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

Courses at the University of Oldenburg

Summer semester 2026 (planned:) In between: Music by Romanian female composers
between word, image and sound, improvisation and composition.

WS 2025/26 (planned:) Reflecting on music (in) our time

Summer semester 2025 New music on old instruments and its mediation.
(Block seminar; in co-operation with the dialogue concerts
at the University of Oldenburg)

WS 2024/25 Reflecting on music (in) our time
(interdisciplinary course)

Summer semester 2024 Carl von Ossietzky today. Thinking about Carl von Ossietzky
and the music at the Oldenburg Institute of Music.
An exploratory seminar (MA)
(together with Werner Barho)
(an event as part of "50 years of the University of
Oldenburg - open for new paths")

WS 2023/24 Oldenburg Music History in the 19th Century:
Researching and analysing historical sources and presenting them in a varied way
(MA)
(a course on research-based learning)

Summer semester 2023 Target group-related music and science mediation in children's concerts
(block course: conception and implementation of a children's concert
at the Oldenburg State Theatre and a children's and family concert
as part of the "Dialogue Concerts")

WS 2022/23 Reflection on music and science mediation (in)
of our time - with a focus on "Music mediation for children"
(in conjunction with Volker Schindel's music theatre project on Violeta Dinescu's
children's opera "The Sunken City" in WS 22/23 and SoSe 2023 as well as the
children's concert project in SoSe 2023)

Summer semester 2022 History of Russian piano music (MA)
(together with Werner Barho)

WS 2021/22 Reflecting on music (in) our time
(interdisciplinary course
in co-operation with the course "Campus kreativ")
(digital course)

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

Summer semester 2021 Reflecting on music (in) our time
(cross-degree programme course
in co-operation with the Composers' Colloquium / Music of our Time)
(digital course)

WS 2020/21 In search of a history of French music (MA)
(digital course)

WS 2020/21 Reflecting on music (in) our time:
Music, the history of new music and descriptions of music
in Richard Powers' novel "Orfeo" (2014)
(interdisciplinary course
in co-operation with the Composers' Colloquium / Music of our Time)
(digital course)

Summer semester 2020 Tchaikovsky's opera "Queen of Spades": Ways of approaching a complex work
(MA)
(digital course)

Summer semester 2020 Reflecting on music (in) our time:
The composer Tchaikovsky as the subject of biographical description (MA)
(cross-degree programme course
in co-operation with the Composers' Colloquium / Music of our Time)
(digital course)

WS 2019/20 The melodrama - a challenge in the field of tension between composition,
literature and performance (MA)
(with student final concert)

WS 2019/20 Reflecting on music (in) our time
(cross-degree programme course
in co-operation with the Composers' Colloquium / Music of our Time)

Summer semester 2019 Concerts: Concepts, programmes, backgrounds, ways of mediation (BA)
(at the end of project "100 years of Bauhaus / Bach in the
white city", "Music in Soviet forced labour camps", "Annual conference of the
Tchaikovsky Society", "Music in exile")

Summer semester 2019 Reflecting on music (in) our time
(cross-degree programme, ongoing event
in co-operation with the Composers' Colloquium / Music of our Time)

WS 2018/19 " In memoriam": Music historiography in commemorative compositions
from the Baroque to the present (MA)

WS 2018/19 Reflecting on music (in) our time
(cross-degree programme 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 event with the pianist Werner Barho)

SoSe 2018 Reflecting on music (in) our time
(cross-degree programme course
in co-operation with the Composers' Colloquium / Music of our Time)

WS 2017/18 The composer Aribert Reimann (*1936): Music for voice, scene, stage (BA)

WS 2017/18 Reflecting on music (in) our time
(cross-degree programme course
in co-operation with the Composers' Colloquium / Music of our Time)

Summer semester 2017 New piano music for children (MA)
(joint event with the pianist Werner Barho)
(with student final concert)

Summer semester 2017 Reflecting on music (in) our time
(ongoing cross-degree programme event
in co-operation with the Composers' Colloquium / Music of our Time)

WS 2016/17 Tchaikovsky popular - a critical review:
Films, novels, children's literature (MA)

WS 2016/17 The composer Hans Werner Henze (BA)

WS 2016/17 Reflecting on music (in) our time
(cross-degree programme course
in co-operation with the Composers' Colloquium / Music of our Time)

Summer semester 2016 Schubert arrangements - Schubert interpretations (MA)

WS 2015/16 Piano technique in the service of compositional innovation:
Liszt, Scriabin, Ligeti
(joint event with the 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)

WS 2014/15 Grief, trauma, death in instrumental music since 1890

SoSe 2014 Lyrical settings of the fin de siècle (HS)
(joint event with Prof. Maria Kowollik, voice)
(held at the HfK Bremen, open to Oldenburg students)

Summer semester 2014 The composer Violeta Dinescu (planned)

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

WS 2013/14 The Fine Art of Piano Arranging
between appropriation and broadening horizons:
Lipati, Liszt and Godowsky read Bach, Schubert and Chopin (planned)

Summer semester 2013 Music institutions in Oldenburg (with excursions) (planned)

WS 2012/13 Franz Liszt and the consequences: Piano playing and virtuosity in the 19th century

Summer semester 2012 Music history of the city of Leipzig
with excursion

WS 2011/12 Russian Music History

WS 2010/11 Franz Schubert - Composing at the Boundary

Summer semester 2010 Dmitri Shostakovich - the composer

WS 2009/10 Gustav Mahler: "Das Lied von der Erde"

Summer semester 2009 A short repertoire study II: 19th and 20th century (planned)

WS 2008/09 A short repertoire study I: 17th and 18th century

Summer semester 2008 Music and musical culture in the Biedermeier period (planned)

WS 2007/08 August Pott and the beginning of a public civic musical life
in the North German royal seat of Oldenburg

WS 2006/07 August Pott and the beginning of a public civic musical life
in the north German royal seat of Oldenburg (planned)

Summer semester 2006 Between interview, review and analysis:
In communication with composers of our time - the Romanian composer
Stefan Niculescu
(accompanying course to the composers' colloquium)

WS 2005/06 Ways to the music of our time - using the example of Violeta Dinescu's opera "Eréndira"

Summer semester 2005 Musicological writing

WS 2004/05 The murdering woman on the opera stage

Summer term 2004 Exercise in music criticism

WS 2003/04 Tchaikovsky's "Swan Lake" - a ballet and its choreographies

Summer semester 2003 The development of musical analysis using the example of Beethoven's reception

WS 2002/03 Russian literary Europeans

Summer semester 2002 Tango in film
(joint course with Prof. Dr Fred Ritzel, Music)

WS 2001/02 Basic texts on musicological gender research: reading course

Summer term 2000 Compositions for children

WS 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)

WS 1998/99 Music Images - Music in the Visual Arts

Summer semester 1998 Albert Lortzing: "Der Wildschütz". A new look at a well-known work

WS 1997/98 Women's roles and gender concepts in Richard Strauss: "Salome", "Elektra"

Summer semester 1997 Gustav Mahler as a song composer

WS 1996/97 Music history and music historiography on the basis of the book
"Musik im Abendland. Processes and Stages from the Middle Ages to the Present"
by Hans Heinrich Eggebrecht

Summer semester 1996 Michail Glinka and the beginning of Russian art music

WS 1995/96 Observe, describe, explain, judge, evaluate: Exercise in music criticism

Summer semester 1995 Peter Ilyich Tchaikovsky - a homosexual composer II
(joint event with Prof. Dr Freia Hoffmann
and Prof. Dr Peter Schleuning, Music)

WS 1994/95 Dmitrij Šostakovič

WS 1994/95 Peter 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 Poetry settings of the fin de siècle (HS)
(joint course with Prof. Maria Kowollik, Singing)

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

WS 2013/14 Lecture Music History: Music in the 20th and 21st Centuries

WS 2013/14 Introduction to musicological work

Courses at the University of Kassel

Summer semester 2010 Introduction to musicology

Summer semester 2010 Practice of musicological work

Summer semester 2010 Franz Schubert - Composing at the Boundary

WS 2009/10 Music and Romanticism

WS 2009/10 Music institutions in Kassel
(with excursions)

Summer semester 2009 Introduction to Musicology: Viennese Classicism

Summer semester 2009 Gaetano Donizetti: "Lucia di Lammermoor". Forms of approach.

Summer semester 2009 Gustav Mahler: "Das Lied von der Erde"

Summer semester 2009 Crash course in music history

WS 2008/09 Mozart's "Don Giovanni"

WS 2008/09 Russian music history at a glance

Summer semester 2008 Analysing - formulating.
Exercise on the practice of musicological work (planned)

WS 2007/08 Tchaikovsky - the composer

Courses at the University of Hildesheim

WS 2001/02 Feminine Endings. Feminine Beginnings ...
Reading course on musicological gender research (introductory seminar)

Summer semester 2000 The woman in tango - myth, distorted image, reality (planned)

Summer term 2000 Woman and instrument in the pictorial work.
A contribution to musical iconography (planned)

WS 1999/00 From literary text to opera. Transformations of a female figure
using the example of Čajkovskij's Puškin setting "Pikovaja dama"

Lectures at the Philipps University of Marburg

Summer semester 2001 Overview lecture: Music images: On the representation of music in the visual arts

Summer semester 2001 Exercise for the lecture: The woman making music in the visual arts

Summer semester 2001 Introductory seminar: Music history and music historiography (reading course)

Summer semester 2001 Advanced seminar: Dmitrij Šostakovič - Composing between Art and Politics

Monographs

The Fates of Women in Čajkovskij's Puškin Operas. Aspekte einer Werke-Einheit.
(= Čajkovskij-Studien Bd. 5.) Mainz u. a.: Schott 2002.
(= Habilitationsschrift University of Oldenburg 2000.)
Reviews: Rolf-Dietrich Keil, in: Arion. Jahrbuch der Deutschen Puschkin-Gesellschaft vol. 5, Hamburg 2003. -- Horst-Jürgen Gerigk, in: Komparatistik. Yearbook of the German Society for General and Comparative LiteratureHeidelberg 2003, pp. 167-169 -- Lucinde Braun, in: Die Musikforschung 57 (2004), H. 1 (p. 85f.). -- Christian Glanz, in: Österreichische Musikzeitschrift 59 (2004), H. 1 (P. 86). -- Lutzkramer, on: Amazon, 3 June 2002.

Studies on the string quartets 1 to 8 by Dmitrij Šostakovič.
(= Dissertation Christian-Albrechts-Universität zu Kiel 1993.)
Printing and processing: copy shop, Darmstadt 1993.
Review: Ekkehard Ochs, in: Die Musikforschung 51 (1998), H. 2 (pp. 248ff.).

Annotated editions

"I have played!!!" The Liszt pupil Emma Grosscurth (1862-1935): Family letters from Weimar, 1879-1885. Annotated and edited by Kadja Grönke. Laaber: Lilienthal (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 in correspondence with publishers from 1856 onwards, edited by Kadja Grönke and Thomas Synofzik. (= First scholarly complete edition of the letters of Clara and Robert Schumann. Serie III: Verleger-Briefwechsel, vol. 9.) Cologne: Dohr, in print since 2011.

Polina E. Vajdman: Čajkovskij's working methods. An examination of his autographs (Tvorčeskij arhiv Čajkovskogo). Based on an interlinear translation from the Russian by Irmgard Wille, retranslated, revised and edited by Kadja Grönke.
In: Vajdman, Polina / Thomas Kohlhase: Čajkovskijs Arbeitsweise. Source-critical analyses. Edited by Kadja Grönke and Thomas Kohlhase. (= Čajkovskij-Studien Vol. 7.) Mainz et al: Schott 2005, pp. 9-181.

