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Thomas Adès and the Baroque12.1O.2013

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Thomas Adès and the Baroque12.1O.2013 12718_dnw1314_2_ades_PRO_4C 2 12718_dnw1314_2_ades_PRO_4C 01.10.13 09:01 01.10.13 THOMAS ADÈS AND THE BAROQUE 12.1O.2013 THOMAS ADÈS AND THE BAROQUE Du musst dir die großen Komponisten als Freunde vorstellen. Furchteinflößende Freunde vielleicht, aber immerhin Freunde. 04 KONZERT Thomas Adès 05 „STANLEY KUBRICK DER NEUEN MUSIK“? THOMAS ADÈS MEETS PURCELL & COUPERIN 09 BIOGRAFIEN 11 VORSCHAU 12718_dnw1314_2_ades_PRO_4C 3 01.10.13 09:01 12718_dnw1314_2_ades_PRO_4C 4 01.10.13 09:01 SAMSTAG, 12.10.2013 THOMAS ADÈS NDR, ROLF-LIEBERMANN-STUDIO HENRY PURCELL ( 16 59 – 169 5 ) Fantazias (1680) 19 UHR | Einführung bearbeitet für Streichquartett mit Ilja Stephan Nr. 4 g-Moll Nr. 5 B-Dur 20 UHR | Konzert Nr. 6 F-Dur Nr. 7 c-Moll KELLER QUARTETT: ANDRÁS KELLER, Violine ( 16 6 8 – 173 3 ) ZSÓFIA KÖRNYEI, Violine FRANÇOIS COUPERIN Les lis naissans (Modérément et uniment) ZOLTÁN GÁL, Viola aus dem Troisième livre de Pièces de clavecin – JUDIT SZABÓ, Violoncello Treizième ordre (1722) WOLFGANG KUBE, Oboe La marche des Gris-vêtus BERND KÜNKELE, Horn (Pesamment, sans lenteur) LOUIS LORTIE, Klavier und Cembalo aus dem Premier livre de Pièces de clavecin – THOMAS ADÈS MEETS PURCELL & COUPERIN Quatrième ordre (1713) THOMAS ADÈS (*1971) 04 Arcadiana – Streichquartett op. 12 (1994) 05 KONZERT Venezia notturno „STANLEY KUBRICK DER NEUEN MUSIK“? — Pause — THOMAS ADÈS Das klinget so herrlich, das klinget so schön Thomas Adès, der eigentlich Konzertpianist werden wollte, für Kammerensemble sowie das von Kent Nagano am 12. Sep- Auf dem Wasser zu singen AND THE BAROQUE gelang der Aufstieg zum gefeierten Starkomponisten der briti- tember 1996 aus der Taufe gehobene Orchesterstück „These Et … (tango mortale) schen Gegenwartsmusik in Rekordzeit: Die „Süddeutsche Zei- Premises are Alarmed“. Zudem begann der Schüler von Alexan- L’ Embarquement THOMAS ADÈS Darknesse Visible tung“ rühmte ihn schon vor einem Jahrzehnt als „international der Goehr und Robin Holloway als Dozent an der Universität THOMAS ADÈS AND THE BAROQUE O Albion THOMAS ADÈS AND THE BAROQUE für Klavier solo (1992) agierenden Star, dessen neue Werke Sensationsstatus besit- in Manchester zu unterrichten und sich zunehmend auch dem Lethe zen“, die „Financial Times“ feierte ihn als „visionäres Genie, Dirigieren zu widmen. THOMAS ADÈS THOMAS ADÈS Enfant terrible der Opernszene [und] hoch inspirierten Bilder- Traced Overhead op. 15 stürmer“. Bereits als Student veröffentlichte der 1971 geborene Als frühes Meisterwerk gilt Adès’ Ensemblestück „Living Toys“ Sonata da caccia op. 11 für Klavier solo (1996) Londoner seine „Five Eliot Landscapes“, das „vielleicht ein- op. 9, das 1993 für die London Sinfonietta entstand und nach für Barockoboe oder Oboe, Horn und Sursum drucksvollste Opus 1 nach Alban Bergs Klaviersonate“ („USA der von Oliver Knussen dirigierten Londoner Premiere binnen Cembalo (1993) Aetheria Today“) – nachdem gleich drei Verleger bei ihm vorstellig ge- kurzer Zeit etwa 50 Folgeaufführungen erlebte. Spätestens in Gravement Chori worden waren, die um seine Manuskripte buhlten. Zwei Jahre diesem Stück gelang es dem Komponisten, die üblichen Avant- Gayëment später schloss Adès sein Studium am King’s College und am garde-Vorbehalte beim breiten