Congratulations to Lucas Fels on becoming the new professor of Interpretation Practice and Promotion of New Music at the Frankfurt University of Music and Performing Arts (HfMDK).
Having collaborated with Helmut Lachenmann, Wolfgang Rihm (who dedicated his Styx and Lethe for violoncello and orchestra to him), Beat Furrer (check out this Kairos recording) and others, Lucas Fels has established himself as one of the most distinguished cellists of our time. Furthermore, he’s a founding member of the ensemble recherche and since 2006 a member of the Arditti Quartet.
Wolfgang Rihm in conversation with Lucas Fels:
Tonight at 9 p.m. (cet/cest): “Kurt Weill: American”, a 3-part series on Red River Radio by Michael Lasser.
From the programme: “To mark the 85th anniversary of Weill's best-know work, The Threepenny Opera, and the 15th anniversary of the Lotte Lenya Competition for young musical theater singers, Fascinatin' Rhythm host Michael Lasser will be joined by Kurt Weill Scholar and Foundation President Kim Kowalke for a series of three special programs that explore the composer's place in American popular music.”
“July 1, 2013 marks Georg Friedrich Haas’s first day as a resident of the United States, where he will join the composition faculty at Columbia University. This move puts him squarely in the historical tradition of European composers such as Gustav Mahler, Arnold Schoenberg, and Igor Stravinsky, all of whom moved to the United States and became part of the musical life of America.”
Friedrich Haas: Atthis
for soprano and 8 instruments | 40’
Sharon Harms, s; Argento Chamber Ensemble, cond. Michel Galante
Wolfgang Rihm’s A Tribute was premièred on the last day of this year’s Aldeburgh Festival by Mark Elder and the Hallé Orchestra. Andrew Clements on the orchestral piece: “not specifically a tribute to Britten, but ‘a homage to English music in general’ […] It’s a teasing, almost sentimental piece.”
Read the full review on the Guardian.
Celebrating Claudio Abbado’s 80th birthday today, we made a video for an interview with the conductor that we did for our book Gustav Mahler: The conductors’ Interviews.
The conductor talks about the first time he heard Mahler’s music, his experiences with Bruno Walter, Zubin Mehta and Herbert von Karajan, and the death of Mahler’s brother, the “first stroke of fate” in the composer’s life.
The Interview is in German with English subtitles.
Pi-hsien Chen, Christoph Grund, Florian Hoelscher, Akiko Okabe, Sven Thomas kiebler, Julia Vogelsänger, pno; SWR-Sinfonieorchester Baden-Baden und Freiburg, cond. Silvain Cambreling
3 Hommages: “Hommage à Ligeti”
Marino Formenti, pno
… wie stille brannte das Licht
Sarah Wegener, s; Cornelis Witthoefft, pno
… wie stille brannte das Licht
Sarah Wegener, ms; Musikfabrik, cond. Roland Kluttig
String Quartet No. 2
Wer, wenn ich schriee, hörte mich
Lukas Schiske, perc; Klangforum Wien, cond. Silvain Cambreling
Schola Heidelberg, cond. Walter Nußbaum
for baritone saxophone and orchestra
Marcus Weiss, sax; WDR-Sinfonieorchester Köln, cond. Emilio Pomárico
Klangforum Wien, cond. Silvain Cambreling
The chamber opera received rave reviews when it premièred in 2011:
“Atmospheric music, often lyrical and pleasantly marinated in tonality … succulently scored.” (The Times)
“Bedford’s score is impeccably crafted and it is sensitively played by the Birmingham Contemporary Music Group.” (Daily Telegraph)
"A score of substance and ultimate quality combined with beautiful words with extraordinary creative and artistic direction from the creative team and magnificent staging from John Fulljames." (Paul Guest/Ceasefire magazine)
View the full score of Seven Angels.
Watch the trailer for the world première, which took place on 17 June 2011 in Birmingham:
Luke Bedford: Seven Angels
for 7 singers and 12 instruments | 85’
1 0 1 1 - 0 1 1 0 - perc, pno, vla(4), cb
prem. 21/6/2013, Opera stabile, Hamburg
artists of the Internationales Opernstudio, cond. Alexander Winterson
Further performances: 22, 25, 26, 28 and 30/6/2013
100 years after their world première, the Gurre-Lieder will be performed in the 100th season of the Wiener Konzerthaus: Kent Nagano will conduct the Wiener Symphoniker on 21 and 22 June. Schönberg worked on his Gurre-Lieder from 1900-1911, a period in which he left the work’s style far behind. Still, at its 1913 première in the Vienna Musikverein the piece enjoyed overwhelming success; Schönberg’s pupil Webern wrote: What a moment of my life! Unforgettable… The sensation of this tumultuous noise thrills me to the point where I swoon…
Arnold Schönberg: Gurre-Lieder
for solos, choir and orchestra | 130’
8 5 7 5 - 10 6 6 1 - timp, perc, hp(4), cel, bass tpt, bass tbn, str
21 and 22/6/2013, Konzerthaus, Wien; Wiener Symphoniker, Wiener Singakademie, Cor de Cambra del Palau de la Música Catalana, Herren des Chores des Slowakischen Nationaltheaters, cond. Kent Nagano
We just sent out our latest newsletter, featuring video interviews with Luke Bedford about his chamber opera Seven Angels, and with David Sawer about The Lighthouse Keepers. Furthermore, the world première of Wolfgang Rihm’s A Tribute will soon take place at the Aldeburgh Festival.
Read the full newsletter and enjoy,
This week on the BBC Radio 3 internet stream: Tom Service introduces a concert of works by Luke Bedford. The concert in question took place on 22 May and featured the world première of Renewal and the British première of Wonderful No-headed Nightingale, both of which were performed by the London Sinfonietta under Sian Edwards.
The concert took place at the Konzerthaus, Vienna, Markus Poschner – filling in for James Conlon – conducted the Wiener Symphoniker. You can listen to a transmission of the concert via live stream, the recording will be available for one week after it’s been broadcast:
Alexander Zemlinsky: The Mermaid
Recorded on 7 June 2013 at the Konzerthaus, Vienna
Critical edition by Antony Beaumont (2011)
Wiener Symphoniker, cond. Markus Poschner
Ö1 | Listen live
Sunday, 16.06.2013, 11:03
The revised version of Wolfgang Rihm’s Klanbeschreibung 2 will be premièred tomorrow, 15 June, at the Cité de la musique in Paris. François-Xavier Roth conducts the Ensemble Intercontemporain and the EXAUDI vocal ensemble.
Bálint Varga about Klangbeschreibung 2:
This piece is not a setting of Nietzsche’s poem “Der Wanderer und sein Schatten – ein Buch”; Rihm is not concerned with the intelligibility of the words. Instead, he takes single words and groups of words from the poem, to be sung by the four women’s voices. Entering into this unique world of instrumental and human sounds, the listener seems to be attending a ritual; instruments reply to one another, echo one another or serve to prompt the entries of the hovering women’s voices, either solo or in ensemble. Chords leave a single pitch remaining, sustained lengthily, only to segue to further sonic events where other instruments or voice(s) have their say. Rihm remarks, “Every sound is a sculpture of itself.”