Publications

Mitteilungen 32 (2025) of the Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2025.

Mitteilungen 31 (2024) der Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2024.

Mitteilungen 30 (2023) der Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2023.

Mitteilungen 29 (2022) der Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2022.

Music and homosexualities. Conference reports Bremen 2017 and 2018edited by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021.
Various reviews in print and online media, feature articles, thematic contributions and radio features (SRF 2 Kultur, WDR Tonart), including on info-netz-musik, oper aktuell, Mannschaft Magazin, SRF/Swiss Radio and Television (contribution 1 and 2), WDR Tonart and in The Music Research H. 4/2022 and The Art of Sound H. 3/2023.

Announcements 28 (2021) of the Tchaikovsky Society Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2021.

Announcements 27 (2020) of the Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2020...

Announcements 26 (2019) of the Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2019.

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

Announcements 25 (2018) of the Tchaikovsky Society Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2018.

Announcements 24 (2017) of the Tchaikovsky Society Tübingen e. V. Editors: Kadja Grönke and Ronald de Vet, Tübingen 2017.

Announcements 15 (2008) of the Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Thomas Kohlhase Tübingen / Mainz 2008.

Announcements 14 (2007) of the Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Thomas Kohlhase Tübingen / Mainz 2007.Mitteilungen 13 (2006) of the Tschaikowsky-Gesellschaft Tübingen e. V. Editors: Kadja Grönke and Thomas Kohlhase. Tübingen / Mainz 2006.

Scholarly contributions and articles

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

""I feel that I can make a master pieceout 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 by Paul Talbot.)
In: Piotr I. Tchaikovsky: Iolanta. Programme book for the new production at the Vienna State Opera, 2024/2025 season (premiere: 24 March 2025). Publisher: Wiener Staatsoper GmbH, editor: Nikolaus Stenitzer, collaboration: Anna Vukovits, pp. 54-60.

"Adolph Henselt and the good old days: Tchaikovsky's '18 morceaux pour piano' op. 72 as a sonorous review of the development of piano music in Russia."
In: Musikgeschichte in Mittel- und Osteuropa. Mitteilungen der internationalen Arbeitsgemeinschaft an der Universität Leipzig, vol. 26, ed. by Helmut Loos, Klaus-Peter Koch and Stefan Keym, Leipzig 2024. Leipzig: Gudrun Schröder 2024, pp. 3-25.

(Together with Paul Mertens:) "Focus on Tchaikovsky".
In: Wiener Konzerthaus: Konzerthaus News, September/October 2024, pp. 10-13.

"Fragments of a denomination: On Michael Thalheimer's Onegin production in Düsseldorf."
In: Mitteilungen 31 (2024) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2024, pp. 23-27.

"Passion and calculation."
In: Programme booklet "Pique Dame" of the German Opera Berlin, premiere 9 March 2024.
(From the premiere review by Kevin Clarke, at magazin.klassik.com/konzerte/reviews.cfm: "Instead, the programme booklet contains a worthwhile essay by Kadja Grönke on Tchaikovsky, on the way he and his equally gay brother Modest adapted Pushkin's novella to turn an originally ironically distanced parody of society into a story of the greatest possible passion and despair. I don't know if Sam Brown or anyone else from the production team read the text ... they should have. Dietmar Schwarz has apparently read it, because he quoted from it in his speech at the premiere. But what use is it if the artistic director knows about the secrets of the work, but the artists he hires are not interested? You could 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), H. 1 (p. 68f.).

""And yet it is better than in winter": Myriam Marbe in the memoirs of Violeta Dinescu."
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.

"Queen of Spades at the Easter Festival in Baden-Baden".
In: Mitteilungen 29 (2022) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2022, pp. 55-60.

"Only one step away. Stravinsky had many reasons to admire Tchaikovsky."
In: Osterfestspiele Baden-Baden 2022, Berliner Philharmoniker, 9.4.-18.4.22 (programme book), Baden-Baden 2022, pp. 94-99.
And as "Tchaikovsky's Stravinsky" in: Mitteilungen 29 (2022) der Tschaikowsky-Gesellschaft 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 reports Bremen 2017 and 2018, ed. by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021. p 81-98.

"Gay manners in Ken Russell's film "The Music Lovers" (GB 1970)."
In: Music and Homosexualities. Conference reports Bremen 2017 and 2018, ed. by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021, pp. 399-414.

(Together with Michael Zywietz:) "Foreword."
In: Music and Homosexualities. Conference reports Bremen 2017 and 2018, ed. by Kadja Grönke and Michael Zywietz. Hamburg: Textem 2021, pp. 9-13.

"The Royal Conservatory of Music in Leipzig (1843)."
In: Handbook of Conservatories. Institutional music education in the German-speaking countries of the 19th century (3 vols.), ed. by Freia Hoffmann. Lilienthal: Laaber 2021, vol. 1: pp. 165-211.

(Together with Christiane Barlag:) "Das Kgl. Konservatorium für Musik zu Stuttgart (1857)."
In: Handbook of Conservatories. Institutional music education in the German-speaking countries of the 19th century (3 volumes), ed. by Freia Hoffmann. Lilienthal: Laaber 2021, vol. 2: pp. 141-195.

"The composer as a stage character in Stefan Herheim's production of "Tchaikovsky: Queen of Spades". Or: Ceci n'est pas Tchaïkovski."
In: Music history on the stage. Performing Music History, ed. by Anna Langenbruch, Daniel Samaga and Clémence Schupp-Maurer. Bielefeld: Transcript 2021, pp. 301-316.

"Tchaikovsky's opera "Mazeppa"."
In: Peter Ilyich Tchaikovsky: Mazeppa. Programme booklet Theater an der Wien, 21.2.2019, p. 10-20.

(Together with Paul Mertens:) "Adolph Henselt and Peter Tchaikovsky - a search for traces."
In: Mitteilungen 26 (2019) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2019, pp. 2-27.

"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. Singing. New research perspectives on Hans Werner Henze's work, edited by Antje Tumat and Michael Zywietz, Hanover: Wehrhahn 2018, pp. 205-228.

"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, edited by Larry Bakst. Kassel: Furore 2017.

"Competitions, Collegialities, Careers. Female pianists from the Weimar Liszt circle."
In: Female musicians and their networks in the 19th century, edited 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 Russian Romance." (Engl.: 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.

(Together with Roberto Reale:) ""... I realised yesterday that I could probably still sing the 'Melodieexpress' by heart!" - The children's musical "Der Melodieexpress" by Roberto Reale (Ludwigshafen 2010/11). A project report." Part I: On the genesis (Roberto Reale), Part II: On the work (Kadja Grönke).
In: Kästner im Spiegel. Contributions from research on the 40th anniversary of his death, ed. by Sebastian Schmideler and Johan Zonneveld. (= Erich Kästner-Studien Vol. 3.) Marburg: Tectum 2014, pp. 333-371.

"A la recherche de Mme Alexandre. A plea for epistemological 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. Hefte für Gegenwartskunst, 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, the contribution by Kadja Grönke should be mentioned here, À la recherche de Mme Alexandre ... Grönke recounts the imponderables of researching an article about a certain Madame Alexandre, which she is to write for the Lexikon historischer Instrumentalistinnen, an encyclopaedia that deals with the biographies of performing female musicians of the 18th and 19th centuries. This contribution makes us forget all the thrillers in books, films and television and should be presented to all those who do not understand what is so exciting about science. This attempt to reconstruct the life and work of Mme Alexandre and thus to find out who she actually was (or to construct who she might have been) is - to put it bluntly - the best detective story this reviewer has read in a long time."

"The joy of free research: 12 years of the Sophie Drinker Institute."
In: Forum Musikbibliothek vol. 35 (2014), no. 2 (pp. 52-55).

"Sown in Brunswick, harvested in Kassel: Spohr's repertory of the Kassel Cäcilien-Verein."
In: Louis-Spohr-Symposium Braunschweig 2007: Die Lehr- und frühen Meisterjahre des Komponisten, Geiger, Dirigenten und Musikpädagogen Louis Spohr in Braunschweig, ed. by Anja Hesse and Annette Boldt-Stülzebach. Braunschweig 2007, pp. 81-90.
And at: www.braunschweig.de/suche.php?form=siteSearch-1-form&sp%3Asearch=siteSearch&sp%3Aq=Gr%C3%B6nke (released in August 2014).

"Where the terrible is the beginning of the beautiful: On the connection between violence, horror, power and creativity in the work of Violeta Dinescu."
In: Gewalt und Macht in Psychotherapie, Gesellschaft und Kunst, 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: Virtuelle Komponistinnengalerie. At: www.musicdiversity.ch/ (2013; not yet activated for internal FMD reasons).

"The murdering woman on the opera stage - a role profile in the field of tension between aesthetics and morality."
In: Murderesses. Künstlerische und mediale Inszenierungen weiblicher Verbrechen, ed. by Hyunseon Lee and Isabel Maurer Queipo. Bielefeld: Transcript 2013, pp. 235-248.

"Peace as redemption in beauty. On the Requiem by Gabriel Fauré."
In: Peace as Balance in Psychotherapy and Political Space for Action. 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), H. 2 (pp. 224-227).

"Acier - Assier - Čajkovskaja - Davydova: The female line."
In: Peter Ilič Čajkovskij - Michel Victor Acier. A family of artists between Saxony and Russia. Contributions to the Dresden 2010 symposium, edited by Lucinde Braun. (= Čajkovskij-Studien 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.
(= Archiv für osteuropäische Musik. Quellen und Forschungen, vol. 1). Oldenburg: BIS 2013,
pp. 117-120.

"Violeta Dinescu's children's opera "The 35th of May" (1986)."
In: Erich Kästner - not yet seen like this. Impulses and Perspectives. Conference proceedings, ed. by Sebastian Schmideler. (= Erich Kästner-Studien Vol. 1.) Marburg: Tectum 2012, pp. 303-318.

"Love, suffering, art. Patient Tchaikovsky."
In: Mitteilungen 19 (2012) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2012, pp. 74-85.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (online since autumn 2014).

"The Liszt pupil Martha Sabinin."
In: Die Tonkunst vol. 5 (2011), no. 4 (pp. 478-491).

"Myriam Marbe: Vita, Appreciation, estate."
In: Estate of Myriam Marbe. At: www.sophie-drinker-institut.de/vita (2011).

"Reconciliation ? Reflections on the lieto fine in Mozart's opera "Don Giovanni"."
In: Trauma and Reconciliation. Heilungswege in Psychotherapie, Kunst und 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. Grundlagen, Methoden, Perspektiven, ed. by Rebecca Grotjahn and Sabine Vogt. (= Kompendien Musik vol. 5.) Laaber: Laaber 2010, pp. 210-226.

"About the work to the person. Čajkovskij's Romances op. 73."
In: Music and Emancipation. Festschrift for Freia Hoffmann on her 65th birthday, edited by Marion Gerards and Rebecca Grotjahn. Oldenburg: BIS 2010, pp. 33-42.

""I love you, but ...". Notes on Čajkovskij's Lyrical Scenes "Evgenij Onegin"."
In: Mitteilungen 17 (2010) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2010, p.19-28.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

"August Pott (1806-1883) and the Grand Ducal Court Chapel in Oldenburg."
In: Oldenburger Jahrbuch vol. 108 (2008). Geschichte, Archäologie, Naturkunde, ed. v. Oldenburger Landesverein für Geschichte, Natur- und Heimatkunde e. V.
Oldenburg: Isensee 2008, pp. 95-115.
And at: digital.lb-oldenburg.de/ihd/content/pageview/232341 (online since 2014).

