I’ve just returned from the rehearsals of the new production of my music theatre Cantio. The rehearsals are going great, the team is very professional and will be working on a daily basis in the following month. The new Berlin production of Cantio is not a simple repetition of the initial piece. The main text and the musical score are fixed, but there is an additional open layer, which can be interpreted in many different ways for instance by an actor or in combination with other media such as dance, film, sounds, etc. In this way each new production is given enough space for creativity and experiments. Sharon Joyce’s original text was translated by Erika Ria Otto, which is why the narrator will now be speaking in German, thus giving the work a new perspective. As you can imagine, I’m really looking forward to the premiere.
Find out more about Cantio on the composer's homepage.
Texts on Cantio.
for narrator, soprano, tenor, bassbaritone, ensemble and electronics
world première of the new version, 17|19|20/1/2013, Berlin
Margret Giglinger, s; Florian Feth, t; Tobias Hagge, b; Lithuanian Ensemble Network
The London Sinfonietta has asked David Fennessy 5 questions – in their blog, the Irish composer talks about sources of inspiration, his favourite projects and his musical background. Find the full interview on the London Sinfonietta’s Blog.
Fennessy's latest piece Caruso (Gold is the sweat of the sun) for 4 samplers and electric guitar premieres on 12 December at the Muziekgebouw Amsterdam.
Something strange starts to happen when you listen to American composer Morton Feldman's long, long – and I mean long – late chamber pieces. I'm talking about the 80-minute Piano and String Quartet, the four and a half hours of For Philip Guston (which you can hear live at the Huddersfield Contemporary Music festival on 21 November 2012) or the biggest of them all, the five-hour Second String Quartet.
This is how Tom Service starts his latest blog entry, in which he writes about Morton Feldman, providing a nice introduction to the composer, his music and his contemporaries. The full article is available on The Guardian.
Vykintas Baltakas' Pasaka will be performed on 15 November 2012 in Montreuil at the Instants Chavirés by Brussels-based musician Stephane Ginsburgh. The composer has described the text of the piece, which was written between 1995 and 1997 and has been described by critics as “obsessive and astonishing”, as being “based on different parts of Indian mythology - creation of the world, creation of the night, born of the death, Markandea's visions, etc. But the relationship beetween them, succession, presence of the speaker, evolution in the music create a new dramaturgic level - which is not less important as the basic story.”
for piano and tape | 8‘
15/11/2012, Montreuil; Stephane Ginsburgh, pno
György Kurtág won this year's prize for composition of the Finnish Wihuri Foundation. Congratulations!
The critic Omer Corlaix wrote an enthusiastic review: „Je n’ai qu’un mot, sublime! Emilio Pomarico et l’Orchestre philharmonique du Luxembourg sont parfaits. La qualité d’enregistrement est à la hauteur du projet.“
Listen to his conversation with Emilie Munera on france musique.
In 2011 Yukiko Watanabe won the Ö1-Talentebörse-Kompositionspreis, a cooperation of ORF/Ö1 Talentebörse, Oesterreichische Natöionalbank and Universal Edition. We are happy to announce that the world première of her piece ver_flies_sen will take place here in Vienna on 10 November at the Radiokulturhaus.
The young artist describes the music of the piece as being “in constant motion, sometimes losing its shape inscrutably, like tiles in the water or vague old memories as one looks back on them.”
On 10 November at 19:30 the concert will be streamed live from the RadioKulturhaus.
for violin, violoncello and piano | 15’
10/11/2012, Vienna; David Frühwirth, vln; Friedrich Kleinhapl, vc; Anika Vavic, pno
György Ligeti: Atmosphères
5/11/2012, 19:30; ORF Radio-Symphonieorchester Wien, cond. Susanna Mälkki
Music for Orchestra II
recorded on 28 Oct, Wien Modern
6/11/2012, 23:03; Tonkünstler-Orchester Niederösterreich, c. Bradley Lubman
Georg Friedrich Haas: 2. Streichquartett
recorded on 2 Nov, Wien Modern
12/11/2012, 23:03; Arditti Quartet
recorded on 3 Nov, Wien Modern
13/11/2012, 23:03; Klangforum Wien
Pierre Boulez: Rituel in memoriam Bruno
16/11/2012, 19:30; ORF Radio-Symphonieorchester Wien, cond. Cornelius Meister
Cerha: 9 Präludien
Friedrich Cerha: 9 Inventionen
recorded on 3 Nov, Wien Modern
20/11/2012, 23:03; Martin Haselböck, org
All times are Central European Time!
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Composed in 1906, the Chamber Symphony op. 9 for 15 solo instruments represents a point of culmination in Arnold Schönberg’s artistic development. The reasons that motivated Schönberg as early as 1914 to arrange this Chamber Symphony for orchestra were not only related to practical performance aspects, however (enabling performance at larger concert halls), but were also connected to the fundamental problem that originated quasi-intrinsically from its hybrid position between orchestral and chamber music. The orchestral version from 1914 was never published and is now available for the first time as completely new orchestral material. A later orchestral version, which is further from the original, was produced by Schönberg when he was already in American exile.
Chamber Symphony No. 1, op. 9
for orchestra | 22’
prem. 01/11/2012, Munich; Münchner Philharmoniker, cond. Philippe Jordan
Boulez will receive the award on 1 December in Mainz, Germany. Congratulations!
Based on a series of poems by his sister Zofia, Karol Szymanowski composed the colourful and glittering 6 Songs of the Fairy Princess in 1915. The princess of the six songs remains mysteriously undefined; Love is her only, recurrent theme.
By withdrawing into internal phantasy during a time of war, Szymanowski found an opportunity to retreat into a dream-world, and composing songs remained an important part of his lifelong work; in 1933 he arranged three of the six princess songs for voice and orchestra. However, it took nearly 80 years until the Finnish conductor Sakari Oramo arranged the other three songs, so that now, for the first time, all of the Songs of the Fairy Princess Songs for voice and orchestra can be heard.
Sakari Oramo conducted the first complete performance of the six songs in April 2012; from 31 October until 1 November they will be performed at the Alte Oper in Frankfurt am Main by Anu Komsi and the hr-sinfonieorchester under Sakari Oramo.
6 Songs of the Fairy Princess
for high voice and orchestra | 15’
31/10/2012 – 1/11/2012, Frankfurt am Main; Anu Komsi, s; hr-sinfonieorchester, cond. Sakari Oramo
Arvo Pärt’s vocal works have always been based on their text, especially since the Credo from 1968. Broken down into its separate parts, dissected and carefully transferred to the music, the text is both the source – the germ from which the work’s entire structure unfolds – and also the goal. ECM has included predominantly more recent or recently reworked compositions by Arvo Pärt on this CD. The title composition Adam’s Lament is one of his major works. The words of the monk Silouan with the key message of love and humility occupy great strength of poetic expression for the composer.