicologist Associate Professor Dr Kadja Grönke (Oldenburg), musical examples and a concert to follow: Paul Mertens (Berlin). Featuring piano music by, amongst others, Pyotr Tchaikovsky, Elena Gnessina, Dmitri Shostakovich, Aram Khachaturian, Mieczysław Weinberg, Josef Achron, György Kurtág and Violeta Dinescu. Performed on a Yamaha grand piano.
Encore and concert programme: Mieczysław Weinberg: Children’s Book, Op . 16.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Forum St. Peter.

Fri, 15 August 2025, 7.30 pm, PFL auditorium:
Carl Baermann – Father and Son. A musical journey of discovery through the 19th century.
Clarinettist Emily Worthington (York) and pianist Daniel Grimwood (Kent) in dialogue with Kadja Grönke, featuring music for clarinet and piano by Carl Baermann Sr. and Jr., Franz Schubert/Baermann, Carl Maria von Weber/Baermann and Violeta Dinescu. Featuring a replica of an 1875 Baermann-Ottensteiner clarinet and a historically appropriate grand piano from the French piano-making firm Érard (Paris) dating from 1850. Concept: Emily Worthington.
Encore: Violet Dinescu: Evening Devotion.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and Piano Rosenkranz.

Wednesday, 2 July 2025, 7.30 pm, Trinity Church:
‘Like the Birds of the Sky’. French Baroque music and related works by Oldenburg composers.
Recorder player Luisa Klaus (Bremen) and harpsichordist Michael Tsalka (Shenzhen) in dialogue with Kadja Grönke, featuring music by Jean-Baptiste Drouart de Bousset, François Couperin, Christoph Keller, Roberto Reale, Paul Mertens-Pavlowsky and Violeta Dinescu. (A repeat of the programme from 4 July 2023.) Featuring a harpsichord by Dietrich Hein. Concept: Kadja Grönke.
Encore: Violeta Dinescu: Evening Prayer.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg, the church music department of the Trinity Church and instrument maker Dietrich Hein.

Tue, 1 July 2025, 7.30 pm, Trinity Church:
Thinking outside the box.
Harpsichordists Michael Tsalka (Shenzhen) and Diana Weston (Sydney), Baroque cellist Angelika Bönisch (Oldenburg) and singer Simone Bielefeld (Oldenburg) in dialogue with Kadja Grönke, featuring music by Georg Philipp Telmann, Christoph Keller, Johann Christian Bach, Elena Kats Chernin, Leonardo Coral, Padre José Gallés, Reena Esmail, Diana Blom and Violeta Dinescu. Featuring instruments by Dietrich Hein.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Communication’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg, the church music department of the Trinity Church and instrument maker Dietrich Hein.
Review by Horst Hollmann: NWZ, 4 July 2025

Sunday, 29 June 2025, 11.15 am, Assembly Hall of the Altes Gymnasium:
A joyful trio.
Marcia Hadjimarkos (Cluny), Diana Weston (Sydney) and Michael Tsalka (Shenzhen) in dialogue with Kadja Grönke, featuring music for harpsichords, clavichords and toy pianos for two to six hands by Wilhelm Friedemann Bach, Violeta Dinescu, Padre Rafael Anglés, Padre Antonio Soler, Wilhelm Friedrich Ernst Bach, Wolfgang Amadeus Mozart, Johann Sebastian Bach and Yann Tiersen. Featuring instruments by Dietrich Hein and toy pianos from the collection of Christiane Abt.
Organised by the Institute of Music/Seminar ‘Contemporary Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and instrument maker Dietrich Hein.

Saturday, 28 June 2025, 5.00 pm, Assembly Hall of the Altes Gymnasium:
You only hear what you know. The clavichord, harpsichord, toy piano and Baroque cello explained through discussion and music.
A moderated concert-talk.
Marcia Hadjimarkos (Cluny), Diana Weston (Sydney), Christiane Abt (Oldenburg), Michael Tsalka (Shenzhen), cellist Angelika Bönisch (Oldenburg) and instrument maker Dietrich Hein (Oldenburg) in conversation with Kadja Grönke, featuring music for keyboard instruments and Baroque cello by Wilhelm Friedemann Bach, Padre Rafael Anglés, Elena Kats-Chernin, Violeta Dinescu, Wolfgang Amadeus Mozart, Johann Sebastian Bach, Charles Gounod and Markus Hansen. Featuring clavichords and harpsichords by Dietrich Hein, toy pianos from Christiane Abt’s collection and a historical cello. Presented by Kadja Grönke.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and keyboard instrument maker Dietrich Hein.

Wednesday, 25 June 2025, 7.30 pm, Assembly Hall of the Altes Gymnasium:
Music for the clavichord – past and present.
Clavichord and toy piano player Marcia Hadjimarkos (Cluny) in conversation with Kadja Grönke, featuring music by Carl Philipp Emanuel Bach, Anton Webern, John Harbison, Wolfgang Amadeus Mozart, Violet Dinescu and Graham Lynch on clavichords by Christoph Friedrich Schmal and Dietrich Hein (Oldenburg), as well as music by Alexander Tansman, Guy Klucevsek, Isida Kazue Rockzaemon, Diana Blom, Sonia Markiewicz, Markus Hansen and Violeta Dinescu on toy pianos from the collection of Christiane Abt (Oldenburg). Guest: Christiane Abt (Oldenburg), toy piano.
Organised by the Institute of Music/Seminar ‘New Music on Old Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and instrument maker Dietrich Hein.

Monday, 23 June 2025, 7.30 pm, Assembly Hall of the Altes Gymnasium:
Fantasia, Evening Music and Fairy Tales. Works for one and two harpsichords from Johann Sebastian Bach to Christoph Keller.
Harpsichordist Diana Weston (Sydney) and harpsichordist Michael Tsalka (Shenzhen) in dialogue with Kadja Grönke, performing works for one and two harpsichords by Padre Vicente Rodríguez, Johann Sebastian Bach, Christoph Keller, Violeta Dinescu and Diana Blom. On instruments by Dietrich Hein (Oldenburg).
Encore: Violeta Dinescu: Storybook No. 6 (world premiere)
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and instrument maker Dietrich Hein.

Fri, 6 June 2025, 7.30 pm, Lambertussaal in St Lamberti:
Cello solo through the ages.
Cellist Sergei Istomin (Ghent) in dialogue with Kadja Grönke, featuring works for solo cello by Johann Sebastian Bach, Julius Klengel, Paul Hindemith and Violeta Dinescu.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music Department of St Lambert’s Church.

