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Sa. 29.04.2017 / Freiburg / Konzerthaus
Mo. 01.05.2017 / Munich / Philharmonie
Tu. 02.05.2017 / Vienna / MuseumsQuartier Halle E
Th. 04.05.2017 / Berlin / Admiralspalast
Fr. 05.05.2017 / Leipzig / Haus Auensee
Sa. 06.05.2017 / Essen / Colosseum
Mo. 08.05.2017 / Cologne / Gürzenich
Tu. 09.05.2017 / Stuttgart / Beethovensaal
Th. 11.05.2017 / Frankfurt / Alte Oper
Fr. 12.05.2017 / Zurich / Theater 11
Su. 14.05.2017 / Mannheim / Rosengarten
Mo. 15.05.2017 / Hamburg / Laeiszhalle
Tu. 16.05.2017 / Hannover / Theater am Aegi



Arranging Daft Punk’s « Aerodynamic » with violin, cello and piano and reviving Antonio Vivaldi’s « Winter » with electronic sounds and beats? Oh yes they did!

The internationally based electro-classical project SYMPHONIACS refuses to be categorized; with its futuristic classical-meets-club mix, SYMPHONIACS brings together two genres which at first glance might seem an unlikely pair, but with the help of the project’s visionary sound, century-old tradition is awakened and given new life – welcome to the future!

Behind the name SYMPHONIACS is Berlin based producer, composer and electronic artist Andy Leomar, a trained classical pianist who has celebrated international success in the pop music scene and during regular stays in Los Angeles has also written for American film and television productions.

With SYMPHONIACS, Leomar had the idea to bring together young classical virtuosi rebels from all over the world, to whom the combination of classical music and hot dance tunes isn’t a contradiction  but rather an inspirational fusion. Acting as a sort of « new conductor », Leomar directs the classical ensemble of violinists, cellists and pianists on stage whilst completing the musical experience using sequencers, synthesizers and drum machines to add electronic sounds and beats.

Living proof that classical music can be fun and have an outstanding effect in a club environment. Dancing, celebrating, letting loose and sweating to Robin Schulz and Martin Garrix as well as Johann Sebastian Bach and Antonio Vivaldi!


SYMPHONIACS, however, should not be considered a band or ensemble in a conventional sense, but rather as an ever-expanding pool of outstanding classical musicians. A musical progression, a creative movement of today’s biggest talents, who don’t discriminate between classical and electronic music and are passionate about creating something completely new.

A literal « club of visionaries from all over the world » — a global network of soloists from all major international cities around the globe: New York, London, Moscow, Copenhagen, Budapest, Vienna and Berlin to name a few… A musical think-tank whose members are unified by a shared passion: to defy borders with their dance-worthy symphonic electro-madness and blaze new paths in music.

SYMPHONIACS loves the fracture, the creative friction, and the challenge, and isn’t afraid to break away from conventions and banish limitations. In the forthcoming album « SYMPHONIACS », we’re taken in both directions: on one hand, contemporary club tracks are orchestrated with classical instrumentation, and on the other, classical pieces are transported into the here and now with all their sympathy and feeling left in-tact. Cool entertainment without the serious classical setting!

Organic acoustic sounds meet synthetic beats and loops, and euphoric dance hooks are fused with classical instrumentation.


SYMPHONIACS elevates Vivaldi’s « Four Seasons » to an electronic groove and refines Robin Schulz’s massive hit « Prayer in C » into a symphonic pop-song as refreshing and elegant as a sip of fizzy champagne.

This clash of sound from completely newly arranged club music with classical expression unfurls its power not just on the recording, but as a live experience as well. Whether in a club or classical concert hall – SYMPHONIACS tears audiences out of their seats with their classical-meets-club tracks regardless of location! The dress code: cool casual streetwear instead of black ties and evening gowns.

Because SYMPHONIACS is much more than just music: it’s a philosophy. A lifestyle. The future.


An interview with the man behind Symphoniacs, Andy Leomar


How and when did the idea for the “classic meets club sound” of Symphoniacs come to you?

It came about three years ago. I’m a classically trained pianist and tonmeister, and after my studies at the University for Music and Performing Arts in Vienna, I started producing pop music and remixing dance music. I thought to myself, it would be so great to bring these two strictly separated worlds of classical and dance music together. I looked for ways to make classical more attractive to a younger audience and how I could combine it with electronic music.

»I try to bring this rough feeling that radiates from Berlin into the music. «

What do club and classical music have in common?

Both are determined by emotion: quiet moments are followed by euphoric highlights. Only the sound constellations are different. Classical music has a tradition that has matured over centuries and influenced western culture and identity. Almost everything that is happening in music today is based on fragments that emerged from the classical period. Electronic music follows basically the same sound structures that were used by Bach. Without classical music, not only would the existence of pop and electro be unthinkable, but almost any other musical genre as well.

» Every piece presents a new experiment and no one knows in beforehand if the fusion will work or not.«

What was the artistic approach to Symphoniacs?

Classical music has been remixed before—occasionally someone adds a beat under the track and that’s pretty much it. I wanted to go one step beyond that so I recorded all the pieces with a brand new approach to remixing– a way that electronic loops could meet classical forms of expression. I love electro and dance acts like Daft Punk and Robin Schulz and I was interested in how electronic samples or fat synth sounds would sound over plucked strings. I didn’t just experiment with both music genres, but with various ways to produce new acoustic sounds and use unusual playing techniques, too.

Was keeping classical music alive a mission?

That was part of it. I primarily wanted to create something that no one had heard before. There are many classical musicians who work so hard to get to this insanely high skill level, but virtuosity is so seldom found in today’s pop and dance music. It’s an amazing thing to be able to inspire young classical soloists with something new. And through this mix of electronic sounds and beats we compliment the classical instrumentation and bring it into a new dimension.

Symphoniacs is a global network of young talents from international cities: New York, London, Moscow, Vienna, Copenhagen, Budapest, Berlin etc… What were the criteria to be chosen for Symphoniacs?

I wanted the best. So, naturally, the musicians are spread across the world. Symphoniacs should be viewed as a pool of the most talented and innovative musicians from around the world. The lineup changes from track to track, from concert to concert. This brings a new dynamic every time. I organised international auditions and invited the best musicians to Berlin.

Was the concept of Symphoniacs difficult to convey?

No. The young virtuosos found it exciting from the get-go. Some have their own solo carriers, others play in some of the world’s most renowned orchestras, so they totally enjoy being able to break away from it, being rebellious and trying something new. This generation of musicians isn’t boring or nerdy like people often think, and on stage a transformation happens: these classical soloists can suddenly become a cool UK band, but instead of packing guitars and drums, they’re bringing violins and cellos.

Where does the biggest challenge lie when you decide to turn Robin Schulz’s « Prayer in C » into a symphonic pop track?

The most difficult thing is being able to convey a new kind of emotion with classical instruments that’s still connected to and based in the original. What happens technically and electronically in a club track has to be translated into classical acoustic instruments. And all the while without disrupting the mechanical rhythm. Every piece presents a new experiment and no one knows in beforehand if the fusion will work or not.

What influence has your hometown Berlin had on Symphoniacs?

The mixture of old and new, classical and club, fits this city really well. Here both worlds can coexist without disrupting each other. There is not just one large electronic music-scene, there’s also a renowned classical culture. I try to bring this rough feeling that radiates from Berlin into the music. Berlin is open and is, even today, the jumping-off point from which anything is possible.

What will the live concerts be like?

They’ll be dynamic and energetic performances that will make the audience want to dance, with violinists, cellists, and pianists competing with each other on stage in musical “duels” like guitarists at rock concerts. The lineup will vary from country to country, sometimes from city to city, too. No gig will be like the next.

Where will the shows take place?

Symphoniacs can transport clubs into classic concert halls or bring classical music into clubs. I can completely imagine having shows at the Berliner Philharmonie as well as in clubs like Berghain. There are no limits!