Here are two excerpts from reviews of David Sawer’s The Lighthouse Keepers, which premièred on 04.07.2013 in Cheltenham. Martyn Brabbins conducted the BCMG. Click on the respective links for the full reviews:
It is a superbly atmospheric piece with sympathetic portrayals of father and son by William Oxborrow and Thomas Howes. The 11-strong ensemble under Martyn Brabbins’ fine direction demonstrated that you don’t need a huge symphony orchestra to conjure up a storm.
Roger Jones, Seen and Heard International, 5 July 2013
Sawer’s music is often brilliantly inventive, evoking the gathering emotional and physical storm, and mingling live sounds with their distorted echoes. The two actors Thomas Howes and William Oxborrow did all they could to loosen the work’s joints and make it speak.
Ivan Hewett, The Telegraph, 5 July 2013
David Sawer on The Lighthouse Keepers:
The Rokko Philharmonic Orchestra will perform Kurt Atterberg’s Symphony No. 6 – sometimes referred to as “The Dollar Symphony” (go here to find out why) – this Sunday, 01.09.2013, at the Kobe Bunka Hall in Tokyo.
Kurt Atterberg: Symphony No. 6
for orchestra | 32'
3 2 2 2 - 4 3 3 1 - timp, perc, hp, str
01.09.2013, Kobe Bunka Hall, Tokyo; Rokko Philharmonic Orchestra, cond. Koichi Mori
“Luciano Berio's score for viola, percussion and recorded voice investigates the intersections of world cultures in the folk traditions of Sicily, with a late 20th-century viola twist. Naturale also happens to be one the greatest solo works of any time or place for the instrument. And this collective of young performers and composers includes, in John Stulz, a virtuoso able to capture the full rapture of Berio's daring viola writing.”
Find the full article on the Los Angeles Times.
Tonight, 27/8/2013, 23:03 (CET/CEST), Ö1 broadcasts a Zeit-Ton special on the Salzburg Festival’s Beyond Recall, for which twelve composers were commissioned to write compositions for twelve works of art that were created in the frame of the Salzburg Art Project.
You can find a (German) review of the evening on the Salzburger Nachrichten.
“Alexander Zemlinsky’s four quartets seem underrated. They are among the finest composed in Europe in the first half of the 20th century, but are rarely mentioned in the same breath as those by Zemlinsky’s contemporaries such as Schoenberg and Berg, Janáček and Bartók.”
Find the full review on The Guardian.
Born on 23 August 1900,
Ernst Krenek was a witness to the 20th century and a prolific composer (and
writer), who “lived an extraordinarily rich life, thanks to his multifarious
gifts, his insatiable hunger for everything new, his tremendous creative impulse and the historical
circumstances which had a bearing on his decision”.
Find out more about Ernst Krenek and listen to his music.
Ed Siegel writes on The Artery about Deutsche Grammophon’s recent release of the 13-CD “Pierre Boulez: Complete Works” set and about Boulez’s music in general. There is a nice quote from Bernstein in there (“Curiously enough, the atmosphere he generates is one of great inner-ness and mystery. Perhaps what it really is a new kind of mysticism born of new scientific insights”), but also an interesting take on the warmth of Boulez’s music.
sur Incises, which is mentioned in the article, will be performed in October in Strasbourg by the Ensemble Intercontemporain:
Pierre Boulez: sur Incises
for 3 pianos, 3 harps and 3 percussionists | 40’
3/10/2013, Cité de la musique, Strasbourg; Ensemble Intercontemporain, cond. Pascal Rophé
Twelve composers have been commissioned to write compositions for twelve works of art that were created in the frame of the Salzburg Art Project. The compositions will be premièred on 24 August by the Scharoun Ensemble. Among the composers are Vykintas Baltakas with Eselsbrücke, Johannes Maria Staud with Caldera (für Tony Cragg) and Jay Schwartz with M.
