Philipp von Steinaecker is represented by Rayfield Allied Worldwide.

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Philipp von Steinaecker


  • Steinaecker has a keen ear for Haydn’s miraculously inventive orchestration and secures lively, stylistically assured playing from his cosmopolitan period band
  • He has the gift of originality and it will be interesting to hear him again
    Corriere della Sera
  • Philipp von Steinaecker directed flawlessly
    Giornale della Musica
  • von Steinaecker was able to balance the orchestra well, combining delicacy and lyricism and blending the vocal part and the instrumental part beautifully
    La Voce
  • Founder and Director Musica Saeculorum

    Philipp von Steinaecker was the first recipient of the Orchestra of the Age of Enlightenment’s Melgaard Young Conductor position.  Since then he has had broad experience as a guest conductor with many orchestras and feels equally at home in the German romantic repertoire as in the music of the Second Viennese School. He is also passionate about baroque and classical music and has a profound stylistic understanding for both which led to him founding his own period instrument orchestra Musica Saeculorum.

    Originally trained as a cellist he grew up in Hamburg and later studied with Harvey Shapiro at the Juilliard School in New York and Christophe Coin at the CNSM in Paris. He worked extensively with Claudio Abbado as a founding member of the Mahler Chamber Orchestra and at the Lucerne Festival Orchestra, and with Sir John Eliot Gardiner in the Orchestre Révolutionaire et Romantique. Both conductors have been an important inspiration to him and have had a strong influence on his musical development.

    Philipp von Steinaecker studied conducting with Mark Stringer at the Vienna University for Music. Upon completion of his time as young conductor at the Orchestra of the Age of Enlightenment he assisted Sir John Eliot Gardiner on two opera productions at the Opéra Comique.  He was the assistant of Claudio Abbado who invited Philipp to replace him on several occasions as well as to share the stage with him at the helm of his Orchestra Mozart.  He has collaborated with many leading instrumental soloists and singers, including Camilla Tilling, Dorothea Röschmann, Isabelle Faust, Guy Braunstein, Daniel Müller-Schott, Fazil Say, Sara Mingardo, Andrew Staples, Camilla Tilling, Mia Person, Hanno Müller Brachmann and Boris Belkin.

    With Musica Saeculourm he has appeared at the Internationale Barocktage Stift Melk in Austria and conducted Bruckner First Symphony at the Kölner Philharmonie.  Projects with the ensemble included John Passion at the Essen Philharmonie and the Easter Festival in Aix-en-Provence and at the invitation of Sir John Eliot Gardiner, Haydn’s Il Ritorno di Tobia at the Anima Mundi Festival in Pisa as well as projects in Ferrara and in their home location of Bolzano with repertoire that includes Strauss Ariadne auf Naxos (on instruments of 1916). The group already has an impressive discography including recordings of Handel’s Messiah, Haydn’s Creation  (nominated for International Classic Music Award 2015), Bruckner’s Symphony N.1, Mahler Das Lied von der Erde and a CD with arrangements for Salon Orchestra.

    Recent and current highlights this season include return engagements with the Swedish Radio Symphony Orchestra, New Japan Philharmonic, Slovenian Philharmonic, Orchestra Mitteleuropa, Fondazione Toscanini di Parma and debuts with Orchestra dell’Arena di Verona, Residentie Hague Philharmonic and Prague Philharmonia, Jeune Orchestre de L’Abbaye de Saintes and Kammerphilharmonie Graubünden. Other highlights have included engagements with the Orchestra Mozart (Bologna), Camerata Salzburg, Orchestra del Teatro Comunale di Bologna, Orchestra della Toscana, Orchestra Haydn di Bolzano, Orchestra da Camera di Mantova, Orchestra di Padova e del Veneto, Orchestra del Friuli-Venezia-Giulia, the Filarmonica di Torino and the Kristiansand Symphony Orchestra.  He also conducted a critically acclaimed production of Gounod’s La Colombe at the Chigiana in Siena.