"Historical ruler figures in the scenic music of Russia - a question of good and evil."
In: Das Böse in der russischen Kultur, edited by Bodo Zelinsky. Cologne: Böhlau 2008, p. 221 232.

"Instrumental monologue and end-of-life music in Dmitri Shostakovich's Fifteenth Symphony."
In: Despair as a creative challenge. Psychopathologie, Psychotherapie und künstlerische Lösungsgestalt in Literatur, Musik, Film, ed. by Hermes Andreas Kick and Günther Dietz: (= Affekt - Emotion - Ethik 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. Psychopathologie, Psychotherapie und künstlerische Lösungsgestalt in Literatur, Musik, Film, ed. by Hermes Andreas Kick and Günther Dietz: (= Affekt - Emotion - Ethik 6.) Berlin: LIT 2008, pp. 249-257.

"Disappointment in excess: Lisa's despair and flight into death in Tchaikovsky's opera "Pikovaya dama"."
In: Despair as a creative challenge. Psychopathologie, Psychotherapie und künstlerische Lösungsgestalt in Literatur, Musik, Film, ed. by Hermes Andreas Kick and Günther Dietz: (= Affekt - Emotion - Ethik 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. Musikwissenschaftliches Jahrbuch der HMTH, vol. 2.) Hildesheim / Zurich / New York: Olms 2008, pp. 207-218.

"Murderesses on the opera stage."
In: The "Murder". Darstellung und Deutung in den Wissenschaften und Künsten, ed. by Dietrich von Engelhardt and Manfred Oehmichen. Lübeck: Schmidt Römhild 2007, pp. 219-235.

"The composer Violeta Dinescu."
In: Insights. Research Magazine of the University of Oldenburg, 23rd Vol. (Spring 2007), No. 45 (pp. 8-11).
(uol.de/einblicke/45)

"Political poetry in Shostakovich's symphonic music."
In: Shostakovich and the Symphony. Referate des Bonner Symposions 2004, ed. by Hartmut Hein and Wolfram Steinbeck (= Bonner Schriften zur Musikwissenschaft 7.) Frankfurt/M. u. a.: Peter Lang 2007, pp. 61-74.

"On the Diastasis of Word and Music in Shostakovich's Twelfth and Thirteenth Symphonies."
In: Dmitri Schostakowitsch - das Spätwerk und sein zeitgeschichtlicher Kontext, ed. by Manuel Gervink and Jörn Peter Hiekel Dresden: Sandstein 2006, pp. 80-89.

"Female psychograms. Notes on Violeta Dinescu's "Herzriß" compositions."
In: Eros and borderline situation. Von der Verliebtheit zur Beziehungskultur, ed. by Hermes Andreas Kick. (= Affect Emotion - Ethics, vol. 4.) Berlin: LIT 2006, pp. 57-79.

"Diversity of methods, choice of methods and scientific interest in knowledge using the example of Tango Argentino."
In: Music with Method. New perspectives in cultural studies, edited by Corinna Herr and Monika Woitas. Cologne / Weimar / Vienna: Böhlau 2006, pp. 139-155.

"Čajkovskij's opera "Čarodejka" - "The Enchantress"."
In: Mitteilungen 13 (2006) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2006, pp. 144-154.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
Extensive excerpt reprinted in: Tchaikovsky: The Sorceress (production: Tatjana Gürbaca). Programme booklet of the Erfurt Theatre, 2011/12 season, pp. 7-12.

"Čajkovskij and the brothers Anton and Nikolaj Grigor'evič Rubinštejn."
In: Mitteilungen 13 (2006) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2006, pp. 17-36.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

"Foreignness as a sign of belonging. Music and cultural identity in Tango Argentino."
Abstract in: Music and Cultural Identity. Report on the XIII International Congress of the Society for Music Research in Weimar 2004, ed. by Detlef Altenburg and Rainer Bayreuther, 3 vols, vol. 3: Free papers and research reports, Kassel: Bärenreiter 2012, p. 653 f.

""And I told you nothing" ? Čajkovskij's "Six Romances" op. 73 (1893)."
In: Mitteilungen 12 (2005) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2005, p. 191-212.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

"On the reification of being human. On the opera "Eréndira" by Violeta Dinescu."
In: Violeta Dinescuedited by Eva-Maria Houben. Saarbrücken: Pfau 2004, pp. 94-108.

"A real love - but not a real love letter. On the divergence of scene and letter in Tat'jana's letter scene from Čajkovskij's "Evgenij Onegin"."
In: Intime Textkörper. 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: "Spontane Herzensergiessungen. Tchaikovsky's Tatiana."
In: Tchaikovsky: Eugene Onegin (production: Krzysztof Walikowski, programme booklet 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) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2004, pp. 143-158.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (online since autumn 2014).
Alternative version as: "Čajkovskij, die Frauen und das liebe Geld." In: Music and economics. Financing and marketing of and with the help of music - Musikästhetisches und musikpädagogisches Haushalten, ed. by Claudia Bullerjahn and Wolfgang Löffler. (= Music - Culture - Science Vol. 3.) Hildesheim: Olms 2009, pp. 109-141.

"The musical image as image. On the aesthetic double value of musical graphics."
In: Synaesthesia in Music - Music in Synaesthesia. Lectures and papers presented at the 2002 annual conference of the Gesellschaft für Musikforschung in Düsseldorf (25-28 September 2002) at the Robert Schumann University, 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: Wozu Biographik? On the role of biographical methods in mediation processes and music analysis. Report on the conference of the Fachgruppe Musikwissenschaft und Musikpädagogik in der Gesellschaft für Musikforschung, Lüneburg 2002, ed. by Andreas Waczkat. Rostock: University 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, ed. by Aisling Kenny and Susan Wollenberg, Farnham and Burlington: Ashgate Publishing 2015, pp. 217-229.

""The strange colours fall off like scales in the course of time ..." Dmitrij Šostakovič's vocal cycles on texts by Aleksandr Puškin."
In: Arion. Yearbook of the German Pushkin Society vol. 5. Hamburg: Bouvier 2003, pp. 47-73.

"Lady Macbeth and her sisters. Axiological thoughts on the role of the murdering woman in the operas "Lady Macbeth of Mtsensk" by Dmitri Šostakovič, "Bremer Freiheit" by Adriana Hölszky and "Eréndira" by Violeta Dinescu."
In: Shostakovich and the Consequences, edited by Ernst Kuhn. (= Shostakovich Studies Vol. 6.) Berlin: vek 2003, pp. 1-32.

"More shadow than light. Čajkovskij and his "16 Songs for Children" op. 54 (1883)."
In: Mitteilungen 10 (2003) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 2003, pp. 127-152.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).

"Čajkovskij's Liza ("Pikovaja dama") - a projection figure."
In: Archive for Musicology (AfMw), Vol. LIX (2002), H. 3 (pp. 167-185).

"Moskau in der russischen Oper."
In: Musikgeschichte in Mittel und Osteuropa. Mitteilungen der internationalen Arbeitsgemeinschaft an der Universität Leipzig, ed. by Helmut Loos. Issue 8. Chemnitz: Gudrun Schröder 2002, pp. 30-41.

"To which gender does longing belong? Reflections on Pëtr Čajkovskij's Romance op. 6 no. 6."
In: Geschlechterpolaritäten in der Musikgeschichte des 18. bis 20. Jahrhunderts, 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 Dmitrij 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.

""For enemies of the 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 "Mocart i Sal'eri". A compositional self-discovery."
In: Reception as innovation. Investigations into a basic model of European composition 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 the Princess Salome ...". Polymorphie einer weiblichen Bühnenrolle."
In: Frauenstimmen, Frauenrollen in der Oper und Frauen-Selbstzeugnisse, 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 Alyab'ev's Romance "The Nightingale"."
In: Musikgeschichte in Mittel und Osteuropa. Mitteilungen der internationalen Arbeitsgemeinschaft an der Technischen Universität Chemnitz, ed. by Helmut Loos. Issue 2. Chemnitz: Gudrun Schröder 1998, p. 3 20.

"Composing in the past and present. Studien zu den ersten acht Streichquartetten von Dmitrij Šostakovič."
In: Die Musikforschung, 51. Jg. (1998), H. 2 (pp. 163-190)
Revised version as: "Composing in the past and present. Analytical aspects of the first eight string quartets by Dmitrij Šostakovič." In: Shostakovich's String Quartets. An international symposium, ed. by Andreas Wehrmeyer. (= Shostakovich Studies Vol. 5.) Berlin: vek 2002, pp. 41-80.

"Čajkovskij's one-act opera "Iolanta": transformation through love."
In: Mitteilungen 5 (1998) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 1998, pp. 17-25.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (online since autumn 2014).

"Pëtr Il'ič Čajkovskij: Genealogical tables. "
In: Mitteilungen 4 (1997) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 1997, p. 19 30.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
And in: Alexander Poznansky: Čajkovskij'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, ed. by Thomas Kohlhase. (= Čajkovskij-Studien Bd. 3.) Mainz et al: Schott 1998, pp. 367-378.
>>> Note: This article is now outdated in terms of research by the publication due to new source discoveries : Peter Ilič Čajkovskij - Michel Victor Acier. A family of artists between Saxony and Russia. Contributions to the Dresden 2010 symposium, edited by Lucinde Braun. (= Čajkovskij-Studien Vol. 14.) Mainz: Schott 2013.<<<

"Girls sing of love. Notes on a fixed scene type in Čajkovskij's Puškin operas."
In: Mitteilungen 4 (1997) der Tschaikowsky-Gesellschaft Tübingen e. V. Tübingen / Mainz 1997, p. 53 64.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
And in: Alexander Poznansky: Čajkovskij'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, ed. by Thomas Kohlhase. (= Čajkovskij-Studien Bd. 3.) Mainz et al: Schott 1998, pp. 405-416.

"Art and artist in Shostakovich's late poetry settings."
In: Archiv für Musikwissenschaft (AfMw), Vol. LIII (1996), H. 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.

"Čajkovskij's death - a critical literature report."
In: Mitteilungen 2 (1995) der Tschaikowsky-Gesellschaft e.V. Tübingen / Mainz 1995, pp. 31-54.
And at: www.tschaikowsky-gesellschaft.de/uebersichthefte.htm (available since autumn 2014).
Revised and supplemented version in: Alexander Poznansky: Čajkovskij'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, ed. by Thomas Kohlhase. (= Čajkovskij-Studien Bd. 3.) Mainz et al: Schott 1998, pp. 379-403.

"Zur Rolle des Gremin in Čajkovskijs Oper "Evgenij Onegin"."
In: Internationales Čajkovskij-Symposium Tübingen 1993. Report, ed. by Thomas Kohlhase. (= Čajkovskij-Studien Vol. 1.) Mainz et al: Schott 1995, pp. 127-140.
English translation as: "On the Role of Gremin: Tchaikovsky's "Eugene Onegin"." (Engl. by Alice Dampman Humel.) In: Tchaikovsky and His World, ed. by Leslie Kearney. Princeton University Press, Princeton, New Jersey 1998, pp. 220-233.

Contributions in publication

"Zur Psychologisierung von Musik und Weiblichkeit in Literatur und Bildender Kunst des ausgehenden 19. Jahrhunderts."
In: Publication of the symposium "Wissenschaft und Literatur um 1900" des Arbeitskreises Psychopatholo-gie, Kunst und Literatur, Lübeck, in print since 2004.