Vykintas Baltakas: Eselsbrücke
for ensemble | 10’
world prem. 24/8/2013, Mozarteum; Scharoun Ensemble of the Berliner Philharmoniker, cond. Matthias Pintscher
Jay Schwartz: M
for baritone and ensemble | 12’
1 1 1 1 - 1 1 1 0 - perc, pno, str
world prem. 24/8/2013, Mozarteum; Matthias Goerne, bar; Scharoun Ensemble of the Berliner Philharmoniker, cond. Matthias Pintscher
Johannes Maria Staud: Caldera (für Tony Cragg)
for soprano, clarinet and piano (with active page-turner)
world prem. 24/8/2013, Mozarteum; Mojca Erdmann, s; Scharoun Ensemble of the Berliner Philharmoniker, cond. Matthias Pintscher
Beyond Recall at the Salzburg Festival.
Today, Karlheinz Stockhausen would have celebrated his 85th birthday.
On the photo: Karlheinz Stockhausen, Bruno Maderna and Pierre Boulez conducting the rehearsals for the world première of Gruppen on 24 March 1958 in Cologne.
Find out more about Stockhausen and listen to his music.
A highlight of this programme will be the Cello8ctet Amsterdam’s performance of seven works by Pärt, all of which he transcribed for 8 violoncellos.
Arvo Pärt on the ensemble: “The octet is a piece of gold, I discovered this group 10 years too late.”
Arvo Pärt: Kanon Pokajanen
for mixed choir a cappella
09/8/2013, St. Michaelis, Hamburg; Estonian Philharmonic Chamber Choir, cond. Tõnu Kaljuste
Arvo Pärt: Missa brevis
Arvo Pärt: Summa
Arvo Pärt: Psalom
Arvo Pärt: Da pacem Domine
Arvo Pärt: Silouans Song
Arvo Pärt: O-Antiphonen
for 8 violoncellos
10/08/2013, NDR, Hamburg; Cello8ctet Amsterdam
Arvo Pärt: Fratres
Arvo Pärt: Cantus in Memory of Benjamin Britten
Arvo Pärt: Adam’s Lament
Arvo Pärt: Salve Regina
Arvo Pärt: Te Deum
10/8/2013, Hamburg, St. Jacobi; Estonian Philharmonic Chamber Choir; Tallinn Chamber Orchestra, cond. Tõnu Kaljuste
Arvo Pärt: Für Alina
for piano | 2’
11/8/2013, NDR, Hamburg; Ulrike Payer, pno
Arvo Pärt: Lamentate
Arvo Pärt: Tabula rasa
11/8/2013, Hamburg, NDR, Rolf-Liebermann-Studio; Marrit Gerretz-Traksmann, pno; Barnabás Kelemen, vln; Ye-Eun Choi, vln; NDR Radiophilharmonie, cond. Tõnu Kaljuste
Arvo Pärt and the Cello8ctet in Amsterdam
Now available on DVD: Oleg Dorman’s documentary about Rudolf Barshai, entitled Rudolf Barshai: The Note – A lifelong quest for one single note, where, among other things, Barshai talks about his completion of Mahler’s Symphony No. 10.
Bernt Feuchtner on Barshai: “Rudolf Barshai conducted the Tenth with the Austrian Radio Orchestra at the end of the 1980s, in Vienna and Montpellier, but soon discovered that the dissatisfaction he felt could not be dispelled by a few corrections here and there. Changing details was pointless: he had to make his own revision. [...] Such refinements, which of course critically determine the overall musical form, could only have become first apparent to a musician like Rudolf Barshai, who has devoted his life to the interpretation of the great European symphonic tradition and lived with Mahler’s music for several years.” (Read the full text).
Listen to an excerpt of the finale from a recording of Barshai conducting the Junge Deutsche Philharmonie in September 2001 at the Konzerthaus Berlin:
A trailer for the DVD is available on YouTube: