New York’s celebration of Arvo Pärt earlier this year offered an opportunity to explore the spiritual content of the composer’s music, and to discover how the spaces in which music is performed can amplify its emotional power. In this program, neuroscientist Robert Zatorre explains how music can engage the reward system deep in our brains – the same system that responds to food and sex. Architect Steven Holl describes making spaces for music, and shows how music influences his work. Theologian Peter Bouteneff talks about the thread of spirituality that weaves throughout Pärt’s masterpieces.
Spark is hosted by Julie Burstein, author and Peabody Award–winning creator of public radio’s Studio 360.
Recorded June 11, 2014
Wolfgang Rihm’s Will Sound More Again for ensemble will be performed today, 8 August, at the Darmstadt International Summer Courses for New Music by the Studio musikFabrik (cond. Peter Veale).
The following works from the UE catalogue will be performed in Darmstadt within the next few days:
Wolfgang Rihm: Will Sound More Again
08.08.2014, Lichtenbergschule; Studio musikFabrik, cond. Peter Veale
Georg Friedrich Haas: Introduktion und Transsonation
for 17 instruments and tape | 17'30''
10.08.2014, Böllenfalltorhalle; Klangforum Wien, cond. Sylvain Cambreling
Morton Feldman: 3 Clarinets, Cello and Piano
for 3 clarinets, violoncello and piano | 8'
12.08.2014, Orangerie; Trio Catch
Morton Feldman: Piano and String Quartet
for piano and string quartet | 90'
16.08.2014, Centralstation; Heloisa Amaral, pno; Anon String Quartet
“What a wonderful afternoon. Hearing my second concert of Steve Reich, and then being able to tell him how he showed me how new music happens where it is never expected.” (Georg Friedrich Haas with Steve Reich, Brad Lubman and Joshua Fineberg)
Kurt Weill’s and Bertolt Brecht’s Der Lindberghflug (also Der Ozeanflug / The Flight across the Ocean) was premièred 85 years ago, on 27 July 1929 at the Kurhaus Baden-Baden.
Aged just 26, Kurt Weill realised that radio offered the potential for a new genre of art. Subtitled ‘Radiolehrstück’ (teaching piece for radio), Der Lindberghflug was a product of this idea. It consists of 16 short sections, the shortest lasting barely a minute and the longest four minutes. The rapid alternation of soloists (narrator, tenor, baritone, bass), choir passages and instrumental interludes, as well as of styles – recitative, ‘sprechgesang’ (speech-song), baroque-style passages for choir, Weill’s typical bitter-sweet melodies – creates immense dramatic tension. It is not surprising that Weill also envisaged the work for stage.
I think each piece has its own individual technique but what people hear is something much deeper and profound and long lasting. It’s the thing they recognise as a composer’s voice. Of course it does manifest itself in technical things like intervals, but there’s some kind of bedrock on which your voice is built.
Happy Birthday David Fennessy!
Listen to an interview with David Fennessy on I’ll cadence when I die!
The Australian première of Antony Beaumont’s critical edition of Alexander Zemlinsky’s Die Seejungfrau [The Mermaid] will be performed on 24 July by the Sydney Symphony Orchestra under Simone Young. The critical edition contains the “Mer-witch episode”, a rediscovered and up to now unknown scene.
View the full study score.
Antony Beaumont on The Mermaid:
Zemlinsky first envisaged The Mermaid as a through-composed symphony in two movements, each subdivided into two sections. During the process of composition (February 1902–March 1903) he recast the work into three separate movements.
The first of these follows the well-known story by Hans Christian Andersen from a murky opening (‘at the bottom of the sea’) to the moment where the Mermaid rescues the shipwrecked Prince from drowning. The second, in extended ternary form, focuses on a subsidiary scene in Andersen (a ball in the palace of the Mer-king) before moving on to the crucial confrontation between the Mermaid and the Mer-witch. The third depicts the Mermaid transformed into a mortal, her anguish, suicide and transfiguration.
Read the full text online in our Musiklätter 2.
Alexander Zemlinsky: Die Seejungfrau
for orchestra | 45'
Critical edition; arranger: Antony Beaumont (2011)
prem. 24.07.2014, Opera House, Sydney; Sydney SO, cond. Simone Young
Further performances: 25. and 28.07.2014
Simon Rattle’s performance of Gustav Mahler’s Symphony No. 1 with the Orquesta Sinfonica Infantil Nacional de Venezuela at last year’s Salzburg Festival will be shown this Sunday at the open-air square of Vienna’s City Hall.
Find out more on the website of the Sommerkino Vienna.
The strength of Birtwistle’s music, and his way of showing time passing at different speeds are for me very striking, much more striking than any other English composer of his generation. (Pierre Boulez on Harrison Birtwistle)
Arnold Schönberg’s Pierrot lunaire, conducted by Pierre Boulez with Helga Pilarczyk as Sprechstimme, was the first ever long-playing record to be released on the German label WERGO, which was founded in 1962.
This historic recording – a highlight of the label’s early catalogue – has recently been reissued on CD, together with an 80-page booklet.
Find out more on the website of WERGO.
Among this year’s other winners are the South African playwright Athol Fugard, French painter Martial Raysse, Italian sculptor Giuseppe Penone and American architect Steven Holl.
Before Pärt, the UE composers Pierre Boulez, György Ligeti, Alfred Schnittke, Luciano Berio and Steve Reich have received the award.
Born in Graz in 1969, the artist Anton Herzl presents his new work series “IMAGING KOMPONISTEN” at the Haus der Musik [House of Music] in Vienna.
Showcasing 68 portraits, some of which original creations for the occasion, the exhibition can be experienced in the grand staircase of the former palais as well as on the other museum floors. “Imaging Composers” runs from 11 June to 30 September.
The portrait series deliberately reaches beyond the Sound Museum’s great masters. Bringing new faces into the game the exhibition builds yet another bridge between music and fine arts and in so doing echoes Haus der Musik’s various other links of the kind.
Anton Herzl – Portrait Series
June 11 – September 30, 2014
Haus der Musik
Celebrations for Harrison Birtwistle’s 80th already took place earlier this year with the Barbican Centre’s Birtwistle at 80 season, a production of Punch and Judy at the Neue Oper Wien, the publication of Fiona Maddocks’ Harrison Birtwistle: Wild Tracks – A Conversation Diary With Fiona Maddocks, the rerelease of a recording of Gawain by NMC Recordings and a filmed portrait of the composer.
Nevertheless, you shouldn’t miss out on Ö1’s radio portrait on the composer by Rainer Elstner, which will be broadcast today, on the day of his birthday, at 23:03. Listen live.
Happy Birthday Harrison Birtwistle!
With Lorin Maazel a conductor passed away last Sunday who was closely connected with the repertoire of Universal Edition. His commitment to the music of Gustav Mahler and the world première of Luciano Berio’s Un re in ascolto at the Salzburg Festival will never be forgotten.
Our sympathy goes to his family.
On the occasion of Rafael Kubelík’s 100th birthday on 29 June 2014, Audite has published a previously unreleased live recording of Kubelík’s memorable concert performance of Bluebeard’s Castle at the 1962 Lucerne festival.
Tim Ashley of The Guardian writes that “the extraordinary pairing of Irmgard Seefried's Judith with Dietrich Fischer-Dieskau's Bluebeard, both totally immersed in their roles, ensures an interpretation like no other.”
Read the full review on The Guardian.