"Dmitrij Bortnjanskij: Konzerte für Chor."
In: Texte zur Chormusik Vol. 2, edited by Gerhard Jenemann, in print since 2004.

1. encyclopaedia articles

3 articles: "Pjotr Iljitsch Tschaikowski", "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 gestorben", on queer.de (dpa/ak) from 18 March 2024:
"Reimann never made his homosexuality a direct topic, but was always 'particularly interested in outsiders who stand at odds with society in 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 fates is detached from the gender assigned to them on stage, and the conflict situations can easily be extended to homosexual concepts of the world. Reimann does not shy away from 'illustrating and commenting on the stage situation: In roughened cluster sounds, tumultuous percussion passages, extreme highs or bottomless lows, he opens up spaces for the unspeakable that the stage characters cannot formulate themselves."

Article "Violeta Dinescu".
In: Lexikon der Holzblasinstrumente: Oboe, Klarinette, Saxophon und Fagott. Construction history and playing practice. Composers and their works. Performers, edited by Achim Hofer, Ursula Kramer and Udo Sirker. Laaber: Laaber 2018, p. 210.

24 Articles: "Sophie Jakimowska" (new, 2018); "Katarzyna Jaczynowska" (2018); "Schwestern Gnessina" (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 Terminskaya" (2010); "Martha Sabinin" (2010); "Alexandra Zograf[-Dulowa]" (2010).
In: Instrumentalistinnen-Lexikon. European female instrumentalists of the 18th and 19th centuries, ed. by Freia Hoffmann. 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, p. 362 f.

3 Articles: "Pëtr Il'ič Čajkovskij" (pp. 588-590); "Eduard Francevič Napravnik" (pp. 413 f.); "Anton Grigor'evič Rubinštejn" (pp.495 f.).
In: Reclams Komponisten-Lexikon, ed. v. Melanie Unseld. Stuttgart 2009.

Article "Barbara Heller - Grundblatt".
In: Komponisten der Gegenwart, ed. by Hanns-Werner Heister and Walter-Wolfgang Sparrer. 31st supplement. Munich 2006, p. 1 - 2.

6 Article: "Anton Grigor'evič Rubinštejn". Vol. 14 (2005), pp. 594-599; "Nikolaj Grigor'evič Rubinštejn". Vol. 14 (2005), pp. 599-600; "Vasilij Il'i Safonov". Vol. 14 (2005), pp. 785-786; "Eduard Francevič Napravnik". Vol. 12 (2004), pp. 908-911; "Nikolaj Semënovič Klenovskij". Vol. 10 (2003), pp. 270-271; "Violeta Dinescu". Vol. 5 (2001), pp. 1077-1080.
In: Die Musik in Geschichte und Gegenwart (2nd, neubearb. Auflage), ed. by Ludwig Finscher. Kassel, Basel, London, New York, Prague: Bärenreiter and Stuttgart, Weimar: Metzler 1999 ff.

25 Article: "Dinescu, Violeta (Ileana)": Vol. 1, p. 394. / "Der 35. Mai oder Konrad reitet in die Südsee": Vol. 1, p. 375. / "Eréndira": Vol. 1, p. 459. / "Schachnovelle": Vol. 2, p. 547.
"Nielsen, Carl": vol. 2, p. 246. / "Maskerade (Maskarade) ": vol. 2, p. 138 f. / "Saul und David (Saul og David)": Vol. 2, p. 543.
"Rubinstein, Anton Grigorewitsch": Vol. 2, p. 514 f. / "Der Dämon (Demon)": Vol. 1, pp. 356-359 / "Nero": Vol. 2, p. 237 f. / "Merchant Kalashnikov (Kupez Kalashnikov)": Vol. 1, p. 783.
"Tchaikovsky, Pyotr Ilyich": Vol. 2, p. 709 f. / "Eugene Onegin (Yevgeny Onegin)": Vol. 1, pp. 470-472 / "Jolanthe (Iolanta)": Vol. 1, p. 759. / "Die Jungfrau von Orléans (Orleanskaja dewa)": Vol. 1, p. 772 f. / "Masepa": Vol. 2, p. 137 / "Pique Dame (Pikowaja dama)": Vol. 2, pp. 382-384 / "Die Pantöffelchen (Tscherewitschki)": Vol. 2, p. 329 f. / "The Sorceress - A Nizhegorodsk Legend (Tscharodeika - Nishe-gorodskoje predanije)": Vol. 2, p. 833.
"Wolf-Ferrari, Ermanno": Vol. 2, p. 810. / "Il Campiello (The Campiello)": Vol. 1, p. 269. /"Die neugierige Frauen": Vol. 2, p. 243. /"Susannens Geheimnis": Vol. 2, p. 644. /"Die vier Grobiane": Vol. 2, p. 757 f.
In: Lexikon der Oper (2 Bde.), ed. v. Elisabeth Schmierer. Laaber: Laaber 2002.

Article "Dmitri Schostakowitsch".
In: Das neue Lexikon der Musik. Vol. 1-4. new edition. (Based on the Great Dictionary of Music edited by Günther Massenkeil, an adaptation of the Dictionaire de la musique by Marc Honegger), edited by Ralf Noltensmeier. Stuttgart (Metzler) 1996, vol. 4, pp. 226-228.

9 Article: "Ermanno Wolf-Ferrari: Il Campiello". Vol. 6 (1997), pp. 763-765.
"Anton Rubinschtejn: Demon". Vol. 5 (1994), p. 470 ff. / "Anton Rubinschtejn: Nero". Vol. 5 (1994), p. 474 ff. / "Anton Rubinschtejn: Die Makkabäer". Vol. 5 (1994), p. 473 f.
"Alexandr Serow: Rogneda". Vol. 5 (1994), 691 f.
"Modest Musorgski: Salambo". Vol. 4 (1991), p. 361 ff. / "Modest Musorgski: Zhenitba". Vol. 4 (1991), p. 363 ff.
"Carl Nielsen: Saul og David". Vol. 4 (1991), p. 429 ff. / "Carl Nielsen: Maskarade". Vol. 4 (1991), p. 431 f.
In: Pipers Enzyklopädie des Musiktheaters. 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): "Čajkovskij und der Kontrabass in Russland."
On: Mitteilungen online der Tschaikowsky-Gesellschaft; released on 6 February 2022 at www.tschaikowsky-gesellschaft.de/mitteilungen.htm.

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

Tim Steinke (written version: Kadja Grönke): ""Do you hear the song? Do you hear the call, mysterious?" Some thoughts on the musical representation of the stranger in the opera Król Roger by Karol Szymanowski."
In: Jahrbuch für Musik und Gender Vol. 10: Musik und Homosexualität - Homosexualität und Musik. Hildesheim: Olms 2017 (published 2018), pp. 111-117.

Bianca Ţiplea Temeş: "Violeta Dinescu and the Key of Dreams."
In: Musica. Studia Universitatis Babes-Bolyai(Cluj) 63 (2013), H. 2 (pp. 5-28). (Editing and translation, together with Roberto Reale.)

Article editorships and co-authorship for the Sophie Drinker Institute'sEncyclopaedia of Women 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 without explicitly mentioning my name
In: Instrumentalistinnen-Lexikon. European women instrumentalists of the 18th and 19th centuries, edited by Freia Hoffmann.
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, which are listed above under "Publications", as well as in the field of applied musicology (CD booklets, interviews, artist biographies, etc.).

3. participation in radio and television programmes

Interview passages 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 passages for the dialogue concert from 4 July 2023. Ralf Eismann: OEins - KlassikKultur, 26 and 29 June 2023.

Interview passages for: Nick-Martin Sternitzke: Music and homosexualities. WDR Tonart, 11 May 2022

Interview passages for: Moritz Weber: The homosexuality of composers: a bone of contention in musicology. SRF Kultur, podcast, 4 March 2022.

Interview passages for: Ralf Pleger: The Tchaikovsky Files. Confessions of a composer. Film ZDF/Arte 2015 (first broadcast 3 June 2015).

Interview passages in Hildburg Heider: Wege der Liebe - Peter Tschaikowsky und die Frauen. NDR Prisma, 16 May 2015, and SRF II, Parlando Porträt, 17 May 2015.

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

Original sound contribution to several radio programmes by other authors on the topics of Čajkovskij, Šostakovič, Tango Argentino.

(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.

14 and 15 February 2026, Frankfurt, Archiv Frau und Musik, and Wolfenbüttel, Bundesakademie für Kulturelle Bildung:
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 novel in verse "Eugene Onegin" in the German version by Ulrich Busch.
Piano: Paul Mertens (Berlin), recitation: Kadja Grönke (Oldenburg).

11 June 2023, Oldenburg State Theatre:
3rdchildren's concert of the 2022/23 season. Conception by Antonio Planelles; programme design, preparation and performance together with Johannes Dörr, Jule Molchin, Margareta Storonianska, Lina Weber (University of Oldenburg/Seminar Grönke).
Review by Horst Hollmann, NWZ 13 June 2023

11 June 2022, University of Regensburg:
"I know very 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 Regensburg University Symphony Orchestra)
as part of the festive concert for the 28th annual conference of the Tchaikovsky Society e. V.

9 April 2022, Baden-Baden:
Tchaikovsky'sopera "Queen of Spades".
Introductory lecture for the premiere of the Baden-Baden Easter Festival: Tchaikovsky: Queen of Spades; directed by Moshe Leiser and Patrice Caurier; Berliner Philharmoniker, 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: Free spaces for sexually discriminated artists in the shadow of National Socialism."
Richard-Wagner-Verband Berlin-Brandenburg e. V.

7 May 2019, Great Hall of the Palace, Oldenburg:
"Baroque meets Bauhaus: Bach in the White City".
Organisation, supervision and introduction to the concert with Alon Sariel (mandolin and conductor) and the ensemble "Concerto Foscari" for the exhibition "100 Years of Bauhaus" with 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 State Museum of Art and Cultural History Oldenburg.

9 November 2018, Sophie Drinker Institute Bremen:
"The glass harmonica."
Organisation, supervision and participation in a talk concert by 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 plays the Goldberg Variations by Johann Sebastian Bach with musical interventions by Violeta Dinescu. Introduction by Kadja Grönke.
Organised by Kevin Kilian and Piano-Rosenkranz.
Review (NWZ, 10 June 20170).

25 November 2016, Chamber Music Hall of the University of Oldenburg:
"Tim Steinke. On the nature of inspiration. The Hamburg composer Tim Steinke in conversation with Kadja Grönke."
Conversation concert as part of the Composers' Colloquium at the University of Oldenburg.

19 June 2016, Tchaikovsky Hall Hamburg:
"Spiegelungen".
Concert with pianist Erik Breer (Neuss) on piano music by Peter Tchaikovsky with music by Tchaikovsky, Frédéric Chopin, Robert Schumann, Sergei Rachmaninov and György Ligeti. Discussion concert as part of the annual conference of the Tchaikovsky Society. Concept and moderation: 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 Files - Confessions of a Composer. A film by Ralf Pleger (ZDF/Arte 2015)" with Philip Ross Bullock (Oxford) and Kadja Grönke as part of the symposium "Music and Homosexuality - Homosexuality and Music".

22 May 2015, Chamber Music Hall of the University of Oldenburg:
"Jennifer Hymer - a musical portrait: Piano, Toy Piano & Kalimba".
Conversation concert with Jennifer Hymer (USA/Hamburg) as part of the Composers' Colloquium at the University of Oldenburg.