Thursday, 5 June 2025, 7.30 pm, St Lamberti Church:
The Instrument Makes the Music.
Pianist Ziad Kreidy (Paris) and cellist Sergei Istomin (Ghent) in conversation with Kadja Grönke, featuring music by Frédéric Chopin, Pyotr Tchaikovsky, Wilhelm Fitzenhagen, Ziad Kreidy (world premiere) and Violeta Dinescu. Featuring a historically appropriate concert grand piano by the French piano-making firm Pleyel (Paris) from 1857, restored by Piano Rosenkranz (Oldenburg), and a historical cello from Bohemia dating from around 1800.
Encore: Claude Debussy: ‘Beau soir’, arranged for cello and piano by Alexander Grechaninov.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg, the Church Music Department at St Lamberti and Piano Rosenkranz.
Review by Volkmar Stickan: NWZ, 11 June 2025.

Tue, 3 June 2025, 7.30 pm, St Lamberti Church:
Music for a historic Pleyel grand piano.
Pianist Ziad Kreidy (Paris) in dialogue with Kadja Grönke, featuring piano music by Frédéric Chopin, Déodat de Séverac, Edvard Grieg, Modest Mussorgsky, Ziad Kreidy and Violeta Dinescu. Featuring a historically appropriate concert grand piano by the French piano-making firm Pleyel (Paris) from 1857, restored by Piano Rosenkranz (Oldenburg).
Encore: Erik Satie: Gymnopédie.
Organised by the Institute of Music/Seminar ‘New Music on Early Instruments and its Presentation’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg, the Church Music Department at St Lamberti and Piano Rosenkranz.
Excerpts from the concert can be heard on Ziad Kreidy’s YouTube channel and Instagram account.

Mon, 7 April 2025, 7.30 pm, PFL auditorium:
Hungarian Fantasy.
Pianist Erik Breer, known as Nottebohm (Dresden), performs and discusses piano music based on Hungarian themes by Ernő Dohnányi, Béla Bartók, Amy Beach and Violeta Dinescu. On a Steinway grand piano.
Encore: Carl Philipp Emanuel Bach.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by Horst Hollmann: NWZ, 10 April 2025.

Sun, 16 March 2025, 5.00 pm, St Gertruden Chapel (corner of Nadorster Str. and Alexanderstr.):
Hildegard von Bingen: Medieval and contemporary sounds for St Gertrude’s Night.
Charity concert to raise funds for the restoration of the medieval frescoes in the chapel.
Gaby Bultmann (Berlin) sings, plays and explains music by Hildegard von Bingen and related new compositions by Andreina Constantini (world premiere), Violeta Dinescu and Mayako Kubo for voice, recorders, fiddle, singing glasses, percussion and loops. Concept: Gaby Bultmann.
Encore: Violeta Dinescu: Evening Prayer.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the church music department of St Lamberti Church.
All donations collected in the collection box went to the fund for the restoration of the medieval frescoes in the Gertrude Chapel. Thank you to all the donors!
Feedback from Pastor Tom Oliver Brok: “Dear Ms Grönke [ …]. It was a musically wonderful and emotionally moving evening. […] Thank you very much for securing the [ Mariann Steegmann] Foundation as a sponsor, so that the proceeds [ from the collection] go towards the chapel. […] Warm regards, Tom Brok”.
Feedback from composer Mayako Kubo, with the subject line “It was an unforgettable concert”: “Thank you very much for yesterday’s concert at the Gertrudenkapelle. It will remain one of my most unforgettable concerts.”

Sun, 2 March 2025, 5.00 pm, Jochen-Klepper-Haus at the Dreifaltigkeitskirche:
Georg Philipp Telemann – a musical biography.
A staged concert for young and old alike.
The ChiaroScuro Duo (Johanne Braun and Gaby Bultmann, Berlin: recorders, transverse flute, baroque oboe, brummtopf, baroque violin, harpsichord, vocals) performing music by Georg Philipp Telemann and recitations from his autobiography. Featuring a harpsichord by Dietrich Hein.
Encore: Telemann: ‘Bum, bum, bum, bum faranno i timpani’
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg, the church music department of the Trinity Church and the instrument maker Dietrich Hein.

Sat, 15 February 2025, 7.30 pm, PFL auditorium:
The History of the Harp in Words and Sound.
A moderated concert-talk.
Harpist Eva Bäuerle-Gölz (Münster) in conversation with Barbara Overbeck (Münster), featuring works for solo harp by Guillaume de Machaut, traditional Scottish, traditional Elizabethan, traditional Irish, Turlough O’Carolan, François-Joseph Nadermann, Mikhail Glinka, Pyotr Tchaikovsky, Alphonse Hasselmans, Marcel Tournier, Claude Debussy, Carlos Salzedo, Henry Mancini, Susann McDonald/Linda Wood, Gertraud Gorter, Deborah Henson Conant and Violeta Dinescu. Presented and curated by Barbara Overbeck.
Encore: Ank van Campen: Variations on a Welsh Carol.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by Andreas R. Schweiberer: NZWZ, 19 February 2025

Saturday, 30 November 2024, 7.30 pm, PFL auditorium:
On Seeking and Finding: A musical journey of discovery into the life of Liszt’s pupil Charlotte Blume-Arends.
Lecture and book presentation with music.
Music researcher Helmut Brenner (Meerbusch) in conversation with Kadja Grönke, accompanied by piano music by Franz Liszt, performed by pianist Erik Breer (Dresden).
Encore: Amy Beach: Waltz.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

Thursday, 4 July 2024, 7.30 pm, Jochen-Klepper-Haus at the Trinity Church:
Brückenbogen.
The pianist and musicologist Prof. Jascha Nemtsov (Berlin/Weimar) will perform and discuss piano music by composers from Poland and Ukraine, including Frédéric Chopin, Władysław Szpilman, Yevgenia Yakhnina, Matvey Gosenpud and Nikolai Silvansky. Performed on a Kawai grand piano. Concert: Jascha Nemtsov.
Encores: Frédéric Chopin: Nocturne in C-sharp minor and Gustav Lewin: Caprice.
Organised by the Institute of Music/‘Carl von Ossietzky Today’ seminar (Grönke), in co-operation with the Association for Musical Theatre Productions and the church music programme of the Church of the Holy Trinity.
Review by Christoph Keller: NWZ, 5 July 2024.

