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Klsp2018iema Broschuere.Indd
KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina. -
Rebecca Saunders (*1967)
REBECCA SAUNDERS (*1967) 1 QUARTET 13:52 for accordion, clarinet, double-bass and piano (1998) 2 Into the Blue 12:49 To the memory of Derek Jarman for clarinet, bassoon, piano, percussion, cello and double-bass (1996) 3 Molly´s Song 3 - shades of crimson 9:07 for alto flute, viola, steel-stringed acoustic guitar, 4 radios and a music box (1995-1996) 4 dichroic seventeen for Soledad 16:13 for accordion, electric guitar, piano, two percussionists, cello and two double-basses (1998) T T: 52:299 musikFabrik Stefan Asbury Coverfoto: © Hanns Joosten 2 musikFabrik Helen Bledsoe flute Nándor Götz clarinet Alban Wesly bassoon Thomas Oesterdiekhoff percussion Arnold Marinissen percussion Ulrich Löffler piano Seth Josel acoustic guitar, electric guitar Teodoro Anzellotti accordion Tomoko Kiba violin Dominique Eyckmans viola Anton Lukoszevieze violoncello Michael Tiepold double-bass Anne Hofmann double-bass 3 Michael Struck-Schloen physikalisches Erlebnis ist für mich der Kern, aus Das heikle Gleichgewicht zwischen dem es sich entwickelt. “Man höre nur den Beginn Klang und Stille ihres 1998 in Witten uraufgeführten QUARTET für die abenteuerliche Besetzung Klarinette, Akkordeon, Die Komponistin Rebecca Saunders Klavier und Kontrabass. Die Gegensätzlichkeit ihrer Klangphysiognomien ist das Thema des Stücks: ... ein Mensch, der die Aufmerksamkeit fesselt allein durch das schreckhafte Zuschlagen des Klavierdeckels, sein Dasein ... es sind nicht Entwicklungen, die entfaltet das in wiederholten Attacken und ihren dumpfen werden, sondern „Seinszustände“, die in harten Schnitten Resonanzen im Innern des Instruments nachwirkt; aneinander gefügt sind. ...Figuren, die nichts taten, das durch Glissandi und mikrotonale Bewegungen sondern nur waren ... verhärtete Dröhnen des Kontrabasses bis hin zum Über Gertrude Steins Roman Ida „verzerrten“ (distort) Ton; die grellen Höhenregister des Akkordeons mit ihrem vulgären Vibrato und Gegen die abendländische Idee der logischen epileptischen Zittern; die expressive Zartheit der Entwicklung und formalen Integration, der die Klarinetten-Echotöne. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
2017–18 Season Week 21 Mozart Widmann Strauss
2017–18 season andris nelsons music director week 21 mozart widmann strauss Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781. Today, we tackle diverse healthcare issues around the world, from prevention to care and cure, but our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can. With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the Takeda Pharmaceutical Company Limited future of healthcare. www.takeda.com Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 21 7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Wolfgang Amadè Mozart 31 Jörg Widmann 39 Richard Strauss 53 To Read and Hear More… Guest Artists 59 Yo-Yo Ma 61 Steven Ansell 64 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information the friday preview on march 30 is given by bso associate director of program publications robert kirzinger. program copyright ©2018 Boston Symphony Orchestra, Inc. -
Michael Pelzel Gravity’S Rainbow 2
Michael Pelzel Gravity’s Rainbow 2 Michael Pelzel 3 Michael Pelzel: Gravity’s Rainbow 4 1. Mysterious Anjuna Bell (2016) 18:47 für Ensemble und Kammerorchester Ensemble ascolta und Stuttgarter Kammerorchester, Peter Rundel (Leitung) 2. Carnaticaphobia (2017) 16:18 für Perkussion, Klavier und Violoncello ensemble recherche 3. Gravity’s Rainbow (2016) 21:00 für CLEX (Kontrabassklarinette extended) und Orchester Ernesto Molinari (CLEX), Basel Sinfonietta, Peter Rundel (Leitung) 4. „Alf“-Sonata (2014) 08:25 5 für Violine und Horn Jetpack Bellerive: Noëlle-Anne Darbellay (Violine) und Samuel Stoll (Horn) Danse diabolique (2016) für Bläser, Harfe, Orgel, Klavier und Schlagzeug WDR Sinfonieorchester, Bas Wiegers (Leitung) 5. I. Introduction 03:28 6. II. Danse diabolique 