31 October 2014, Chamber Music Hall of the University of Oldenburg:
"The composer Paul Mertens-Pavlowsky in conversation with Kadja Grönke."
Conversation concert as part of the Composers' Colloquium at the University of Oldenburg, with the participation of baritone Volker Mertens.

21 June 2014, University of the Arts Bremen:
"Lieder der Jahrhundertwende".
Concert moderation on the occasion of the "Fête de la musique Bremen" in co-operation with the University of the Arts Bremen.

7 April 2013, Hanover Opera:
Matinee on the occasion of the new production of Tchaikovsky's opera "Eugene Onegin" at the Hanover State Opera.
Panel discussion led by dramaturge Miriam Konert.

14 December 2012, Chamber Music Hall of the University of Oldenburg:
"Myriam Marbe."
Moderation of the panel discussion and CD presentation on the occasion of 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:
Matinee with panel discussion and music on the occasion of the premiere of Tchaikovsky's opera "Die Zauberin/Die Bezaubernde" at Erfurt Theatre.
Panel discussion chaired by dramaturge Arne Langer.

You will receive announcements and information about the dialogue concerts
via a mailing list, which you can sign up for at
.
For concerts with limited seating, we recommend registering at
and .

Motto: "Stay curious!"

The "dialogue concerts at the University of Oldenburg are organised by the" are organised by the Institute of Music in co-operation with the Verein für Musiktheaterproduktionen am Fach Musik der University of Oldenburg e. V. and the Kulturbüro der Stadt Oldenburg; apl. Prof. Dr. Kadja Grönke is solely responsible for the scientific conception and implementation.

The series offers content-oriented concept programmes in the field of classical music, which are divided roughly 1:2 into moderation/information and music/concert programme. The no-budget events last around 100 minutes and are suitable for experienced music lovers as well as concert novices of all ages. They take place free of charge (but for a donation) at various venues in Oldenburg and support the 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 cooperation partners and sponsors. One-off donations in the form of tax-deductible bank transfers are also very welcome and go 100% towards the financing of the next concerts:
Donation account at the LZO (account holder: University of Oldenburg)
IBAN: DE46 2805 0100 0001 9881 12 / BIC: SLZODE22
Purpose of use (very important!): FST 53 402 225 80: Dialogue concerts
> The purpose of use ensures that the bank transfer is exclusively
for the dialogue concerts dialogue concerts.
- The university will issue a donation receipt for donations of 300 euros or more.
- Please note: If you do not specify the intended purpose, the donation will go into the university's general funds and will not benefit the dialogue concerts. So please "FST 53 402 225 80: Dialogue concerts" do not forget!

In 2025, the "dialogue concerts at the University of Oldenburg" could look back on ten active years. To mark the occasion, a comprehensive flyerwhich contains general information about the concert series, the programmes from the first 10 years as well as dates and artist bios for the anniversary year.

All programme booklets can be downloaded as full-text PDFs from the "Archive" menu item.

"... thank you very much for sending us the programme booklet for the theme day "Carl von Ossietzky
today" on 30 June 2024, which we are happy to include in the University Archive's collection.
For us as the University Archives, there is no question of collecting the materials relating to the concerts
. As an archivist, but above all as a science and university historian
, I have a good understanding of what constitutes a university. This goes
beyond the fields of research, teaching and administration. I find the exchange relationships between actors from the university and
the surrounding fields of politics, business, society and culture particularly exciting
. From this
perspective, the dialogue concerts are an important element in the history
of our university."
(Dr Gunnar Zimmermann, University Archives of the University of Oldenburg, 22.7.2024)

- -
By the way: The dialogue concerts also have an Instagram account...

Wed. 13 May 2026, 20:00 in the event hall of the PFL:
"Project Phoenix". Music and poetry from Romania.
Mircea Lazăr (Bucharest, violin) and Ana-Iulia Giurgiu-Bondue (Lille/Bucharest, piano) 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. Ioan Ionescu (Bucharest/Romanian) and Kadja Grönke (Oldenburg/German) recite poetry by Lucian Blaga, Iulia Hașdeu, Mihai Eminescu, Marin Sorescu, Nina Cassian, Nichita Stănescu and Ion Minulescu.
Encore: Borșa (dance from Maramureș)
Organised by the Institute of Music in co-operation with the Verein für Musiktheaterproduktionen.
Review by Christoph Keller, NWZ 18 May 2026.

Tue, 17 March 2026, 7.30 pm at the Forum St. Peter:
"Forest and trees".
Pianist Faraz Forouzandeh (Oldenburg) plays piano music by Robert Schumann, Edvard Grieg, Jean Sibelius and Christoph J. Keller (UA); Kadja Grönke (Oldenburg) reads poems on the theme by Heinrich Heine, Christian Friedrich Hebbel, Joseph von Eichendorff, Michail Lermontow/Rilke, Rudaki/de Finélong, Friedrich Rückert, Johann Wolfgang von Goethe. Grand piano: Yamaha.
Encore: Chopin: Etude op. 25/1 with Hermann Hesse: Die Birke.
Organised by the Institute of Music in co-operation with the Verein für Musiktheaterproduktionen, the Kulturbüro der Stadt Oldenburg and the Forum St. Peter.
Review by by Horst Hollmann, NWZ 20 March 2026.

Mon, 2 March 2026, 7.30 pm in the event hall of the PFL:
"In the protective circle of sounds".
Olga Riazantceva-Schwarz (piano), Aida López-Borrego (violin) and Paula Sagastibelza (cello), all from Bremen, in dialogue with Kadja Grönke and piano trios by Maurice Ravel and Georgi Sviridov. Grand piano: Yamaha.
Encore: Dmitri Shostkaovich: Prelude, from: Five pieces for two violins and piano, version for piano trio.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

2 December 2025, 7.30 pm, event hall of the PFL:
"Connections. Musical images".
Pianist Werner Barho (Weener) in dialogue with Kadja Grönke and Violeta Dinescu as well as solo piano music by Sergei Rachmaninov, Claude Debussy, Franz Liszt and two world premieres by Oldenburg composers Violeta Dinescu and Christoph Keller. Grand piano: Steinway.
Encore: Alexander Scriabin: Prélude.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by by Horst Hollmann, NWZ 6 December 2025

8 November 2025, 7.30 pm, auditorium of the Altes Gymnasium (Theaterwall 11):
"Die Tanzbüchlein von Friedrich Gottlieb Nagel (1766 & 1767) als lebendige Gegenwart".
Lecture by Birte Hoffmann-Cabenda; concept for the dance performance: Iris-Michaela Schmidtmann. Music by Friedrich Gottlieb Nagel, Arcangelo Corelli, Jean-Baptiste Lully, Marc-Antoine Charpentier and Violeta Dinescu (world première). With the Schlosstanzerey zu Oldenburg (Iris-Michaela Schmidtmann, Birte Hoffmann-Cabenda, Sonja Bayerlein, Sarah Lea Hofmann, Kenichi Ikei, Roy Cabenda) and Ulla Levens (Oldenburg; violin) and Tammo Falkenberg-Wilken (Oldenburg; harpsichord by Dietrich Hein/Oldenburg and Steinway grand piano).
Encore: Nagel: Kontratanz (with audience)
Organised by the Institute of Music in co-operation with the Verein für Musiktheaterproduktionen and the Kulturbüro der Stadt Oldenburg as well as the Altes Gymnasium Oldenburg.

27 October 2025, 7.30 pm, Forum St. Peter (Peterstraße 22-26):
"Creativity as a path to freedom: didactic children's piano music from Eastern Europe".
With piano music by Pyotr Tchaikovsky, Elena Gnessina, Dmitri Shostakovich, Aram Khachaturian, Mieczyslaw Weinberg, Josef Achron, György Kurtág and Violeta Dinescu, among others.
Lecture by apl. Prof. Dr Kadja Grönke (Oldenburg), live piano music followed by a concert by Paul Mertens (Berlin; Yamha grand piano).
Encore or concert part: Mieczysław Weinberg: Kinderheft op. 16.
Organised by the Institute of Music in co-operation with the Verein für Musiktheaterproduktionen and the Kulturbüro der Stadt Oldenburg as well as the Forum St. Peter.

15 August 2025, 7.30 pm, event hall of the PFL:
"Carl Baermann - Father and Son. A musical journey of discovery through the 19th century."
Clarinettist Emily Worthington (York; replica of a Baermann-Ottensteiner clarinet from 1875) and pianist Daniel Grimwood (Kent; French Érard concert grand piano from 1850) in dialogue with Kadja Grönke and music for clarinet and piano by Carl Baermann sen. and jun, Franz Schubert/Baermann, Carl Maria von Weber/Baermann and Violeta Dinescu.
Encore: Violet Dinescu: Abendandacht.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

2 July .2025, 1930 hrs, Holy Trinity Church:
"Like the birds of the sky". French baroque music and related works by Oldenburg composers.
Luisa Klaus (Bremen), recorders, and Michael Tsalka (Shenzhen), harpsichord, play works by Jean-Baptiste Drouart de Bousset, Francois Couperin, Christoph Keller, Roberto Reale, Paul Mertens-Pavlowsky and Violeta Dinescu. (Repeat of the programme from 4 July 2023.)
Encore: Violeta Dinescu: Abendandacht.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music of the Holy Trinity Church.

1 July 2025, 7.30 pm, Holy Trinity Church:
"Über die Tellerränder".
Diana Weston (Sydney) and Michael Tsalka (Shenzhen), harpsichord, Angelika Bönisch (Oldenburg), baroque cello, and Simone Bielefeld (Oldenburg), voice and frame drum, play works by Georg Philipp Telmann, Christoph Keller, Johann Christian Bach, Elena Kats Chernin, Leonardo Coral, Padre José Gallés, Reena Esmail, Diana Blom and Violeta Dinescu.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music of the Holy Trinity Church.
Review by Horst Hollmann: NWZ, 4.7.2025

29 June 2025, 11.15 a.m., auditorium of the Altes Gymnasium:
"Vergnügt zu dritt":
Marcia Hadjimarkos (Cluny), Diana Weston (Sydney) and Michael Tsalka (Shenzhen) play works 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 on harpsichords, clavichords and toy pianos.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg

28 June 2025, 5.00 pm, auditorium of the Altes Gymnasium:
You only hear what you know. Clavichord, harpsichord, toy piano and baroque cello explained in conversation and music.
Moderated discussion concert with Marcia Hadjimarkos (Cluny), Diana Weston (Sydney), Christiane Abt (Oldenburg), Angelika Bönisch (Oldenburg), Michael Tsalka (Shenzhen) and the instrument maker Dietrich Hein (Oldenburg); moderator: Kadja Grönke (Oldenburg). With music by Wilhelm Friedemann Bach, Padre Rafael Anglés, Elena Kats-Chernin, Violeta Dinescu, Wolfgang Amadeus Mozart, Johann Sebastian Bach, Charles Gounod and Markus Hansen. and Markus Hansen.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

25 June 2025, 7.30 pm, auditorium of the Altes Gymnasium:
Music for clavichord - yesterday and today.
Marcia Hadjimarkos (Cluny) plays works 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). As guest: Christiane Abt (Oldenburg), Toy piano.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

23 June 2025, 7.30 pm, auditorium of the Altes Gymnasium:
Fantasia, evening music and fairy tales. Works for one and two harpsichords from Johann Sebastian Bach to Christoph Keller.
Harpsichordists Diana Weston (Sydney) and Michael Tsalka (Shenzhen) play works for one and two harpsichords by Padre Vicente Rodrigez, Johann Sebastian Bach, Christoph Keller, Violeta Dinescu and Diana Blom on instruments by Dietrich Hein (Oldenburg).
Encore: Violeta Dinescu: Storybook Nr. 6 (UA)
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

6 June 2025, 7.30 pm, Lambertussaal in St. Lamberti:
"Cello solo through the ages".
Cellist Sergei Istomin (Ghent) in dialogue with Kadja Grönke and works for solo cello by Johann Sebastian Bach, Julius Klengel, Paul Hindemith and Violeta Dinescu.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music of St. Lambert's Church.