Sun, 30 June 2024, 4.00 pm, PFL auditorium:
Carl von Ossietzky Today and Composing at and for the Institute of Music.
Final presentation of the seminar ‘Carl von Ossietzky Today’.
Students from the University of Oldenburg will premiere nine new works composed for the seminar: by Violeta Dinescu, Krystoffer Dreps, Christoph Keller, Paul Mertens-Pavlowsky, Rucsandra Popescu, Roberto Reale, Olga Riazantceva-Schwarz, Friedemann Schmidt-Mechau, Leon Łukasiewicz. Pianists Werner Barho (Weener) and Christiane Abt (Oldenburg) will perform piano music by Gustavo-Becerra-Schmidt, Violeta Dinescu and Gertrud Meyer-Denkmann (world premiere). On a Steinway grand piano. Concept: Kadja Grönke.
Concert as part of the university’s anniversary celebrations ‘50 Years Open to New Paths”.
Organised by the Institute of Music/Seminar “Carl von Ossietzky Today” (Grönke/Barho), in co-operation with the Association for Music Theatre Productions.
Review by Horst Hollmann: NWZ, 1 July 2024
Interview with Ralf Eismann and Kadja Grönke about the concert on Oldenburg’s local radio station OEins on 24 June 2024 as part of the “KlassikKultur” series, edited by Ralf Eismann.
Feedback from a member of the audience: “Before we meet again on Thursday at the next concert in Osternburg, I’d like to take this opportunity to thank you once more for the wonderful event last Sunday at the PFL. I was very impressed by the whole project you’ve put together with your students. I was able to follow the various compositions easily, found the performances interesting and, above all, was truly impressed by the young people, for whom Ch. Keller’s piece at the end was a perfect fit. This was the first time I’ve seen you present your work with the students, and I can fully understand and appreciate your enthusiasm and dedication.” (M. Möck)

Saturday, 22 June 2024, 8.00 pm, University of Oldenburg Auditorium:
Students from the seminar ‘Carl von Ossietzky Today’ ( Grönke/Barho) will present, as part of the Institute of Music’s concert to mark the university’s anniversary‘50 Years Open to New Paths’, compositions by Paul Mertens-Pavlowsky and Rucsandra Popescu as a pre-premiere ahead of the dialogue concert on 30 June 2024. Presented by Kadja Grönke.
Organised by the Institute of Music, in co-operation with the Association for Music Theatre Productions and the Dialogue Concerts.

Sat 2 March 2024, 7.30 pm, Jochen-Klepper-Haus at the Trinity Church:
Music in Words: Schubert and Pushkin.
Pianist Paul Mertens (Berlin) performs piano music by Franz Schubert; Kadja Grönke (Oldenburg) recites the first chapter of Alexander Pushkin’s ‘novel in verse’ *Eugene Onegin*, adapted by Ulrich Busch. Performed on a Kawai grand piano.
Encore: Pushkin and Schubert.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Musical Theatre Productions and the Church Music Department of the Trinity Church.

Sat, 2 March 2024, 4.00 pm, Jochen-Klepper-Haus at the Trinity Church:
Musical Childhoods: Leonardo da Vinci, Galileo Galilei and Johann Joachim Quantz.
A staged (family) concert for young and old alike, aged between 7 and 99, featuring the Duo ChiaroScuro (Johanne Braun and Gaby Bultmann, Berlin). With a harpsichord by Dietrich Hein. Concept, acting and various historical instruments: Johanne Braun and Gaby Bultmann.
Encore: Thoinot Arbeau: Sword Dance.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions, the church music department of the Trinity Church and instrument maker Dietrich Hein.

Tue, 9 January 2024, 7.30 pm, PFL auditorium:
East and West: Prince Peter of Oldenburg as a composer.
Pianist Daniel Grimwood (Kent) in conversation with Kadja Grönke, featuring piano music by Prince Peter of Oldenburg, Adolph von Henselt and Peter Tchaikovsky/Paul Pabst. Performed on a Steinway grand piano. Concept: Kadja Grönke.
Encores: Conor Linehan: Intermezzo and Franz Liszt: Chasse neige from: Études d’exécution transcendante.
Organised by the Institute of Music/Seminar ‘Oldenburg Music History in the 19th Century’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Department for Study Affairs/Research-Based Learning at the University of Oldenburg, and the Lower Saxony State Archives/Oldenburg Branch.
Review by Andreas Schweiberer, NWZ 12 January 2024
A particularly lovely piece of feedback after the concert: “Hello Prof. Grönke, that was a truly wonderful concert last night! My husband was delighted to see me come home looking so radiant.”
And better than any review are attentive ears:“Dear Mr Grimwood, thank you so much for your concert in Oldenburg. I was very happy to be there and I was especially delighted by your first encore, which is called, if I’ve got it right, Intermezzo [by Conor Linehan]. [...] Let me describe to you what I saw before my eyes when I heard this music. I’m not a musician myself, just someone who enjoys playing the piano, and it always helps me to visualise things, to have some visual ideas to connect with the music I’m hearing. And this is what unfolded in my mind as I listened to the intermezzo: I saw an open winter landscape, bright with patches of water scattered throughout, and the temperature slowly dropping below zero until everything that had previously been moving, shaking or flowing now came to a standstill, gradually freezing into stillness – not in a sombre mood or foreshadowing impending dark events, however, but bathed in glorious, glittering and optimistic sunshine. So thank you again – even if this is entirely subjective – for this new music you presented in Oldenburg! With great respect, Yours, Gudrun Gleba (a happy listener)”

Tue, 21 November 2023, 7.30 pm, Forum St. Peter:
Grete Wehmeyer: musicologist, pianist, powerhouse.
Lecture and panel discussion with live music.
Musicologist Anna Schneider (M.A., Cologne) and contemporary witness Brigitte Schulten (Bad Zwischenahn) in conversation with Kadja Grönke. Musicological lecture on Grete Wehmeyer by Anna Schneider. Piano music by Paul Hindemith, Anton Webern, Arnold Schönberg, Béla Bartók and Erik Satie, performed by Werner Barho (Weener). Performed on a Yamaha grand piano.
Encore: Béla Bartók: The Bagpiper.
Organised by the Institute of Music/Grönke in co-operation with the Association for Music Theatre Productions, the Department for Study Affairs at the University of Oldenburg and the Forum St. Peter.