08:25 Gesamtspieldauer 76:26 Im Sog des Klangstroms 6 Ein Klang, so überwältigend reich und vielfältig, dass er das Ensemble, das ihn hervorbringt, geradezu transzendiert. Eine Fülle an Farben, die ans Maß- lose grenzt. Ein Gewimmel von Gestalten, das die Ohren überfordert. Ein Ganzes, das weit mehr ist als seine Teile, doch ohne diese zu verschlucken. Solcherart mögen die ersten Eindrücke sein, die man von der Musik Michael Pelzels empfängt. Viel (und vieles zugleich) geschieht in ihr, und wer sie unbefangen hört, wird sich von ihr geradezu aufgesogen fühlen, hinein- gestoßen ins Klanggeschehen und zunächst einmal aller refl exiven Distanz beraubt. Tatsächlich hat diese Musik in der Üppigkeit ihrer Mittel etwas Dionysisches, Anarchisch-Ungebundenes – was freilich keineswegs einen Verzicht auf planvolle Strukturierung und kompositorisches Kalkül bedeutet. Ganz im Gegenteil: Die erste Lektion allen Kunstmachens, dass der ästhe- tische Schein von Freiheit gerade nicht aus einer völligen Freiheit des Ge- staltens resultiert, ist selbstverständlich auch Michael Pelzel geläufi g. -
The Physicality of Sound Production on Acoustic Instruments
THE PHYSICALITY OF SOUND PRODUCTION ON ACOUSTIC INSTRUMENTS A thesis submitted for the degree of Doctor of Philosophy by Tristan Rhys Williams School of Arts Brunel University September 2010 (funded by the Arts and Humanities Research Council) Abstract This thesis presents practical research into sound production on instruments, working collaboratively with players, in order to build an understanding of the sounds available. I have explored the way in which instrumental technique can be extended in such a way as to function as the basis for musical material. The function of ‘figuration’ has also be brought into question, by employing seemingly primitive, residual material pushed to such a degree that it is possible to hear what happens underneath a gesture. Research in this area has been conducted by, among others, Helmut Lachenmann and Rebecca Saunders; I am drawn to the way their work highlights the tangible quality of sound. The exploration of the physicality of sound production inevitably encounters the problem that the finished work becomes a catalogue of extended techniques. My research has drawn on the work of these composers and has attempted to resolve this problem by exploring the way in which texture can suggest ‘line’ and the structural implications of sculpting self-referential material through angular and polarized divisions. This facilitates a Braille-like reading of a sound’s progress by foregrounding a non-thematic sound-surface of resonance and decay. This takes a positive and active approach to the problems of musical language, by questioning the functions and expectations put upon music. The possible solutions have been worked through in a series of works for mixed chamber ensembles, in order to investigate the palette possibilities of fusing instruments in intimate settings. -
This Month's Highlights Release Date - Friday 30Th November 2018
DECEMBER 2018 DEALER INFORMATION SERVICE: NO. 323 THIS MONTH'S HIGHLIGHTS RELEASE DATE - FRIDAY 30TH NOVEMBER 2018 Download this month's information here: www.selectmusic.co.uk - USERNAME: dealer • PASSWORD: select All orders must be received a week prior to release date. Orders are shipped on the Wednesday preceding release date Please click on a label below to be directed to its relevant page. Thank you. CDs Accentus Music Hortus APR Kairos Arco Diva Melodiya BIS Orfeo Claudio Records Paladino Music Continuo Classics Profil CPO Prophone Dacapo Raumklang DB Productions Resonus Classics Delos Rondeau Production Divox Somm Recordings Doremi Sono Luminus Drama Musica Steinway & Sons Dynamic Toccata Classics Edition S Tudor Fondamenta Varese Sarabande Gramola Wergo DVDs Accentus Music Dynamic C Major Entertainment Vai Select Music and Video Distribution Limited Unit 8, Salbrook Industrial Estate, Salbrook Road, Salfords Redhill RH1 5GJ Tel: 01737 645600 • Fax: 01737 644065 • E: [email protected] • E: [email protected] • Twitter: @selectmusicuk Highlight of the Month Pascal Dusapin À quia; Aufgang; Wenn du dem Wind … Nicolas Hodges, Carolin Widmann, Natascha Petrinsky, Orchestre National des Pays de la Loire, Pascal Rophé BIS2262 £9.00 SACD 30/11/18 BIS About this Release Pascal Dusapin has composed a number of works for the stage, one of the more recent being the opera Penthesilea, after the play by Heinrich von Kleist. From the opera he has also fashioned Wenn Du dem Wind…, the concert suite which opens this disc. Although beginning and ending with a single line from a solo harp, throughout its course takes the listener through the extremes of love, war and the demands of inflexible laws. -
ORPHEUS INSTITUUT GENT. Vom Hören
ORPHEUS INSTITUUT GENT. The Musician as Listener. Vom Hören. Alexander Moosbrugger im Gespräch mit Rebecca Saunders, Berlin Der Text ist Teil einer Reihe von Gesprächen mit Komponisten, entstanden im Auftrag des Orpheus Instituts Gent anlässlich des Seminars „The Musician as Listener“ (2008). 10407 Berlin, Esmarchstraße, den 15. April 2008 sowie den 7. März 2009 TEIL 1 AM Es hängen Partiturseiten an der Wand. Du gehst vom Einzelnen aus. Werden hier Klänge untereinander – ein Weißabgleich des Hörens – je nach Farbtemperatur verrechnet? RS Was ist ein Weißabgleich? AM Wenn die Kamera ein weißes Blatt Papier fokussiert, um daraus ableitend andere Farbtöne wahrnehmen, richtig bewerten zu können; sie wird auf Weiß sensibilisiert. RS Das ist interessant. Dieser Vergleich. Ich habe das noch nie so gedacht, sondern hätte von Rahmen gesprochen und davon, einen physikalischen, körperlichen Abstand zu schaffen. Weil ich die Musik, und nicht nur meine Musik, oft als etwas Bildhaftes erlebe beim Zuhören. Und irgendwie, fast aus pragmatischen Gründen, möchte ich das Stück zur Gänze, auf einmal sehen; komischerweise, wenn ich ein Stück komponiere hab’ ich das Gefühl, dass ich es noch nicht kenne, dass ich erst beispielsweise bei der Ur- oder einer späteren Aufführung wirklich das Ganze betrachte, genügend Abstand zu meinem Schaffen bekommen habe. Mir hilft das sehr, besonders im letzten Stadium beim Schreiben eines neuen Stücks, es an die Wand zu heften, weil ich empfinde, es wird dadurch gerahmt, wie man Skulpturen oder Bilder im Raum ausstellt. Diese körperliche Distanz, eine spezifische Distanziertheit, ist sehr, sehr wichtig, weswegen ich auch nicht am Computer arbeite, oder bis jetzt zumindest konnte ich noch keinen Weg finden, meine Arbeitsweise auf den Computer zu übertragen. -
16.12. at 20:00 Musiikkitalo Hannu Lintu Carolin Widmann Lotta
16.12. at 20:00 Musiikkitalo Hannu Lintu conductor Carolin Widmann violin Lotta Emanuelsson presenter Karl Amadeus Hartmann: Concerto funebre 1. Introduktion. Largo 1 2. Adagio 3. Allegro di molto 4. Choral. Langsamer Marsch Veli-Matti Puumala: Tear Einojuhani Rautavaara: Symphony No. 2 1. Quasi grave 2. Vivace 3. Largo 4. Presto Karl Amadeus Hartmann: Concerto funebre for violin and strings The dominant strains of 20th century mu- God”, a hymn sung by supporters of Jan sic crossbred in the slight output of Karl Hus, a leading 15th-century figure in the Amadeus Hartmann (1905–1963). In the rise against Catholicism, also symbolised 1920s, he heeded the call of futurism, Hartmann’s own position in the Third Dadaism and jazz, but later confessed to Reich. being a successor to the second Viennese The funeral march in the closing move- School and Anton Webern. His moder- ment is the same Russian revolutionary nism counterbalanced his humanistic at- song as that used by Shostakovich in the titude to life. slow movement of his Symphony No. 11 From 1933 until the end of the Second (1957). World War, Hartmann disassociated him- The four movements of the concer- self from the events of Nazi Germany. He to follow one another without a break. In completed his Concerto funebre in the ear- the 15-bar introduction, the solo violin pre- ly stages of the war, calling it Musik der sents the chorale theme with an orches- Trauer (Music of Mourning), but in 1959 tral accompaniment. The second move- revised it and renamed it Concerto fune- ment steeps itself in the tragedy as the 2 bre (‘Funeral Concerto’). -