    • Bach St John Passion / Musica Saecolorum
      Aix-en-Provence Festival de Pâques, March 2016

      the formidable Philipp von Steinaecker opted for a sober vision of the work. No germanic decorum as it’s often the case with this Passion, no inclination for superfluousness of any kind. This conductor prefers to show rather than having to prove a point [...] Other beautiful versions of the piece exist on recording, especially those by Herreweghe and Pierlot. But it needs to be said again how much universal consciousness Philipp von Steinaecker’s work achieved. Remarkable!
      La Provence
      The traditional Passion by Bach illuminates the Grand Theatre [...] a very lutheran account of the work by the choir, the orchestra Musica Saeculorum and their conductor Philipp von Steinaecker. An austere reading by this conductor [...] Philipp von Steinaecker’s Bach is nordic rather than influenced by italy. This Passion is more restrained, less theatrical and yet passionate through and through from the magnificent opening chorus to the moving final chorus.
      La Marseillaise
    • The Magic Flute / Fondazione Arena di Verona
      Teatro Filarmonico di Verona, November 2015

      Following an admirable rendition of Strauss’ Zarathustra a few months ago, Philipp von Steinaeker proves himself to be a Mozartian conductor of high calibre, with incisive and sustained tempi, successfully supported the Orchestra of the Arena di Verona.
      Gianni Villani, L’Arena
      Led by Philipp von Steinaecker, The orchestra produced a very deep and rich sound, with convincing dynamics, appropriate for the various scenes; in one word, brilliant.
      Maria Teresa Giovagnoli, MTG Lirica
      Conductor Philipp von Steinaecker chose fast tempi but didn’t rush, thus allowing us to enjoy more colour and nuances than what is normally the case nowadays. The solemn and sublime style is outlined very well in the effective eloquence of the phrasing.
      Cesare Galla, Il Corriere Musicale
    • Haydn The Creation
      Fra Bernardo (FB1301272)

      For obvious commercial reasons, recordings of The Creation in English are still rare.... this new version derives from a performance in the South Tyrol, directed by the young German conductor Philipp von Steinaecker. .... From the opening evocation of the primeval void, Steinaecker has a keen ear for Haydn’s miraculously inventive orchestration and secures lively, stylistically assured playing from his cosmopolitan period band. ..... The all-English chorus .... is lithe and youthfully fresh of tone, topped by a gleaming soprano line. Tenors and basses are incisive without ever bawling (the tenors’ leap to a top A near the climax of ‘The Heavens are telling’ rings out thrillingly); ... the singers clearly articulate Baron van Swieten’s quaint, Milton-inspired text, touched up at some of its more nonsensical moments. ... The long Adam-and-Eve love duet is a delight, lyrically intimate at the opening, eager and impulsive in the Allegro, frolicking, chortling woodwind to the fore. I’m glad to have heard this new recording....
      Gramophone 09/2014
    • Brixen Sommerfestival / Musica Saecolorum
      Schütz Musikalische Exequien

      In these sacred surroundings Musica Saeculorum under their sensitive conductor Philipp von Steinaecker turned this concert into a mystic evolution of the mass. Von Steinaecker's Interpretation of Schütz's "Musikalische Exequien" is as pure as the fresco of a Pietà. His wonderful singers and continuo players carry the text with refined sound culture and the solos blossom sweetly over the beautifully discreet continuo. Especially in the ensembles it's as though the music's grief was carried together with the audience who become the procession of mourners, sharing this compelling experience in eternal piece and unforgettable enthusiasm
      Dolomiten 16.7.2013
      Philipp von Steinaecker conducted his excellently trained Choir Musica Saeculorum in Schütz's "Musikalische Exequien" and it was a performance of moving intensity. Von Steinaecker possesses a profound understanding of the baroque musical language and knows how to turn this music into an experience. The theological content of the text might be a closed book to our sober modern times, but it is in performances like this that one senses how alive the connection between composer and his subject once was.
      Tageszeitung 16.7.2013
    • La Colombe, Orchestra della Toscana
      Settimana Musicale Senese, 9 July 2013

      Conductor Philipp von Steinaecker was able to balance the orchestra well, combining delicacy and lyricism and blending the vocal part and the instrumental part beautifully
      La Voce
      Philipp von Steinaecker’s gestures were well articulated
      La Repubblica
      Philipp von Steinaecker directed flawlessly
      Giornale della Musica
      the confident Philipp von Steinaecker, who entertained with such grace, such musical merriment and made the audience smile in front of an unknown work in Italy – performed here for the first time - but what subtle spirit, what wit and what beautiful music!
      Città Nuova
      Philipp von Steinaecker demonstrated absolute mastery of the score and had a successful connection with the stage
      Corriere di Siena
  • Photos