Mon, 30 October 2023, 7.30 pm, PFL auditorium:
From Oldenburg’s musical history. 19th-century piano music from and for Oldenburg, performed on a historic Érard grand piano dating from 1850.
Pianist and musicologist Thomas Synofzik (Zwickau) in conversation with Kadja Grönke, featuring piano music by Clara and Robert Schumann, Aloyse Pott, Albert Dietrich, Heinrich von Sahr, Prince Peter of Oldenburg and Johannes Brahms. Performed on a historically appropriate grand piano by the French piano-making firm Érard, dating from 1850.
Encores: Prince Peter: Notturno and Heinrich von Sahr: Andante tranquillo from Op. 3.
Organised by the Institute of Music/Seminar ‘Oldenburg’s Musical History in the 19th Century’ (Grönke), in co-operation with the Association for Music Theatre Productions, the Department for Study Affairs/Research-Based Learning at the University of Oldenburg, the Lower Saxony State Archives/Oldenburg Branch and Piano Rosenkranz.
Review by Horst Hollmann, NWZ 1 November 2023, p. 13.
Interview with Ralf Eismann and Kadja Grönke about the concert on Oldenburg’s local radio station OEins on 23 October 2023 as part of the ‘KlassikKultur’ series, edited by Ralf Eismann.
Particularly lovely feedback after the concert:“Good evening, Ms Grönke, thank you once again for the wonderful evening. You have once again unearthed a real gem. It starts with the programme: nothing but highly interesting pieces and composers. It struck me in this context that most of the pieces were genuine early works: 24 years old, 29 years old, 26 years old, 21 years old! (Brahms) and so on. That alone was exciting enough to draw one into the emotional world of the composer’s thoughts. All these pieces may not have possessed the virtuosity of a Chopin, but I consider that entirely appropriate when one considers for whom the pieces were written: performers as well as listeners. I think that was very well thought out. With Clara Schumann’s *Arabesque* (1868), it struck me that, at the time of the performance in Oldenburg, she had already been a widow for 12 years – yet she was still able to carry her husband with her between the covers of her score. A somewhat wistful yet enchanting image.
The Allegretto by Heinrich von Sahr reminded me vaguely of a composition by my father. That was very emotional for me, but perhaps more on that another time…
Then the performer: Thomas Synofzik had delivered his interpretations wonderfully in keeping with the spirit of the era. I asked him afterwards whether the arpeggios were his trademark or whether they were due to 19th-century performance practice. He then told me about the recording cylinders from the century before last (I’d already seen and heard some in Bruchsal), on which one can beautifully trace the development of piano performance. Another ‘shining star’ of the evening.
And finally, the Érard grand piano. There’s not much more to say about that. Simply brilliant in tone. And, combined with the performance technique, the differences and characteristics of timbre and dynamics came across particularly clearly.
I experienced this evening intensely on several levels at once. And I’m sure there are one or two more things that could be added. I hope that for the other members of the audience, too, the evening proved to be such a special experience.
I’m looking forward to the next dialogue concert,
Yours, Carl-Mathias Wilke”

Tue, 15 August 2023, 7.30 pm, PFL Concert Hall:
Lisztiana.
Pianist Daniel Grimwood (Kent) in dialogue with Kadja Grönke, featuring piano music by Franz Liszt, Adolph von Henselt, Sophie Menter, William Sterndale Bennett and Juliusz Zarebski. Performed on a historically appropriate grand piano by the French piano-making firm Érard, dating from 1850.
Encores: L. Hardtberg: ‘Eier-Polka’ and Adolph Henselt: ‘Wiegenlied’.
Organised by the Institute of Music/Grönke in co-operation with the Association for Music Theatre Productions, the Adolph Henselt Society e. V., the Tchaikovsky Society e. V. and Piano Rosenkranz.
Review by Volker Stickan, NWZ, 16 August 2023.
Advance notice in several newspapers and on Oldenburg’s local radio station OEins on 14 August 2023 in the ‘KlassikKultur’ series, edited by Ralf Eismann.
Recordings of the works by Liszt and Henselt and the encore are available on Daniel Grimwood’s YouTube channel .

Tue, 4 July 2023, 7.30 pm, Trinity Church:
Like the Birds of the Sky (double programme booklet in conjunction with the Composers’ Colloquium on 2 July 2023).
Recorder player Luisa Klaus (Bremen) and harpsichordist Michael Tsalka (Shenzhen/The Chinese University of Hong Kong) in dialogue with Kadja Grönke, featuring solo and duo works by Jean-Baptiste de Bousset and François Couperin, as well as world premieres by Violeta Dinescu (Oldenburg), Christoph Keller (Oldenburg), Paul Mertens-Pavlowsky (Berlin) and Roberto Reale (Hanover). Featuring a harpsichord by Dietrich Hein.
Encore: Bousset/Hotteterre: Rossignol vainqueur.
Organised by the Institute of Music/Seminar ‘Target-Group-Oriented Music and Science Education in Children’s Concerts’ (Grönke), in co-operation with the Association for Music Theatre Productions, the church music department of the Trinity Church and instrument maker Dietrich Hein.
Advance notice of the three concerts on 2 and 4 July 2023 in the NWZ.
Review by Volkmar Stickan, NWZ, 5 July 2023.
Interviews with Ralf Eismann, Christoph Keller and Kadja Grönke on the three events on 2 and 4 July 2024, broadcast on Oldenburg’s local radio station OEins on 26 and 29 June 2023 as part of the ‘KlassikKultur’ series, edited by Ralf Eismann.

Sunday, 2 July 2023, 5.00 pm, PFL concert hall:
Birds over Oldenburg. New music for recorder and harpsichord.
Composers’ Colloquium/post-concert discussion following the ‘Dialogue Concert: Like the Birds of the Sky’ on 4 July 2023.
Recorder player Luisa Klaus (Bremen), pianist and harpsichordist Michael Tsalka (Shenzhen/The Chinese University of Hong Kong), along with Violeta Dinescu and Christoph Keller (composition) and Dietrich Hein (instrument maker) in conversation with Kadja Grönke. Featuring a Steinway grand piano.
Organised by the Institute of Music/Seminar “Target-Group-Oriented Music and Science Education in Children’s Concerts” (Grönke), in co-operation with the Association for Music Theatre Productions.

Sun, 2 July 2023, 11.30 am, PFL auditorium:
From Nightingale to Nachtigaul.
A children’s and family concert on the theme of ‘Birds’ for young and old alike, aged 4 to 99.
Recorder player Luisa Klaus (Bremen) and pianist and harpsichordist Michael Tsalka (Shenzhen/The Chinese University of Hong Kong) performing music by François Couperin, Violeta Dinescu and Paul Mertens-Pavlowsky. Presented by: Johannes Dörr (University of Oldenburg/Grönke Seminar) and Kadja Grönke. Featuring a Steinway grand piano
Organised by the Institute of Music/Seminar ‘Target-Group-Oriented Music and Science Education in Children’s Concerts’ (Grönke), in co-operation with the Association for Music Theatre Productions.