5 June 2025, 7.30 pm, St. Lamberti Church:
"The instrument makes the music".
Pianist Ziad Kreidy (Paris) and cellist Sergei Istomin (Ghent) in dialogue with Kadja Grönke and music by Frédéric Chopin, Peter Tchaikovsky, Wilhelm Fitzenhagen, Ziad Kreidy (world premiere) and Violeta Dinescu.
Instruments: historical concert grand piano by Pleyel (Paris) from 1857, restored by Piano Rosenkranz (Oldenburg); historical cello from Bohemia, around 1800.
Encore: Claude Debussy: Beau soir, arranged for cello and piano by Alexander Gretschaninow.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music at St. Lamberti.
Review of by Volkmar Stickan: NWZ, 11 June 2025.

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 and piano music by Frédéric Chopin, Déodat de Séverac, Edvard Grieg, Modest Mussorgsky, Ziad Kreidy and Violeta Dinescu.
Instrument: historical concert grand piano by Pleyel (Paris) from 1857, restored by Piano Rosenkranz (Oldenburg).
Encore: Erik Satie: Gymnopédie.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music at St. Lamberti.
Excerpts from the concert can be found on social media.

7 April 2025, 7.30 pm, event hall of the PFL:
"Hungarian Fantasy."
Pianist Erik Breer called Nottebohm (Dresden) plays and explains piano music on Hungarian themes by Ernő Dohnányi, Béla Bartók, Amy Beach and Violeta Dinescu.
Encore: Carl Philipp Emanuel Bach.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by by Horst Hollmann: NWZ,10.4.2025.

16 March 2025, 5.00 pm, St. Gertruden Chapel (corner of Nadorster Str./Alexanderstr.):
"Hildegard von Bingen: Medieval and contemporary sounds for Gertrudisnacht."
The musician Gaby Bultmann (Berlin) sings and plays music by Hildegard von Bingen and related new compositions by Andreina Constantini (world premiere), Violeta Dinescu and Mayako Kubo for voice, recorders, fiddle, sounding glasses, percussion and loops.
Encore: Violeta Dinescu: Abendandacht.
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music of St. Lamberti Church.
All donations went to the fund for the restoration of the medieval frescoes in St. Gertrude's Chapel.
Re-registering student from Pastor Tom Oliver Brok: "Dear Ms Grönke [...]. That was a musically wonderful and moving evening. [...] Thank you for finding the [Mariann Steegmann] Foundation as a sponsor, so that the proceeds [of the hat donations] will go to the chapel . [...] Kind regards, Tom Brok".
re-registering student Mayako Kubo under 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 unforgettable concerts."

2 March 2025, 5.00 pm, Jochen-Klepper-Haus of the Dreifaltigkeitskirche (Bremer Str. 28):
"Georg Philipp Telemann - a biography in sound".
Scenic concert for young and old with the Duo ChiaroScuro (Berlin).
Johanne Braun and Gaby Bultmann (recorders, transverse flute, baroque oboe, humming pot, baroque violin, harpsichord, vocals) play music by Georg Philipp Telemann and bring episodes from his autobiography to life.
Encore: Telemann: Bum, bum, bum, bum faranno i timpni
Organised by the Institute of Music in co-operation with the Association for Music Theatre Productions, the Cultural Office of the City of Oldenburg and the Church Music of the Holy Trinity Church.

15 February 2025, event hall of the PFL:
"History of the harp in word and sound".
Moderated discussion concert with Eva Bäuerle-Gölz (Münster), harp, and Barbara Overbeck (Münster), moderated by Barbara Overbeck, as well as works for solo harp by Guillaume de Machaut, Trad. Irish, Turlough O'Carolan, François-Joseph Nadermann, Michail Glinka, Pjotr Tschaikowsky, Alphonse Hasselmans, Marcel Tournier, Claude Debussy, Carlos Salzedo, Henry Mancini, Susann McDonald/Linda Wood, Gertraud Gorter, Deborah Henson Conant and Violeta Dinescu.
Encore:: Ank van Campen: Variations on a Welsh Carol.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.
Review by by Andreas R. Schweiberer: NZWZ, 19.02.2025

30 November 2024, event hall of the PFL:
"Of searching and finding: A musical research trip to the Liszt pupil Charlotte Blume-Arends."
Lecture talk and book presentation with music.
Music researcher Helmut Brenner (Meerbusch) in dialogue with Kadja Grönke and piano music by Franz Liszt, played by Erik Breer (Dresden).
Encore: Amy Beach: Waltz.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Association for Music Theatre Productions and the Cultural Office of the City of Oldenburg.

4 July 2024, Jochen-Klepper-Haus of the Dreifaltigkeitskirche:
"Bridge Arch."
Pianist Jascha Nemtsov plays and explains piano music from Poland and Ukraine by Frédéric Chopin, Władysław Szpilman, Jewgenia Jachnina, Matwej Gosenpud and Nikolaj Silwanski.
Encores: Frédéric Chopin: Nocturne in C sharp minor and Gustav Lewin: Caprice.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen and the Kirchenmusik der Dreifaltigkeitskirche.
Review by by Christoph Keller: NWZ, 5 July 2024.

30 June 2024, event hall of the PFL:
"Carl von Ossietzky today and composing at and for the Institute of Music". Final seminar presentation.
Students of the seminar of the same name by Kadja Grönke and Werner Barho will premiere nine new works created 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); Werner Barho and Christiane Abt play piano music by Gustavo-Becerra-Schmidt, Violeta Dinescu and Gertrud Meyer-Denkmann (UA).
Concert in the context of the university anniversary "50 years open for new paths".
Organised by the Institute of Music (Seminar Grönke/Barho) in co-operation with the Verein für Musiktheaterproduktionen.
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 in the "KlassikKultur" series, edited by Ralf Eismann.
Re-registering student: "Before we meet at the next concert in Osternburg on Thursday, I would like to thank you once again for the wonderful event last Sunday at the PFL. I was very impressed by the whole project you put together with your students. I was able to follow the various compositions very well, found the performances interesting and, above all, was really impressed by the young people, to whom Ch. Keller's piece at the end was a perfect match. This is the first time I have seen you present your work to the students and I can well understand and sympathise with your joy and commitment." (M. Möck)

22 June 2024, Aula of the University of Oldenburg:
Students of the seminar "Carl von Ossietzky heute" (Grönke/Barho) present compositions by Paul Mertens-Pavlowsky and Rucsandra Popescu as a pre-premiere for the dialogue concert on 30 June 2024.
Performance as part of the Institute concert as part of the university's anniversary "50 Jahre offen für neue Wege".
See: https: //uol.de/musik/50jahre.

2 March 2024, Jochen-Klepper-Haus of the Holy Trinity Church:
"Music in the Word: Schubert and Pushkin."
Paul Mertens (Berlin) plays 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. Grand piano: Kawai.
Encore: Franz Schubert.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen and the Kirchenmusik der Dreifaltigkeitskirche.

2 March 2024, Jochen-Klepper-Haus of the Holy Trinity Church:
"Musical childhoods: Leonardo da Vinci, Galileo Galilei and Johann Joachim Quantz."
Scenic (family) concert for young and old between the ages of 7 and 99 with the Duo ChiaroScuro (Johanne Braun and Gaby Bultmann), Berlin. Harpsichord: Dietrich Hein.
Encore: Thoinot Arbeau: Schwertertanz.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen and the Kirchenmusik der Dreifaltigkeitskirche.

9 January 2024, event hall of the PFL:
"In West and East: Prince Peter of Oldenburg as a composer".
Pianist Daniel Grimwood (Kent) in dialogue with Kadja Grönke and piano music by Prince Peter von Oldenburg, Adolph von Henselt and Peter Tchaikovsky/Paul Pabst on a modern Steinway grand piano.
Encores: Conor Linehan: Intermezzo and Franz Liszt: Chasse neige from: Etudes d'exécution transcendante.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen, the Department for Study Affairs/Research Learning at the University of Oldenburg and the Niedersächsisches Landesarchiv/Abteilung Oldenburg.
Review by by Andreas Schweiberer, NWZ 12.1.2024
Particularly nice re-registering student after the concert: "Hello Prof Grönke, that was a really great concert last night! My husband was delighted that I came home so radiant."
And better than any review are alert 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 bis you gave, which is called, if I got it correctly, Intermezzo [by Conor Linehan]. [...] let me describe you what I saw in front of my eyes when I heard this music. I am not a musician myself, just somebody who has a liking for playing the piano, and it always helps me to imagine something, to have some visual ideas to get in touch with the music being heart. And this is what unfolded in my brain listening to the intermezzo: I saw an open landscape in winter, bright with scattered waters in between, and temperature slowly falling below cero until everything which before was moving, shaking, flowing was now coming to a standstill, gradually freezing into not moving any longer, not in depressed mood or foreshadowing upcoming dark events however, but lit by glorious and glittering and optimistic sunshine. So thank you again - even if this is totally subjective - for this new music you presented in Oldenburg! With great respect, Yours Gudrun Gleba (a happy listener)"

21 November 2023, Forum St. Peter:
"Grete Wehmeyer: musicologist, pianist, power woman." 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 by Anna Schneider and piano music by Paul Hindemith, Anton Webern, Arnold Schönberg, Béla Bartók and Erik Satie, played by Werner Barho (Oldenburg). Grand piano: Yamaha.
Encore: Béla Bartók: Der Sackpfeifer.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen and the Department for Study Affairs/Research-based Learning at the University of Oldenburg.