Publikum beiseite zu wischen, Naïvement St. John’s College im Cambridge mit Auszeichnung ab, mit den da die Musik zwischen Atonalität und spätromantischem Gestus Galament THOMAS ADÈS Klavierquintett op. 20 (2000) Titeln „Master of Arts“ und „Master of Philosophy“. Von der hin- und herpendelt, ohne dabei in postmoderne Beliebigkeit Hochschule weg wurde er vom Hallé-Orchestra engagiert, bei zu verfallen. Die musikalischen Ideen klingen immer wieder auf dem er drei Jahre lang als „Composer in Association“ tätig war. seltsame Art vertraut, obwohl in ihnen völlig unberechenbar In dieser Zeit entstanden Werke wie „The Origin of the Harp“ Harmonien, Rhythmen und ausgeprägte Klangkontraste kombi- Ausschnitte aus dem Konzert werden am 11. Dezember 2013 ab 21 Uhr in der Sendung „neue musik“ auf NDR Kultur gesendet. 12718_dnw1314_2_ades_PRO_4C 5 01.10.13 09:01 12718_dnw1314_2_ades_PRO_4C 6 01.10.13 09:01 niert werden. Der endgültige Durchbruch gelang Adès 1995 mit Durch Rattles Fürsprache schloss das Plattenlabel EMI Classics auf dem Hirten ein Grab mit der Inschrift „Et in Arcadia ego“ Manuskript leere Seiten mit der Überschrift „Here Begineth the seiner Kammeroper „Powder her Face“ op. 14, einem wahren einen exklusiven Sieben-Jahres-Vertrag mit Adès, was für den entdecken. Der Titel des fünften Satzes wurde von Jean-Antoine 5 Part: Fantazias“ enthält (,,Hier beginnen die fünfstimmigen Fest an Ironie und Spielfreude, dessen Libretto der englische damals 28-jährigen Freelancer einen wahren Glücksfall bedeu- Watteaus Gemälde „L’Embarquement pour Cythère“ abgeleitet, Fantasien“) bzw. ,,Here Begineth the 6, 7 & 8 Part Fantazias“ Romanautor, Kritiker und Journalist Philip Hensher verfasst hat. tete. Anschließend ging Adès neben produktiver Kompositions- während das Finale (Lethe) nach dem mythischen Fluss des Ver- (,,Hier beginnen die sechs-, sieben- und achtstimmigen Fanta- Erzählt wird die irrwitzige Geschichte der Margaret Whigham, tätigkeit seinen Pflichten als „Fellow Commoner in Creative Arts“ gessens in der Unterwelt benannt ist. sien“). Während die dreistimmigen Stücke einer Sammlung von die durch Heirat zur Herzogin von Argyll und somit zum briti- am Trinity-College in Cambridge nach; zudem berief man den Orlando Gibbons verpflichtet sind, scheinen die vierstimmigen schen Gesellschaftsstar aufstieg. Ihr ausschweifender Lebens- seinerzeit 26-Jährigen auf den Benjamin-Britten-Lehrstuhl für Die viersätzige Sonata da caccia entstand 1994 im Auftrag Fantasien, von denen im heutigen Konzert die Nummern 4 bis 7 stil führte schließlich zu einem aufsehenerregen den Scheidungs- Komposition an der Royal Academy of Music in London. 1998 bis der BBC. „Die Kombination von Oboe, Horn und Cembalo“, so in einem Arrangement für Streichquartett erklingen, eher dem prozess, bei dem die Duchess nur mit Mühe verhindern konnte, 2000 war er musikalischer Direktor der Birmingham Contempo- Adès, „plante Claude Debussy für die vierte seiner Instrumental- Modell von Matthew Lockes „Consort of 4 Parts“ aus der Zeit um dass ihr Gatte eine Liste von 86 Nebenbuhlern präsentierte, rary Music Group, ab 1999 übernahm er dann die künstlerische sonaten, die er aufgrund seines Todes nicht vollenden konnte. 