Sat, 21 January 2023, 7.30 pm, as a 90-minute version (for all ages) and
Sun, 22 January 2023, 4.00 pm, as a 60-minute version (primarily for families with children) at the Jochen-Klepper-Haus of the Dreifaltigkeitskirche:
“My sister spent the whole day at the harpsichord”.
The ChiaroScuro Duo (Johanne Braun and Gaby Bultmann; Berlin) present a staged concert for young and old on the childhood and lives of the composers Hildegard von Bingen, Francesca Caccini, Wilhelmine von Bayreuth and Anna Amalie of Prussia. Concept, acting and music on various historical instruments: Johanne Braun and Gaby Bultmann. Featuring a harpsichord by Dietrich Hein.
Organised by the Institute of Music/Seminar ‘Reflections on Music and Science Education (in) Our Time, with a Focus on Music Education for Children’ (Grönke), in co-operation with the Association for Music Theatre Productions, the church music department of the Trinity Church and instrument maker Dietrich Hein.
Review by Horst Hollmann, NWZ 23 January 2023, p. 12

Tue, 25 October 2022, 7.30 pm, PFL auditorium:
Facets of Love.
Mezzo-soprano Beth Taylor (Glasgow) and pianist Marcia Hadjimarkos (Cluny) in dialogue with Kadja Grönke, performing songs by Ludwig van Beethoven, Alma Mahler, Hector Berlioz, Claude Debussy, Erik Satie and Marguerite Monnot. Performed on a Steinway grand piano.
Encore: Ralph Vaughan Williams: Orpheus with his lute.
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions.

Mon, 17 October 2022, 7.30 pm, PFL Concert Hall:
An Evening for Violeta Dinescu. Romanian music for soprano and piano.
Soprano Elisabeta Laura Tătulescu (Bucharest) and pianist Ana Giurgiu Bondue (Lille) in dialogue with Kadja Grönke, featuring music by Myriam Marbe, Violeta Dinescu and other composers from Romania. Performed on a Steinway grand piano. Concept: Kadja Grönke, Laura Tătulescu.
Encore: Violeta Dinescu: Liebeszauber ( world premiere)
Organised by the Institute of Music/Grönke, in co-operation with the Association for Music Theatre Productions.
Review by Horst Hollmann, NWZ, 19 October 2022, p. 13.
Poster for the CD release tour: Paris, Oldenburg, Iași, Bucharest.
> The CD produced as part of the project received the Romanian National Cultural Fund Award on 15 May 2023. As one of 43 projects submitted, of which 10 were awarded prizes, the CD won in the ‘International Cultural Cooperation’ category. Here is a photo from the awards ceremony, which was broadcast live on the Romanian cultural TV channel TVR Cultural. From left to right: Ștefan Costache (communications specialist), Monica Isăcescu (project manager) and Laura Tătulescu (soprano).

Monday, 13 June 2022, 7.30 pm, PFL concert hall:
Roots and Wings. Piano music by composer-pianists.
Pianist Daniel Grimwood (Kent) in conversation with Kadja Grönke, featuring music by Felix Blumenfeld, Frédéric Chopin, John Field, Mikhail Glinka, Adolph von Henselt, Sofie Menter, Sergei Rachmaninoff, Anton Rubinstein and Pyotr Tchaikovsky. Performed on a Steinway grand piano. Concept: Kadja Grönke, Daniel Grimwood.
Encores: Picforth: *In nomine* (1520) for viola consort, arranged for solo piano by Daniel Grimwood; Alexander Levine: *Simply Sky * from *Sentimental Values*.
Organised by the Institute of Music/Seminar ‘History of Russian Piano Music’ (Grönke/Barho), in co-operation with the Association for Music Theatre Productions, Forum St. Peter, the Henselt Society e. V. and the Tchaikovsky Society e. V.
Review by Christoph Keller, NWZ, 15 (online) and 16 (print) June 2022.

Wed, 8 June 2022, 7.30 pm, Forum St. Peter:
Tchaikovsky 2022 – André Parfenov in dialogue with Tchaikovsky’s scores. Workshop concert.
The Parfenov Duo (Iuliana Münch, violin, and André Parfenov, piano; Mönchengladbach) in dialogue with Kadja Grönke, and Tchaikovsky arrangements and adaptations by André Parfenov compared with Tchaikovsky’s original works. Featuring a Yamaha grand piano. Concept: Kadja Grönke.
Encore: André Parfenov: Tango.
Organised by the Institute of Music/Seminar ‘History of Russian Piano Music’ (Grönke/Barho), in co-operation with the Association for Music Theatre Productions, Forum St. Peter and the Tchaikovsky Society e. V.

Thursday, 19 May 2022, 7.30 pm, Forum St. Peter:
Children’s Worlds. Eastern European piano music for children from Joseph Achron to Mieczysław Weinberg – and Tchaikovsky is featured too.
Pianist and musicologist Prof. Jascha Nemtsov (Berlin/Weimar) in conversation with Kadja Grönke, featuring music by Elena Gnessina, Joseph Achron, Lazare Saminsky, Dmitri Shostakovich, Mieczysław Weinberg and Peter Tchaikovsky. Featuring a Yamaha grand piano. Concept: Kadja Grönke.
Encore: Tchaikovsky: ‘Mama’ from *Children’s Album*, Op . 39.
Organised by the Institute of Music/Seminar ‘History of Russian Piano Music’ (Grönke/Barho), in co-operation with the Association for Music Theatre Productions, Forum St. Peter and the Tchaikovsky Society e. V.
Review by Horst Hollmann, NZW 21 May 2022.

Thu, 24 February 2022, 7.30 pm, St Lamberti Church, Oldenburg:
Romantic Nature.
Pianist Ziad Kreidy (Paris) in dialogue with Kadja Grönke, featuring Romantic piano music by Robert Schumann, Hermann Goetz and Stephen Heller. Performed on a historically appropriate grand piano from the French piano-making firm Pleyel, dating from 1847.
Encore: Frédéric Chopin: Nocturne.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions, the church music department of St Lamberti Church and Piano Rosenkranz.
Review by Volker Stickan, NWZ 26 February 2022.
The musical performance can be heard and watched in full on Ziad Kreidy’s YouTube channel.