30 October 2023, event hall of the PFL:
"From Oldenburg's music history. Piano music of the 19th century from and for Oldenburg on a historical grand piano by Érard from 1850".
The pianist and musicologist Thomas Synofzik (Zwickau) in dialogue with Kadja Grönke and piano music by Clara and Robert Schumann, Aloyse Pott, Albert Dietrich, Heinrich von Sahr, Prince Peter von Oldenburg and Johannes Brahms; on a historical Érard grand piano from 1850.
Encores: Prince Peter: Notturno and Heinrich von Sahr: Andante tranquillo from op. 3.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen and the Niedersächsisches Landesarchiv/Abteilung Oldenburg.
Review by Horst Hollmann, NWZ 1 November 2023, p. 13.
Interview with Ralf Eismann and Kadja Grönke about the concert on Oldenburg local radio station OEins on 23 October 2023 in the "KlassikKultur" series, edited by Ralf Eismann.
Particularly nice re-registering student after the concert: "Good evening, Ms Grönke, thank you once again for the successful evening. It is a real treasure that you have unearthed once again. It starts with the programme: all very interesting pieces and composers. I noticed in this context that most of the pieces were genuinely youthful works: 24 years, 29 years, 26 years, 21 years! (Brahms) and so on. That alone was exciting enough to listen to the emotional world of thought. All these pieces may not have had the virtuosity of a Chopin, but I think that's very appropriate when you consider who the pieces were written for: Performers as well as listeners. I think it was very well targeted, and with Clara Schumann (Arabeske 1868) I had to think of the fact that she had already been a widow for 12 years at the time of the performance in Oldenburg - but was still able to take her husband with her between the music covers. A somewhat melancholy but also enchanting performance.
The Allegretto by Heinrich von Sahr reminded me of a composition by my father. It was very emotional for me, but perhaps more about that on another occasion. ..
Then the interpreter: Thomas Synofzik performed his interpretations in a wonderfully timely manner. I asked him whether the arpeggios were his trademark or whether they were due to the performance technique of the 19th century. He then told me about the recording rolls of the century before last (I had already seen and heard such rolls in Bruchsal), on which you can follow the development of piano performances very nicely. Another "shining star" of the evening.
And finally, Érard's grand piano. There's not much more to say about it. Simply brilliant in sound. And in combination with the performance technique, the differences and characteristics of tone colour and dynamics came out particularly clearly.
I experienced this evening intensively on several levels at the same time. And there are certainly a few more things that could be added. I wish the other listeners that the evening was also a special experience for them.
I look forward to the next dialogue concert,
Yours, Carl-Mathias Wilke"

15 August 2023, event hall of the PFL:
"Lisztiana".
Pianist Daniel Grimwood (Kent) in dialogue with Kadja Grönke and piano music by Franz Liszt, Adolph von Henselt, Sophie Menter, William Sterndale Bennett and Juliusz Zarebski; on a historic Érard grand piano from 1850.
Encores: L. Hardtberg: Egg Polka and Adolph Henselt: Wiegenlied.
Organised by the Institute of Music/Seminar Grönke in co-operation with the Verein für Musiktheaterproduktionen, the Adolph-Henselt-Gesellschaft e. V., the Tschaikowsky-Gesellschaft e. V. and Piano Rosenkranz.
Review by Volker Stickan, NWZ 16 August 2023.
Advance notice in several newspapers and on Oldenburg local radio station OEins on 14 August 2023 in the "KlassikKultur" series, edited by Ralf Eismann.
Recordings of the works by Liszt and Henselt on YouTube.

4 July 2023, Holy Trinity Church:
"Like the birds of the sky" (Double programme booklet together with the composers' colloquium on 2 July 2023).
Recorder player Luisa Klaus (Bremen) and harpsichordist Michael Tsalka (Shenzhen/The Chinese University of Hong Kong) with solo and duo works by Jean-Baptiste de Bousset and François Couperin as well as world premières based on Bousset's work by Violeta Dinescu (Oldenburg), Christoph Keller (Oldenburg), Paul Mertens-Pavlowsky (Berlin) and Roberto Reale (Hanover). Harpsichord: Dietrich Hein.
Encore: Bousset/Hotteterre: Rossignol vainqueur.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen and the Kirchenmusik der Dreifaltigkeitskirche.
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 about the three events on 2 and 4 July 2024 on Oldenburg local radio station OEins on 26 and 29 June 2023 in the "KlassikKultur" series, edited by Ralf Eismann.

2 July 2023, event hall of the PFL:
"Birds over Oldenburg. New music for recorder and harpsichord."
Composers' colloquium/concert talk for the dialogue concert "Like the birds of the sky" on 4 July 2023.
Recorder player Luisa Klaus (Bremen), harpsichordist Michael Tsalka (Shenzhen/The Chinese University of Hong Kong) as well as Violeta Dinescu and Christoph Keller (composition) and Dietrich Hein (instrument maker) in dialogue with Kadja Grönke. Grand piano: Steinway.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen.

2 July 2023, event hall of the PFL:
"From nightingale to night owl". A children's and family concert on the theme of "birds" for young and old from 4 to 99 years.
The recorder player Luisa Klaus (Bremen) and the harpsichordist Michael Tsalka (Shenzhen/The Chinese University of Hong Kong) with music by François Couperin, Violeta Dinescu and Paul Mertens-Pavlowsky. Moderation: Johannes Dörr (University of Oldenburg/Seminar Grönke) and Kadja Grönke. Grand piano: Steinway.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen.

21 and 22 January 2023, 19:30 and 16:00 respectively in the Jochen-Klepper-Haus of the Dreifaltigkeitskirche:
"'My sister was at the harpsichord all day'". Scenic concert for young and old on the childhood and life of the composers Hildegard von Bingen, Francesca Caccini, Wilhelmine von Bayreuth and Anna Amalie von Preußen. Harpsichord: Dietrich Hein.
The Duo ChiaroScuro (Johanne Braun and Gaby Bultmann, Berlin) as guests at the dialogue concerts.
The programme was published on 21 January 2023 as a 90-minute version (for everyone, including families) and on 22 January 2023 as a 60-minute version. January 2023 as a 60-minute version (mainly for children).
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen and the Kirchenmusik der Dreifaltigkeitskirche.
Review by by Horst Hollmann, NWZ 23 January 2023, p. 12

25 October 2022, event hall of the PFL:
"Facets of love".
Mezzo-soprano Beth Taylor (Glasgow) and pianist Marcia Hadjimarkos (Cluny) in dialogue with Kadja Grönke and songs by Ludwig van Beethoven, Alma Mahler, Hector Berlioz, Claude Debussy, Erik Satie and Marguerite Monnot. Grand piano: Steinway.
Encore: Ralph Vaughan Williams: Orpheus with his lute.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen.

17 October 2022, event hall of the PFL:
"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 and music by Myriam Marbe, Violeta Dinescu and other composers from Romania. Grand piano: Steinway.
Encore: Violeta Dinescu: Liebeszauber (UA)
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen.
Review by by Horst Hollmann, NWZ, 19 October 2022, p. 13.
Poster of the CD release tour Paris, Oldenburg, Iași, Bucharest.
> The CD created for the project was awarded the National Romanian Cultural Fund Prize on 15 May 2023. As one of 43 projects submitted, 10 of which were honoured, the CD won in the "International Cultural Cooperation" category! Here is a photo of the award ceremony broadcast live on the Romanian cultural TV channel TVR Cultural. From left to right: Ștefan Costache (communication specialist), Monica Isăcescu (project manager) and Laura Tătulescu (soprano).

13 June 2022, event hall of the PFL:
"Roots and wings. Piano music by composing pianists".
Pianist Daniel Grimwood (Kent) in dialogue with Kadja Grönke and music by Felix Blumenfeld, Frédéric Chopin, John Field, Michail Glinka, Adolph von Henselt, Sofie Menter, Sergei Rachmaninov, Anton Rubinstein and Pyotr Tchaikovsky. Grand piano: Steinway.
Encores: Picforth: In nomine (1520) for viola consort, for piano solo by Daniel Grimwood and Alexander Levine: Simply Sky from Sentimental Values.
Organised by the Institute of Music/Seminar Grönke/Barho ("History of Russian Piano Music"), in co-operation with the Verein für Musiktheaterproduktionen, the Forum St. Peter, Der Henselt-Gesellschaft e. V. and the Tschaikowsky-Gesellschaft e. V.
Review by hristoph Keller, NWZ, 15 (online) and 16 (print) June 2022.

8 June 2022, Forum St. Peter:
"Tchaikovsky 2022 - André Parfenov in dialogue with scores by Tchaikovsky". Workshop concert.
The Duo Parfenov (Mönchengladbach; Iuliana Münch, violin, and André Parfenov, piano) plays Tchaikovsky arrangements and adaptations by André Parfenov in dialogue with original works by Tchaikovsky. Grand piano: Yamaha.
Encore: Anrdré Parfenov: Tango.
Organised by the Institute of Music/Seminar Grönke/Barho ("History of Russian Piano Music"), in co-operation with the Verein für Musiktheaterproduktionen, the Forum St. Peter and the Tschaikowsky-Gesellschaft e. V.

19 May 2022, Forum St. Peter:
"Children's worlds. Eastern European piano music for children from Joseph Achron to Mieczysław Weinberg - and Tchaikovsky is there too".
The pianist and musicologist Prof. Jascha Nemtsov (Berlin/Weimar) in dialogue with Kadja Grönke and music by Elena Gnessina, Joseph Achron, Lazare Saminsky, Dmitri Shostakovich, Mieczysław Weinberg and Peter Tchaikovsky. Concept: Kadja Grönke. Grand piano: Yamaha.
Encore: Tchaikovsky: Mama from Kinderalbum op. 35.
Organised by the Institute of Music/Seminar Grönke/Barho ("History of Russian Piano Music"), in co-operation with the Verein für Musiktheaterproduktionen, the Forum St. Peter and the Tschaikowsky-Gesellschaft e. V.
Review by Horst Hollmann, NZW 21 May 2022.

24 February 2022, St. Lamberti Church Oldenburg:
"Romantic nature".
Ziad Kreidy (Paris) plays piano music from the Romantic period by Robert Schumann, Hermann Goetz and Stephen Heller on a historically appropriate grand piano from the French piano manufacturer Pleyel from 1847.
Encore: Frédéric Chopin: Nocturne.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Association for Music Theatre Productions, the Church Music of St. Lambert's Church and Piano Rosenkranz.
Reviewby Volker Stickan, NWZ 26 Feburary 2022 .
And the musical part in full length on Youtube!

11 February 2020, Holy Trinity Church:
"A dieu & mon amour".
Axel Weidenfeld (baroque lute and theorbo; Oldenburg) and Luisa Klaus (recorders; Bremen) with 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 Grönke, in co-operation with the Verein für Musiktheaterproduktionen and the Kirchenmusik der Dreifaltigkeitskirche.

4 February 2020, Forum St. Peter, Oldenburg:
"Melodrama and related genres". Moderated final seminar concert.
Students of the University of Oldenburg, Christoph Keller (piano; Oldenburg), Paul Mertens (piano; Berlin), Kadja Grönke (concept and moderation) and music by Franz Liszt, Franz Schubert, etc. Concept: Kadja Grönke. Grand piano: Yamaha.
Encore: Franz Schubert: Abschied von der Erde.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Forum St.Peter (as a final presentation of the seminar "Melodrama" at the University of Oldenburg).

28 January 2020, Marble Hall of the castle:
"The magic of the clavichord: keyboard music of the 18th century on three historical instruments".
Pianist Marcia Hadjimarkos (Cluny/France) in dialogue with Kadja Grönke and music of the 18th century, played on instruments by Tieffenbrunn (Copenhagen 1796), Schmahl (Regensburg 1794) and Friedrici (Oldenburg 2019 copy).
Encores: Nicholas Joseph Hüllmandel: Sonata and a piece by Michel-Paul-Guy de Chabanon.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen and with the instrument maker Dietrich Hein (as the final concert of the "Clavichord" workshop at the University of Oldenburg).
Review by Hort Hollmann, NWZ 31 January 2020
Preliminary report, NWZ 25 January 2020.

5 November 2019, 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 Grönke, in co-operation with the Verein für Musiktheaterproduktionen.

1 July 2019, Library Hall of the University, Oldenburg:
"Jewish musical worlds". Talk concert.
The pianist and musicologist Prof Jascha Nemtsov (Weimar/Berlin) and music by Juliusz Wolfsohn, Joseph Achron, Lazare Saminsky, Alexander Weprik, Joachim Stutschewsky, Jakob Schönberg and Viktor Ullmann. Grand piano: Yamaha.
Encores: Alexander Weprik, from: 3Jewish Folk Dances and Arthur Lourié: Waltzes.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen.

23 June 2019, auditorium of the Altes Gymnasium Oldenburg:
"Tchaikovsky's cellists".
Concert with the pianist Michael Tsalka (Valencia) and the cellist Sergei Istomin (Ghent) and music by Peter Tchaikovsky, Karl Davydov, Wilhelm Fitzenhagen, Anatoli Brandukov and Carl Eduard Schuberth. Grand piano: Steinway.
Encore: Anton Rubinstein: Melodie.
Organised by the Tchaikovsky Society in co-operation with the University/Institute of Music/Seminar Grönke (as part of the 26th Annual Meeting of the Tchaikovsky Society). Concept: Kadja Grönke.

22 June 2019, auditorium of the Altes Gymnasium Oldenburg:
"An evening for Tchaikovsky's patron Mrs von Meck". Concert with reading.
Concert with the pianists Michael Tsalka (Valencia) and Paul Mertens (Berlin), the cellist Sergei Istomin (Ghent), the soprano Stephanie Kühne (Oldenburg) and recitations by Valérie Guillaume (Hamburg), Ronald de Vet (Netherlands) and Kadja Grönke (Oldenburg) and music by Peter Tchaikovsky, Anton and Nikolai Rubinstein, Claude Debussy, Adolph Henselt, Adele aus der Ohe, Sophie Menter, Władysław Pachulski and Karl Davydov as well as verses from Eugene Onegin by Alexander Pushkin in various languages. Grand piano: Steinway.
Encore: Pushkin: Eugene Onegin Ch. I/1-2
Organised by the Tchaikovsky Society in co-operation with the University/Institute of Music/Seminar Grönke (as part of the 26th Annual Meeting of the Tchaikovsky Society e. V.). Concept: Kadja Grönke.

14 May 2019, Library Hall of the University of Oldenburg:
"In dialogue with Bach: composing in the camp".
Discussion concert by pianist and musicologist Prof. Jascha Nemtsov (Weimar/Berlin) with music by Wsewolod Saderazki, Viktor Ullmann and Gideon Klein. Grand piano: Steinway.
Encore: Władysław Szpilman: Mazurka.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Association for Music Theatre Productions (as part of the conference "Music in Soviet Prison Camps (GULag)" on 13 and 14 May 2019 at the University of Oldenburg)

29 January 2019, 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; on a modern Yamaha grand piano.
Encore: Paul Hindemith: Fünftonstück.
Organised by the Institute of Music/Seminar Grönke and Seminar Abt, in co-operation with the Forum St. Peter (as the final concert of the workshop "Paul Hindemith's piano cycle 'Ludus tonalis'" at the University of Oldenburg).

12 November 1918, auditorium 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 and music by Ignaz Moscheles, Yehezkel Braun, Paul Ben Haim, Menachem Zur and Marc Lavri; on a modern Steinway grand piano.
Encore: Marc Lavri: Sher from 3 Jewish Dances (No. 1).
Organised by the Institute of Music/Composers' Colloquium, in co-operation with the Association for Music Theatre Productions.

7 November 2018, Marble Hall in Oldenburg Castle:
"The glass harmonica. Dennis James (USA) presents his instrument". Talk concert.
The 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.

6 November 2018, Library Hall of the University of Oldenburg:
"Attention curiosity! Music for glass harmonica and harpsichord through the ages".
Harpsichordist Michael Tsalka (Valencia) and glass harmonica player Dennis James (USA) with 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-Boayd, Apasia Nasopoulou.
Organised by the Institute of Music/Seminar Grönke, in co-operation with the Verein für Musiktheaterproduktionen (in conjunction with the workshop "Cembalo und Glasharmonika" at the University of Oldenburg). Concept: Kadja Grönke.

5 November 2018, library hall of the University of Oldenburg:
"Women composing - from the Baroque to the present day".
The pianist Michael Tsalka (Valencia) in dialogue with Kadja Grönke and 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; on a modern Steinway grand piano.
Encore: Aloyse Pott: Impromptu.
Organised by the Institute of Music/Colloquium of Composers, in co-operation with the Verein für Musiktheaterproduktionen.

15 October 2018, concert hall of Piano-Rosenkranz:
"Night pieces".
Pianist Kristian Nyquist (Mannheim/Karlsruhe) in dialogue with Kadja Grönke and nocturnes by Frédéric Chopin, John Field and Carl Czerny; on two historically appropriate instruments from the French piano manufacturer Pleyel: upright piano from 1832 and grand piano from 1857.
Encores: Frédéric Chopin: Funeral March from Piano Sonata No. 2 (piano) and Mazurka (grand piano)
Organised by the Institute of Music/Composers' Colloquium, in co-operation with Piano-Rosenkranz.

27 August 2018, auditorium 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 and music by Claude Debussy, Maurice Ravel, Erik Satie, Cécile Chaminade, Francis Poulenc and Igor Stravinsky; on a modern Steinway grand piano.
Encore: Ottorino Respighi: Pini della villa Borghese.
Organised by the Institute of Music/Colloquium of Composers, in co-operation with the German Tonkünstlerverband.

28 May 2018, concert hall of Piano-Rosenkranz:
"Claude Debussy, musicien français". On the 100th anniversary of the death of the composer Claude Debussy".
The pianist Werner Barho (Bremen/Oldenburg) in dialogue with Kadja Grönke and music by Claude Debussy, Maurice Ravel, Lili Boulanger, Francis Poulenc and Olivier Messiaen; on a historically accurate Steinway grand piano from 1917.
Encore: Gian Franco Mallipiero: Hommage from the collection album Le tombeau de Claude Debussy.
Organised by the Institute of Music/Colloquium of Composers, in co-operation with Piano-Rosenkranz (as part of the seminar "French Piano Music" at the University of Oldenburg).

16 January 2018, concert hall of Piano-Rosenkranz:
"Autour d'Erik Satie - all about Erik Satie".
Pianist Marcia Hadjimarcos (France/USA) in dialogue with Kadja Grönke on piano music by Erik Satie, Philip Glass, John Cage, Chick Corea, Francis Poulenc, Igor Stravinsky and Claude Debussy; on a Steinway grand piano from 1917.
Encore: Erik Satie: Gymnopédie no. 1
Organised by the Institute of Music/Colloquium of Composers, in co-operation with Piano-Rosenkranz.

15 January 2018, concert hall of Piano-Rosenkranz:
"Schumann Scenes".
Marcia Hadjimarkos (France/USA) in dialogue with Kadja Grönke and music by Robert Schumann and Hélène de Montgeroult; on a historically accurate grand piano by the French piano manufacturer Pleyel from 1857.
Encore: Hélène de Montgeroult: Étude no. 8.
Organised by the Institute of Music/Composers' Colloquium, in co-operation with Piano-Rosenkranz.

20 November 2017, concert hall of Piano-Rosenkranz:
"Sevilla, Granada, Aragon: Spanish music for mandolin and piano".
Pianist Michael Tsalka (Valencia) and mandolinist Alon Sariel (Hanover) in dialogue with Kadja Grönke and music by Isaac Albéniz, Enrique Granados, Pauline Viardot-Garcia, Francisco Tárrega, Manuel de Falla and Paul Ben Haim; on a historic grand piano from the French piano manufacturer Érard from 1850.
Encore: Carmen Fantasy.
Organised by the Institute of Music/Colloquium of Composers, in co-operation with Piano-Rosenkranz.

23 October 2017, concert hall of Piano-Rosenkranz:
"New piano music for children".
Werner Barho (Bremen/Oldenburg) and students from the University of Oldenburg in dialogue with Kadja Grönke and piano music by Dmitri Shostakovich, Dmitri Kabalevsky, Bela Bartók, György Kurtág, Violeta Dinescu and others on a Steinway grand piano from 1917. Concept: Kadja Grönke, Werner Barho.
Encore: Dmitri Kabalewski: Novellette op. 27/5
Organised by the Institute of Music/Seminar Grönke&Barho, in co-operation with Piano-Rosenkranz (final presentation of the seminar "New Piano Music for Children" at the University of Oldenburg).

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

27 February 2017, Library Hall of the University of Oldenburg.
"Rarities: Music for baritone and piano trio".
The composers Paul Mertens-Pavlowsky (Berlin) and Christoph Keller (Oldenburg) in dialogue with Kadja Grönke and the piano trio Panta rhei (Cologne), the baritone Volker Mertens (Niederkrüchten) and music by Paul Mertens-Pavlowsky (world premiere), Christoph Keller (world premiere) and Dmitri Shostakovich. Concept: Kadja Grönke.
Organised by the Institute of Music/Colloquium of Composers, in co-operation with the German Tonkünstler-Verband.
Review by by Horst Hollmann, NWZ, 1 March 2017.

28 November 2016, concert hall of Piano-Rosenkranz:
"Friends - Colleagues - Rivals".
The pianist Michael Tsalka (Israel/Spain) in dialogue with Kadja Grönke and music by Franz Liszt, Frédéric Chopin, Felix Mendelssohn Bartholdy, Ferdinand Ries, Clara Wieck-Schumann and Pauline Viardot-Garcia; on a historically accurate grand piano by the French company Érard from 1850.
Encore: Johann Nepomuk Hummel: Sonata (together with mandolinist Alon Sariel).
Organised by the Institute of Music/Colloquium of Composers, in co-operation with Piano-Rosenkranz.

17 October 2016, concert hall of Piano-Rosenkranz:
"Tchaikovsky - Reflections à la russe".
Pianist Erik Breer (Neuss) in dialogue with Kadja Grönke and music by Peter Tchaikovsky, Frédéric Chopin, Robert Schumann, Sergei Rachmaninov and György Ligeti; on a Steinway grand piano from 1917. Concept: Kadja Grönke.
Encore: J. S. Bach: Fugue in F sharp minor from the Well-Tempered Clavier Vol. II.
Organised by the Institute of Music/Composers' Colloquium, in co-operation with Piano-Rosenkranz and the Tchaikovsky-Gesellschaft e. V.

4 July 2016, Library Hall of the University of Oldenburg:
"Hommage à Franz Schubert".
The pianist Julia Vaisberg (Cologne), the baritone Volker Mertens (Niederkrüchten) and the pianist and composer Paul Mertens-Pavlowsky (Berlin) in dialogue with Kadja Grönke and music by Franz Schubert, Franz Liszt, Anselm Hüttenbrenner, Peter Tchaikovsky, Gabriel Fauré, Gustav Mahler, Johannes Brahms and Paul Mertens-Pavlowsky (world premiere); on a modern Steinway grand piano. Concept: Kadja Grönke.
Encore: Schubert/Rellstab: Die Taubenpost.
Organised by the Institute of Music/Composers' Colloquium.

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

21 January 2016, auditorium of the Altes Gymnasium Oldenburg.
"On the threshold of modernity. On the 100th anniversary of the death of the Russian composer Alexander Scriabin."
The pianists Christoph Keller (Oldenburg) and Werner Barho (Bremen/Oldenburg) in dialogue with Kadja Grönke and piano music by Alexander Scriabin; on a modern Steinway grand piano. Concept: Kadja Grönke.
Organised by the Institute of Music/Colloquium of Composers, in co-operation with the German Tonkünstlerverband.

23 November 2015, concert hall of Piano-Rosenkranz:
"Fire".
Pianist Werner Barho (Bremen/Oldenburg) in dialogue with Kadja Grönke and piano music by Alexander Scriabin, Luciano Berio, Arthur Lourié and Claude Debussy; on a historically accurate Steinway grand piano from 1917.
Encore: Leoš Janáček: They chattered like the Swabians, from Auf verwachsenem Pfad.
Organised by the Institute of Music/Composers' Colloquium, in co-operation with Piano-Rosenkranz.

9 November 2015, concert hall of Piano-Rosenkranz:
"Sonare".
Pianist Raluca Stirbat (Vienna) in dialogue with Kadja Grönke on piano music by George Enescu; on a historically accurate 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 celebratory concert to mark the 20th anniversary of the Composers' Colloquium at the University of Oldenburg).