1660 zu folgen – Werken, die wie die Stücke Purcells die Satz- und fand im Jahr 1990, nach der Zwangsräumung ihrer Suite in Leitung des Aldeburgh Festival. Seine Musik wurde regelrecht Das Werk könnte man als Hommage an Debussy und Couperin folge schnell-langsam-schnell, schnell-langsam-schnell-langsam einem Londoner Hotel, seinen Endpunkt. Als das zwischen Kurt populär und auf den internationalen Festspielen in Helsinki, verstehen – in der Art, wie Couperins ‚L’ Apothéose de Corelli‘ oder langsam-schnell-langsam-schnell aufweisen; aus der letz- Weill, opernhaftem Schwelgen à la Puccini und Jazz anklängen Salzburg und London gespielt. So kam im September 2005 Adès’ oder ‚L’ Apothéose de Lully‘“. Zweifellos handelt es sich bei dem ten Variante entwickelte sich vermutlich die barocke Triosonate. changierende Werk am 26. April 2001 an der Hamburgischen Violinkonzert „Concentric Paths“ bei den Berliner Festspielen mitreißenden Trio, das zwanglos die Jahrhunderte überbrückt, Staatsoper mit viel Applaus über die Bühne ging, hatte es sei- im Kammermusiksaal der Philharmonie zur Uraufführung – ein um Adès’ direktesten Tribut an den von ihm so verehrten Ba- Bei dem Klavierstück „Darknesse Visible“, das Thomas Adès im nen Weg ins Repertoire noch nicht gefunden. In der deutschen Werk, das im Oktober 2006 ebenfalls unter der musikalischen rockmeister: „Meine Vorstellung von einem idealen Tag ist, zu Oktober 1992 im Franz-Liszt-Haus in Budapest uraufgeführt Presse wurde dieser und andere Erfolge von Adès u. a. damit Leitung des Komponisten auch in der Reihe NDR das neue werk Hause zu bleiben und Couperins Cembalowerke zu spielen – auf hat, handelt es sich um eine schillernde Neukomposition von erklärt, dass die Gegenwartsmusik in England weniger als in zu hören war. 2007 folgte u. a. Adès’ „Tevót“, das mit sechs jeder Seite finde ich neue Anregungen“, sagt er. Dass alle John Dowlands „In darknesse let me dwell“, die in ihrem Stil an Deutschland unter dem Dogma des Konstruktivismus gestanden Schlagzeugern, Klavier, Celesta, Harfe und mehrfach geteilten französischen Angaben in dem Werk Stücken Couperins ent- Brittens „Lacrymae“ erinnert. Ohne eine einzige Note oder die habe und man daher ungezwungener zu Werke hätte gehen Streichern einen gewaltigen Orchesterapparat erfordert und nommen sind, des wohl bedeutendsten französischen Kompo- Rhythmen des Originals zu verändern, „erkundet“ Adès laut 06 können: „Adès“, befand die „Süddeutsche Zeitung“ im Februar unter der musikalischen Leitung von Sir Simon Rattle in der nisten der Generation nach Lully, mag daher nicht überraschen – eigener Beschreibung das Lied in Zeitlupentempo. Hierbei ver- 07 2000, „schenkt der Dissonanz ihren Wert zurück, indem er auch Philharmonie Berlin Premiere hatte. ebenso wenig, wie die ironische Art und Weise der Notation: änderte er Texturen, Register und Dynamik, wodurch die Musik hemmungslos konsonante Kantilenen komponiert. […] Ihm ge- „Die dynamische Vortragsbezeichnungen (in runden Klammern) der Vorlage ihren ursprünglichen Charakter verliert. „Die im lingt die Wiederentdeckung der Fantasie im wirren Labyrinth der 13 Jahre
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  • Download Booklet
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  • THOMAS ADبS List of Works
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  • Thomas Adès and John Schaefer on Saturday, November 21
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  • Adès's Arcadiana
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  • Call for Entries
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