Tue, 11 February 2020, 7.00 pm, Trinity Church:
A dieu & mon amour.
A repeat performance of the concert held on 5 November 2019.
Axel Weidenfeld (baroque lute and theorbo; Oldenburg) and Luisa Klaus (recorders; Bremen) and French Baroque music by François Couperin, Bénigne de Bacilly, Michel Lambert, Charles Dieupart, Ennemond Gaultier le vieux, Charles Mouton, Jean-Baptiste Drouart de Bousset and Robert de Visée.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Musical Theatre Productions and the Church Music Department of the Trinity Church.

Tue, 4 February 2020, 7.00 pm, Forum St. Peter, Oldenburg:
Melodrama and Related Genres.
Final presentation of the ‘Melodrama’ seminar.
Students from the University of Oldenburg and the pianists Christoph Keller (Oldenburg) and Paul Mertens (Berlin) will perform and interpret works by Franz Liszt, Franz Schubert, Christoph Keller, Paul Mertens-Pavlowsky and others. Accompanied by a Yamaha grand piano. Concept and presentation: Kadja Grönke.
Encore: Franz Schubert: Abschied von der Erde.
Organised by the Institute of Music/‘Melodram’ seminar (Grönke), in co-operation with Forum St. Peter.

Tue, 28 January 2020, 7.00 pm, Marble Hall of the Palace:
The Magic of the Clavichord: 18th-century keyboard music on three historical instruments.
Clavichordist Marcia Hadjimarkos (Cluny, France) in conversation with Kadja Grönke, featuring 18th-century music performed on clavichords by Tieffenbrunn (Copenhagen 1796), Schmahl (Regensburg 1794) and Friedrici (copy by Dietrich Hein, Oldenburg 2019).
Encores: Nicholas Joseph Hüllmandel: Sonata and a piece by Michel-Paul-Guy de Chabanon.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), as the closing concert of the ‘Clavichord’ workshop at the University of Oldenburg, in co-operation with the instrument maker Dietrich Hein and the Association for Music Theatre Productions.
Review by Hort Hollmann, NWZ 31 January 2020
Preview, NWZ 25 January 2020.

Tue, 5 November 2019, 7.00 pm, the Marble Hall of the Castle:
A dieu & mon amour.
Axel Weidenfeld (baroque lute and theorbo; Oldenburg) and Luisa Klaus (recorders; Bremen) in dialogue with Kadja Grönke and French Baroque music by François Couperin, Bénigne de Bacilly, Michel Lambert, Charles Dieupart, Ennemond Gaultier le vieux, Charles Mouton, Jean-Baptiste Drouart de Bousset and Robert de Visée.
Encore: Bénigne de Bacilly: Il n’est lé.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in co-operation with the Association for Music Theatre Productions.

Mon, 1 July 2019, 7.00 pm, University Library Hall, Oldenburg:
Jewish Musical Worlds.
The pianist and musicologist Prof. Jascha Nemtsov (Weimar/Berlin) will perform and discuss music by Juliusz Wolfsohn, Joseph Achron, Lazare Saminsky, Alexander Weprik, Joachim Stutschewsky, Jakob Schönberg and Viktor Ullmann. Performed on a Steinway grand piano.
Encores: Alexander Weprik, from: 3Jewish Folk Dances and Arthur Lourié: Waltz.
Organised by the Institute of Music/Seminar ‘Concerts: Concepts, Programmes, Background, Outreach’ (Grönke), in co-operation with the Association for Music Theatre Productions.

Sunday, 23 June 2019, 11.00 am, Assembly Hall of the Altes Gymnasium Oldenburg:
Tchaikovsky’s Cellists.
Cellist Sergei Istomin (Ghent) and pianist Michael Tsalka (Valencia) in conversation with Kadja Grönke, featuring music by Pyotr Tchaikovsky, Karl Dawydow, Wilhelm Fitzenhagen, Anatoli Brandukow and Carl Eduard Schuberth. Featuring a Steinway grand piano. Concept: Kadja Grönke
Encore: Anton Rubinstein: Melody.
Organised by the Tchaikovsky Society, as part of the 26th Annual Conference of the Tchaikovsky Society e. V., in co-operation with the University/Institute of Music/Seminar “Concerts: Concepts, Programmes, Backgrounds, Outreach Methods’ (Grönke).

Saturday, 22 June 2019, 7.00 pm, Assembly Hall of the Altes Gymnasium, Oldenburg:
An evening dedicated to Tchaikovsky’s patron, Mrs von Meck.
Concert with a reading.
Pianists Michael Tsalka (Valencia) and Paul Mertens (Berlin), cellist Sergei Istomin (Ghent) and soprano Stephanie Kühne (Oldenburg) in conversation with Kadja Grönke, featuring music by Pyotr Tchaikovsky, Anton and Nikolai Rubinstein, Claude Debussy, Adolph Henselt, Adele aus der Ohe, Sophie Menter, Władysław Pachulski and Karl Dawydow, as well as verses from *Eugene Onegin* by Alexander Pushkin in various languages, recited by Michael Tsalka (Hebrew, English), Sergei Istomin (Russian), Valérie Guillaume (French), Ronald de Vet (Dutch) and Kadja Grönke (German). Performed on a Steinway grand piano. Concept: Kadja Grönke.
Encore: Pushkin: Eugene Onegin, Chapters I/1–2 in all available languages.
Organised by the Tchaikovsky Society, as part of the 26th Annual Conference of the Tchaikovsky Society e. V., in co-operation with the University/Institute of Music/Seminar ‘Concerts: Concepts, Programmes, Backgrounds, Outreach Methods (Grönke).

Tue, 14 May 2019, 7.00 pm, Library Hall, University of Oldenburg:
In Dialogue with Bach: Composing in the Camp.
The pianist and musicologist Prof. Jascha Nemtsov (Weimar/Berlin) will perform and discuss music by Vsevolod Saderazki, Viktor Ullmann and Gideon Klein. Accompanied by a Steinway grand piano. Concept: Jascha Nemtsov.
Encore: Władysław Szpilman: Mazurka.
Organised by the Institute of Music/Seminar ‘Concerts: Concepts, Programmes, Background, Outreach’ (Grönke), as part of the conference ‘Music in Soviet Prison Camps (GULag)’ on 13 and 14 May 2019 at the University of Oldenburg (Grönke), in co-operation with the Association for Music Theatre Productions.

Tuesday, 29 January 2019, 7.00 pm, Forum St. Peter:
Fugue Games.
Pianist Daniel Herscovitch (Australia) in dialogue with Kadja Grönke and the cycle “Ludus tonalis” by Paul Hindemith, as well as fugues by Johann Sebastian Bach and Robert Schumann. Performed on a Yamaha grand piano. Concept: Daniel Herscovitch.
Encore: Paul Hindemith: ‘Fünftonstück’.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke) and Christiane Abt’s practical piano seminar, final concert of the workshop ‘Paul Hindemith’s piano cycle “Ludus tonalis”’ at the University of Oldenburg (Herscovitch/Grönke), in co-operation with the Forum St. Peter.

Mon, 12 November 1918, 7.00 pm, Assembly Hall of the Altes Gymnasium Oldenburg:
On the Road. Between Leipzig and Haifa. Music for mandolin and piano.
Mandolinist Alon Sariel (Hanover) and pianist Michael Tsalka (Valencia) in dialogue with Kadja Grönke, featuring music by Ignaz Moscheles, Yehezkel Braun, Paul Ben Haim, Menachem Zur and Marc Lavri. Performed on a Steinway grand piano.
Encore: Marc Lavri: ‘Sher’ ( No. 1) from 3 Jewish Dances.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with the Association for Music Theatre Productions.

Wednesday, 7 November 2018, 7.00 pm, Marble Hall at Oldenburg Castle:
The Glass Harmonica. Dennis James (USA) presents his instrument. A concert-talk with glass harmonica player Dennis James (USA) and music by Wolfgang Amadeus Mozart, Joseph Aloys Schmittbaur, Johann Abraham Peter Schulz, Joseph Haydn, Ludwig van Beethoven and others.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with the Association for Music Theatre Productions.

Tue, 6 November 2018, 7.15 pm, Library Hall, University of Oldenburg:
Curiosity Alert! Music for glass harmonica and harpsichord through the ages.
Harpsichordist Michael Tsalka (Valencia) and glass harmonica player Dennis James (USA) in dialogue with Kadja Grönke, featuring music by Carl Philipp Emanuel Bach, Johann Gottlieb Naumann, John Baptist Vanhal, Johann Abraham Peter Schulz, Ludwig van Beethoven, Leonardo Coral, Gabriele Toia (world premiere), Ann Carr-Boyd and Apasia Nasopoulou. Featuring a harpsichord by Dietrich Hein.
Organised by the Institute of Music/Seminar ‘Reflections on Music (in) Our Time’ (Grönke), in conjunction with the workshop ‘Harpsichord and Glass Harmonica’ at the University of Oldenburg, in co-operation with instrument maker Dietrich Hein and the Association for Music Theatre Productions.

Monday, 5 November 2018, 7.00 pm, Library Hall, University of Oldenburg:
Women Composers – from the Baroque to the Present Day.
Pianist Michael Tsalka (Valencia) in conversation with Kadja Grönke, featuring music by Elisabeth-Claude Jacquet de La Guerre, Marianne Martinez, Elena Katz-Chernin, Aloise Pott (world premiere), Aspasia Nasopoulou, Clara Schumann, Lili Boulanger, Cécile Chaminade and Violeta Dinescu. Featuring a Steinway grand piano. Concept: Michael Tsalka.
Encore: Aloyse Pott: Impromptu.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with the Association for Music Theatre Productions.

Mon, 15 October 2018, 7.00 pm, Piano-Rosenkranz concert hall:
Nachtstücke.
Pianist Kristian Nyquist (Mannheim/Karlsruhe) in dialogue with Kadja Grönke and Nocturnes by Frédéric Chopin, John Field and Carl Czerny. Featuring two historically appropriate instruments from the French piano-making firm Pleyel: a piano from 1832 and a grand piano from 1857.
Encores: Frédéric Chopin: Funeral March from Piano Sonata No. 2 (upright piano) and Mazurka (grand piano)
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Monday, 27 August 2018, 7.00 pm, Assembly Hall of the Altes Gymnasium, Oldenburg:
Jeux à deux. French piano music for four hands.
The piano duo Ines Bartha and Gianfranco Sannicandro (Salzburg) in dialogue with Kadja Grönke, featuring music by Claude Debussy, Maurice Ravel, Erik Satie, Cécile Chaminade, Francis Poulenc and Igor Stravinsky. Performed on a Steinway grand piano.
Encore: Ottorino Respighi: Pini della villa Borghese.
Organised by the Institute of Music/Composers’ Colloquium, as part of the seminar ‘French Piano Music’ (Grönke/Barho), in co-operation with the German Association of Composers.

Mon, 28 May 2018, 7.00 pm, Piano-Rosenkranz concert hall:
‘Claude Debussy, French musician’. To mark the 100th anniversary of the death of the composer Claude Debussy.
Pianist Werner Barho (Weener) in conversation with Kadja Grönke, featuring music by Claude Debussy, Maurice Ravel, Lili Boulanger, Francis Poulenc and Olivier Messiaen. Performed on a historically appropriate Steinway grand piano from 1917.
Encore: Gian Franco Mallipiero: Homage from the collection *Le tombeau de Claude Debussy*.
Organised by the Institute of Music/Composers’ Colloquium, as part of the seminar ‘French Piano Music’ (Grönke/Barho), in co-operation with Piano-Rosenkranz at the University of Oldenburg.

