The subtitle, Nähe Fern (“distant closeness”), exactly
describes the feel of the orchestral movements, which never quote directly from
the Brahms symphonies but seem constantly haunted by them – in their harmonic
tints and textures, and in the melodic shapes that wander elusively through
them. (Andrew Clements, The Guardian)
This is an excerpt, read the full review on The Guardian.
It's a strange, but
not unsatisfying work: in the second piece, the furtive manner suggests an
animal tentatively considering a new beast in its habitat, while the final
piece involves a more deliberate distancing, by having the trumpets departing
to play the closing section offstage. (Andy Gill, The Independent)
This is an excerpt, read the full review on The Independent.
On the last night of Renée Fleming’s Perspectives series, Renée Fleming and the Emerson String Quartet will perform Egon Wellesz’ “Mir scheint, das Angesicht der Welt verging”, No.5 from Sonette der Elisabeth Barrett-Browning, Op. 52.
Wellesz: “Mir scheint, das Angesicht der Welt verging”
for soprano and string quartet
4/5/2013, Carnegie Hall, New York;
Renée Fleming, s; Emerson String Quartet
“What constitutes musical truth? Is there really such a thing as musical authenticity (by which I don't mean using period instruments, or playing without vibrato) in the sense of giving voice to an absolute sincerity of emotional or expressive utterance? […] The huge output of Russian composer Alfred Schnittke raises these sorts of questions – and some even more profound ones about musical meaning and historical signification.”
The world première of Saxordionphonics for saxophone, accordion and chamber orchestra takes place today in Witten.
Vykintas Baltakas on this work:
Saxordionphonics is founded on two structural principles. The first is a strictly rhythmical construct of two to three permuting notes which paces through the entire piece, forming a structural basis, with temporal distensions and condensations, dynamic and colorific variations. The other is a freer level which reacts musically to the first. It is especially scored for solo instruments; it is here where the musical development takes place, the relationship between the levels playing a dramaturgical part. They influence each other, the stronger one transforming the weaker one, when they are not actually rivalling.
For me, it was as if I were observing a shadow-play in space; depending on the time of day, the direction and strength of the light, perception of the space changes, as if the walls and the strict architectonic structure were mobile.
Baltakas: Saxordionphonics (2013)
for saxophon, accordion and chamber orchestra | 15’
2 2 3 2 – 2 1 1 0 – perc, str
world prem. 28/4/2013, Witten; Marcus Weiss, sax; Teodoro Anzellotti, acc
WDR SO Köln, cond. Emilio Pomàrico
Here is an interview with Cristóbal Halffter on his upcoming opera Schachnovelle:
In tempore belli (2012)
Spanish première, 26/4/2013, Auditorio Alfredo Kraus, Las Palmas de Gran Canaria
Orquesta Filarmónica de Gran Canaria, cond. Georg Fritzsch
Today the Swiss première of Morton Feldman’s only opera (or anti-opera) Neither takes place at the Stadttheater Bern. Stefan Schreiber conducts the Berner Symphony Orchestra with soprano Hélène Fauchère.
You can listen to an audio excerpt of the piece or read a work introduction by former interpreter Emilio Pomárico on our dedicated page. There’s also a fascinating article regarding the ‘co-elaboration’ between Feldman and Beckett available at The Modern Word which you shouldn’t miss out on.
Opera in 1 act | 55’
3 3 3 4 - 3 3 3 1 - perc(4), hp(2), pno, str
Swiss première, 19/4/2013, Stadttheater Bern; Hélène Fauchère, s; Berner SO, cond. Stefan Schreiber
Greetings from the Frankfurt Music Fair. Come and see us in hall 3.1 C42.