Yun-Peng Zhao, Constance Ronzatti, Franck Chevalier, Pierre Morlet
Yun-Peng Zhao, Constance Ronzatti, Franck Chevalier, Pierre Morlet Founded in 1996 by laureates of the Conservatoire National Supérieur de Musique de Paris, the Diotima Quartet has gone on to become one of the world’s most in-demand en- sembles. The name reflects the musical double identity of the group: the word Diotima is a reference to German Romantisism – Friedrich Hölderlin gave the name to the love of his life in his novel Hyperion – while it is also a nod to the music of our time, recalling Luigi Nono’s work Fragmente-Stille, an Diotima. The Diotima Quartet is honoured to partner with several of today’s major composers, such as Helmut Lachenmann, Brian Ferneyhough and Toshio Hosokawa, while also regu- larly com missioning new works from a broad range of composers, such as Tristan Murail, Alberto Posadas, Gérard Pesson, Rebecca Saunders and Pascal Dusapin. While being staunchly dedicated towards contemporary classical music, the quartet is not limited exclusively to this repertoire. In programming major classical works alongside today’s new music, their concerts offer a fresh look at works by the great composers, in particular Bartók, Debus sy and Ravel, the late quartets of Schubert and Beethoven, composers from the Viennese School, and also Janácek. The Diotima Quartet has performed widely on the international scene and at all of the major European festivals and concert series (such as at the Berlin Philharmonie; Berlin Konzerthaus; Reina Sofia, Madrid; Cité de la musique Paris; London’s Wigmore Hall and SouthBank Centre; the Vienna Konzerthaus, and so on). As well as touring regularly across the United States of America, Asia and South America, they are also artist-in-resi- dence at Paris’s Théâtre des Bouffes du Nord from 2012 to 2016. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Carolin Widmann Wolfgang Rihm Jean Barraqué Morton
6/05/09 17:45 Page 1 Biographie Les œuvres de Luciano Berio sont édi - Peter Eötvös, Michael Schonwandt, Né à Oneglia, le 24 octobre 1925, tées par Suvini Zerboni / Milan et Uni - Jonathan Nott, Heinz Holliger et Stefan Luciano Berio est initié à la musique versal / Vienne Asbury. par son grand-père et son père, tous En août 2008, à Londres, elle participe deux organistes et compositeurs. À la Luciano Berio aux Proms’ de la BBC au Royal Albert suite d’une blessure à la main, il au Festival d’Automne à Paris Hall, sous la direction de George Ben - 1977 : Coro (Théâtre de la ville) renonce à une carrière de concertiste, jamin, puis crée, en septembre, un 1979 : Opera (Théâtre Nanterre-Aman - France Musique partenaire se destine à la composition et entre diers) concerto de violon de Wolfgang Rihm au Conservatoire Giuseppe-Verdi de 1984 : Passaggio ; A-Ronne (Théâtre avec l’Orchestre du Gewandhaus dirigé Milan. Dès 1952, il se rend aux États- du Châtelet) par Riccardo Chailly. du Festival d’Automne 1989 : Canticum novissimi testamenti CAROLIN WIDMANN Unis, où il étudie à Tanglewood avec Outre les œuvres que Wolfgang Rihm, (Théâtre du Châtelet) Dallapiccola et assiste à New York au 1990 : Coro (Théâtre des Champs-Élysées) Matthias Pintscher et Jörg Widmann premier concert américain de musique 1991 : Quartetto (Opéra de Paris) ont composées pour elle, Carolin Wid - électronique. Au cours des années cin - 1992 : Canticum novissimi testamenti, mann interprète, avec la soprano Sa - quante, Berio rencontre aussi Boulez, Calmo, Ofanim (Opéra de Paris) lome Kammer, les Kafka-Fragmente Kagel, Pousseur, Stockhausen, avec 1995 : O King , Duetti (Théâtre du Châtelet) de György Kurt ág et joue les œuvres 1997 : Alternatim (Cité de la musique) s t r A qui il s’imprègne de musique sérielle, pour violon de George Benjamin, Sal - & WOLFGANG RIHM 1999 : Outis (Théâtre du Châtelet) c i d s l i u b avant d’enseigner à Darmstadt jus - vatore Sciarrino, Pierre Boulez.