Tue, 16 January 2018, 7.00 pm, Piano-Rosenkranz concert hall:
Autour d’Erik Satie – all about Erik Satie.
Pianist Marcia Hadjimarcos (Cluny, France) in conversation with Kadja Grönke on piano music by Erik Satie, Philip Glass, John Cage, Chick Corea, Francis Poulenc, Igor Stravinsky and Claude Debussy. Performed on a 1917 Steinway grand piano. Concept: Marcia Hadjimarcos.
Encore: Erik Satie: Gymnopédie No. 1
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Mon, 15 January 2018, 7.00 pm, Piano-Rosenkranz concert hall:
Schumann Scenes.
Pianist Marcia Hadjimarkos (Cluny, France) in conversation with Kadja Grönke, featuring music by Robert Schumann and Hélène de Montgeroult. Performed on a historically appropriate grand piano by the French piano-making firm Pleyel, dating from 1857.
Encore: Hélène de Montgeroult: Étude No. 8.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Monday, 20 November 2017, 7.00 pm, Piano-Rosenkranz concert hall:
Seville, Granada, Aragon: Spanish music for mandolin and piano.
Mandolinist Alon Sariel (Hanover) and pianist Michael Tsalka (Valencia) in dialogue with Kadja Grönke, performing music by Isaac Albéniz, Enrique Granados, Pauline Viardot-Garcia, Francisco Tárrega, Manuel de Falla and Paul Ben Haim. Performed on a historic grand piano by the French piano-making firm Érard (Paris) dating from 1850.
Encore: Carmen Fantasy.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Monday, 23 October 2017, 7.00 pm, Piano-Rosenkranz concert hall:
New piano music for children.
Final presentation of the seminar ‘New Piano Music for Children’.
Students from the University of Oldenburg (piano) and the pianist Werner Barho (Weener) will perform piano music by Dmitri Shostakovich, Dmitri Kabalevsky, Béla Bartók, György Kurtág, Violeta Dinescu and others. Performed on a 1917 Steinway grand piano. Concept and presentation: Kadja Grönke, Werner Barho.
Encore: Dmitri Kabalevsky: Novellette Op. 27/5
Organised by the Institute of Music/Seminar ‘New Piano Music for Children’ (Grönke/Barho), in co-operation with Piano-Rosenkranz.

Tue, 4 July 2017, 7.00 pm, Piano-Rosenkranz concert hall:
Piano music and letters by (and featuring) Claude Debussy.
Pianist Bernd Goetzke (Hanover) reads from his translation of Debussy’s letters and performs piano music by Claude Debussy with pianist Jung Eun Séverine Kim (Hanover). Performed on a historically appropriate Steinway grand piano from 1917. Concept: Bernd Goetzke.
Encore: Debussy: *Pour évoquer Pan*, from *Epigraphes antiques*.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.
Review by Andreas Schweiberer, NWZ, 7 July 2017.

Mon, 27 February 2017, 7.00 pm, Library Hall, University of Oldenburg.
Rarities: Music for baritone and piano trio.
Composers Paul Mertens-Pavlowsky (Berlin) and Christoph Keller (Oldenburg) in conversation with Kadja Grönke and the Panta rhei piano trio (Julia Vaisberg, Naomi Binder, Sonja Asselhoven; Cologne), baritone Volker Mertens (Niederkrüchten) and music by Paul Mertens-Pavlowsky (world premiere), Christoph Keller (world premiere) and Dmitri Shostakovich. Featuring a Steinway grand piano. Concept: Kadja Grönke.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with the German Association of Composers.
Review by Horst Hollmann, NWZ, 1 March 2017.

Mon, 28 November 2016, 7.00 pm, Piano-Rosenkranz concert hall:
Friends – Colleagues – Rivals.
Pianist Michael Tsalka (Israel/Spain) in dialogue with Kadja Grönke, featuring music by Franz Liszt, Frédéric Chopin, Felix Mendelssohn Bartholdy, Ferdinand Ries, Clara Wieck-Schumann and Pauline Viardot-Garcia. Performed on a historically appropriate grand piano by the French piano-making firm Érard (Paris) from 1850.
Encore: Johann Nepomuk Hummel: Sonata (together with mandolinist Alon Sariel).
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Monday, 17 October 2016, 7.00 pm, Piano-Rosenkranz concert hall:
Tchaikovsky – Reflections à la russe.
Pianist Erik Breer (Neuss) in dialogue with Kadja Grönke, featuring music by Peter Tchaikovsky, Frédéric Chopin, Robert Schumann, Sergei Rachmaninoff and György Ligeti. Performed on a 1917 Steinway grand piano. Concept: Kadja Grönke.
Encore: J. S. Bach: Fugue in F-sharp minor from *The Well-Tempered Clavier*, Book II.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz and the Tchaikovsky Society e. V.

Monday, 4 July 2016, 7.00 pm, Library Hall, University of Oldenburg:
Homage to Franz Schubert.
Pianist Julia Vaisberg (Cologne), baritone Volker Mertens (Niederkrüchten) and pianist and composer Paul Mertens-Pavlowsky (Berlin) in conversation with Kadja Grönke, featuring music by Franz Schubert, Franz Liszt, Anselm Hüttenbrenner, Peter Tchaikovsky, Gabriel Fauré, Gustav Mahler, Johannes Brahms and Paul Mertens-Pavlowsky (world premiere). Performed on a Steinway grand piano. Concept: Kadja Grönke.
Encore: Schubert/Rellstab: Die Taubenpost.
Organised by the Institute of Music/Composers’ Colloquium.

Tue, 1 March 2016, 7.00 pm, Piano-Rosenkranz concert hall:
Fantasy Pieces.
Pianist Dana Ciocarlie (Paris) in dialogue with Kadja Grönke, featuring piano music by Robert Schumann and Jörg Widmann. Performed on a 1917 Steinway grand piano.
Encores: Robert Schumann: Novellette No . 2 and George Enescu: Carillon nocturne.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Thursday, 21 January 2016, 7.00 pm, Assembly Hall of the Altes Gymnasium, Oldenburg.
On the Threshold of Modernity. Marking the 100th anniversary of the death of the Russian composer Alexander Scriabin.
Pianists Christoph Keller (Oldenburg) and Werner Barho (Weener) in conversation with Kadja Grönke, featuring piano music by Alexander Scriabin. Performed on a Steinway grand piano. Concept: Kadja Grönke.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with the German Association of Composers.

Mon, 23 November 2015, 7.00 pm, Piano-Rosenkranz concert hall:
Fire.
Pianist Werner Barho (Weener) in conversation with Kadja Grönke, featuring piano music by Alexander Scriabin, Luciano Berio, Arthur Lourié and Claude Debussy. Performed on a historically appropriate Steinway grand piano from 1917. Concept: Kadja Grönke, Werner Barho.
Encore: Leoš Janáček: ‘They Chattered Like Swallows’, from *On an Overgrown Path*.
Organised by the Institute of Music/Composers’ Colloquium, in co-operation with Piano-Rosenkranz.

Monday, 9 November 2015, 7.00 pm, Piano-Rosenkranz concert hall:
Sonatas.
Pianist Raluca Stirbat (Vienna) in conversation with Kadja Grönke on the piano music of George Enescu. Performed on a historically appropriate Steinway grand piano from 1917.
Encore: Costantin Silvestri: Bacchanale, from Suite No . 3, Op. 6.
Organised by the Institute of Music/Composers’ Colloquium (as a gala concert to mark the 20th anniversary of the Composers’ Colloquium at the University of Oldenburg).